Leader's funeral (1993)

Azat Minnekaev’s artistic journey was greatly influenced by his grandmother, who introduced him to the traditional Tatar craft of kəfenlek sewing, leading him to discover shared cultural elements between his own Tatar heritage and other indigenous peoples he encountered, such as the Chukchi and Aleuts.

Minnekaev's fascination with the peoples of Eastern Siberia stems from their detachment from civilization and their close relationship with nature. He appreciates their harmonious coexistence with the environment and the organic integration of religions into shamanism.

His acquaintance with the cultures of Khakassia and Tyva further deepened his understanding of Tatar culture. He found similarities between the Tatars and the Khakass people, pointing out the latter's self-designation "Tadar," reminiscent of "Tatar." Understanding the Tyvans was more challenging due to their Mongolian traits. Overall, his experiences in Siberia helped him comprehend aspects of Tatar culture that he hadn't grasped before. He believed in interconnectedness of all Turkic peoples.

The Heavenly tigers of Kük Tengri (2009)

Umay (2011)

The Hounds of Erlik (2015)

Sabantuy (?)

For Azat, the canvas was a shamanic drum, and the brush was his drumstick. Rejecting frames, he believed they confine the energy of his creations. His graphic works span from sketches to illustrations for books like Qol Ğali’s "Qıyssa-i Yosıf" and the Tatar epic "İdegəy."