The Placement of Patterns in Kyrgyz Embroidery

The Arrangement of Patterns in Kyrgyz Embroidery

Among the other most commonly used patterns in embroidery, we can note the star (“jildyz”), the moon (“ai nuskа”, “ai keshtе”), and the pattern in the shape of a bracket divided in the middle (S. M. Andreev calls it sulёo-sun tyrmak — lynx claws).

Among geometric patterns, typical are jagged and zigzag shapes (“iyrek”, “araa”), lines with steps (“kavyrga”), concentric circles with different names, a circle with a spot in the middle (“koy koz”), an S-shaped pattern (“it kuirok”), triangles — “tumarcha”, and straight lines “suu”.

The arrangement of patterns in embroidery is diverse. It depends primarily on the purpose of the item. Several variants of pattern composition can be distinguished for item bags, with the presence of a border being characteristic for all.

Let’s focus on the most typical ones.

1. For ancient embroideries, it is characteristic to divide the embroidered surface into triangles and diamonds, filling each with one ornamental motif. This compositional solution is ancient, as evidenced by the embroidery found in the Kenkol burial site.

2. A rosette is placed in the center, from which lines extend to the corners, dividing the embroidered surface into four parts. Patterns are symmetrically arranged around each line. This arrangement of ornamentation is typical for both ancient leather embroideries and for later ones — embroideries on velvet.

3. The surface is filled with four or five rosettes (in the latter case, the fifth is placed in the center).

This composition is characteristic of embroideries on velvet and is widely known in Uzbek products.

4. In later velvet embroideries, rather complex compositions are revealed, including strictly symmetrical medallions that incorporate several ornamental motifs.

In embroideries on the hanging door of a yurt (light fabric of domestic production), patterns of trees, branches, bouquets, and flowers with scroll motifs are common. These embroideries stand out from all others due to the relationship between the background and the pattern.

The background is very distinct, while the pattern occupies significantly less space, which is atypical for Kyrgyz folk art.

In the composition “jabyk bash,” there are many variations. A rhythmic repetition of one or two forms of medallions enclosed in a square is often used.

For embroidery on the felt pot cover “shirdak,” diverse variations of the traditional pattern “islimi” (“kyial”) are characteristic, surrounding the “shirdak” on three sides.

The principle of pattern arrangement in embroidery on the decorative strip “tegirich” is the same as in its woven (pile) variant: various patterns are arranged in a row with strict rhythm, giving the embroidery a unique dynamism.

Sometimes similar patterns of different colors alternate, which also creates an impression of great variety.

The “dikak” saddle blanket is decorated with ornaments symmetrically placed at the sharp corners. A border is embroidered on three sides.

In style, the embroidery on the “dikak” saddle blanket and the decorative strip “tegirich” resembles embroideries on light fabric and contains many motifs similar to those found in Uzbek and Tajik embroidery.

A velvet saddle cloth for a horse under a women's saddle is richly embroidered: many variations of compositional solutions are noted, along with motifs characteristic of the northern Kyrgyz embroideries.

The creative imagination of the craftswomen is especially evident in the embroidery of the panel “tush kiyiz” and pillow covers “jazdyk.” Here, one can find a wide variety of compositions. Patterns are often repeated, connected by wavy lines, inscribed in circles, squares, or triangles, and complex medallions are developed, among others.

Plant Patterns of Southern Kyrgyz Embroidery