Speaking about the special "luminosity" of color most of his works, it is appropriate to compare the works of art Adzhindzhal not only the same kind of visual art, but also his other species, such as stained glass or cloisonne enamel. The fact is that most of the artist's major compositions by area color planes, or fields, separated from each other sometimes massive, sometimes subtle, but always stressed, accentuated contour lines. That's what a close look at stained glass and cloisonné enamel in which colored glass (or enamel), insert the section lead septa. Similar manner in France early XX century was called "kluazonizm" (from the French «cloison» - «partition"), so he worked Gauguin and his followers. This term can be applied to the work of our contemporaries Akhra Adzhindzhal. In general, in his work, researchers found reminiscences artistic research of the first third of the last century by the French Post-Impressionists and the Fauves to the Russian bubnovovalettsev. It is no coincidence - an effect fundamental training in art history: the artist learned from the best teachers in the history of art department of Moscow University.
 Of course, all of these visual impressions melted and synthesized in the author's mind, and building on those or other prototypes, every time he creates his and only his picture raduyuschego his surrounding world.
Doctor of Arts Andrei Tolstoy describes the main features characteristic of creative manner Adzhindzhal "timelessness, versatility - an important quality not only tracks the artist with naked bodies, but his still lifes and landscapes. It is exactly this feature works Akhra Adzhindzhal and lies at the heart of his work like very different people - and those who identify themselves as members of traditional forms of pictorial art, and those who are inclined to nonclassical, more expressive ways of art of the twentieth century ".
Akhra Adzhindzhal can work without the slightest fear of falling into banality, called island of calm in a turbulent flow of contemporary art. In this case, the mind - this is not the lack of attention to the mainstream, but rather a quiet confidence skills. Adzhindzhal - artist leisurely movement, he peers into the world to understand the rhythm of the touch of the world and the people living in it. Actually, the touch - the basic concept for the artist, at least for today. By his own admission Akhra Adzhindzhal, this is exactly the way he would like to communicate with the audience, "I'm tired of sverhinformativnogo art. I do not want to impose myself viewer, but only touch it. Touch the soft, tender, and thus appeal to his heart. "