Ornamental Embroidery of the Southern Kyrgyz

The Artistic Creativity of Kyrgyz Women

At first glance, one might get the impression that the embroidery of southern Kyrgyz people is rich in a variety of ornamental forms. However, a more careful analysis of the ornament reveals a certain limitation of motifs. The dynamism, expressiveness, and richness of the embroidery ornament can be attributed to variations in both the motifs of the pattern and the compositional solutions.

Great artistry is manifested in the combination of ornamental motifs. Characteristic features include symmetry, rhythm, cross-shaped composition of motifs, their duplication, and vertical alignment.

The improvement of embroidery has also progressed along the line of diverse color combinations. Embroidery has continuously developed, and it vividly reflects the artistic creativity of Kyrgyz women.

The foundation of folk Kyrgyz embroidery is realistic. It is characterized by plant and partially geometric motifs. The designs of leaves, branches, fruits, and a unique depiction of flowers are quite distinct in the embroidery.

The depiction of animal figures is not typical for southern Kyrgyz ornamentation, while in northern Kyrgyz products from the late 19th century, contour embroidery of birds, goats, and camels is often found. This is evidently influenced by Islam, which had a more significant impact in southern Kyrgyzstan than in the north. However, in modern embroideries, figures of animals and birds have become a common phenomenon in the south, although this is noted only in the eastern regions of the Osh region, where not only animal figures are embroidered but also some narrative scenes.

Let us focus on the main and most widespread motifs of embroidery. In the development of embroidery art, significant attention has been given to motifs in the form of two or three branching offshoots with a common base. We conditionally call them "two-leaf" and "three-leaf" (fig. 65, 1—4, 7—8, 11), as noted during the analysis of the pattern on felt carpets "ala kyiiz." These motifs can be traced in both ancient and modern embroideries and are widely spread across Kyrgyzstan. In addition to embroidery, they are used in appliqué, felt products, woven mats made from chiy, pile products, and also in the ornamentation of silver.

The pattern of the three-leaf is known by different names. In the southwestern regions, it is called "gul" (flower), "tal berki" (willow leaf), i.e., the pattern is perceived as plant-based. At the same time, it is also interpreted as zoomorphic: in this case, the artisans call it "gaz ayak," sometimes "uch barmaq" (three fingers). Just like among northern Kyrgyz, in the Batken district (among the Kipchak group), the name "karga tyrmak"322, "karga but" (crow's paw), and "TOOK but" (hen's paw) is popular.

Interestingly, in Tajik embroidery, the three-leaf is commonly referred to as "sparrow's paw."

When the three-leaf is arranged in groups, the pattern is understood differently; it is called "it taman" (fig. 65, 9).

The variety of names is partly due to the large number of variations of this motif, which can sometimes be influenced by the technique of embroidery.

The three-leaf is often accompanied by double-sided spirals, directed with their curves in different downward directions (fig. 65, 5—7). These spirals are commonly referred to, as in felt and woven products, as "kochkor muyuz" ("kaykalak").

In the development of some ornaments of Kyrgyz embroidery, the motif of the three-leaf can be considered foundational. A simple pattern evolves into a more complex one—a five-leaf pattern, taking on new shapes like "bagdjagay," which is widely spread, besides embroidery, in appliqué, in the felt carpet "shirdamal," on the fabric "kadzhar," and in pile weaving. It is perceived by artisans as a depiction of a bird in flight. Among the Kipchaks of the Batken district, this pattern is called "karga kanat" (crow's wings), as well as "kazhyr kanat" (white-headed vulture's wings). M. S. Andreev, who noted the presence of this ornament among the Pamir and Alai Kyrgyz (on pile fabric), sees it as a depiction of a mountain plant.

The Use of Smooth Stitches by Kyrgyz People