Southern Kyrgyz Embroidery

Embroidery of the Southern Kyrgyz

Southern Kyrgyz embroidery is the result of centuries of artistic creativity. Its characteristic features are highly developed stylization and decorativeness. In recent years, there has been a more diverse technique here than among the northern Kyrgyz. Stitches such as "ilmidos," "duria," "mushkul," and "jormo" did not develop in northern Kyrgyz embroidery, while they are quite characteristic of the south. Among them, the stitch "ilmidos" remains the most stable, creating the specificity of southern Kyrgyz embroidery. Such embroideries as "shirdak" (potnik), "dikak," "kep takiya," "jeek," the scarf "duria," men's waist scarves, and pillowcases "balysh," "jazdyk" are characteristic only of Southern Kyrgyzstan.

The embroidery of the southern Kyrgyz is enriched with ornaments that differ from those of the north. Many of them are borrowed from Uzbek and Tajik ornamentation. In the embroideries of the nomadic lifestyle from the late 19th to the early 20th centuries, similarities with the embroideries of the Uzbek Lokay are noted, indicating their close mutual influences.

Within the southern part of the Osh region, differences can also be traced. For example, in the group of ichkiliks, ancient types of appliqués and leather embroideries, as well as ancient compositional techniques expressed in breaking the embroidered surface into geometric figures, have been preserved until the first decades of the 20th century. There are no "tush kiyiz" carpets or abundant embroidery on the skirt "beldemchi," but embroidery on decorative strips "tegirich," on curtains for yurts, and on white handwoven material has developed significantly.

Despite the noted differences, there are many common features in Kyrgyz embroidery (including that of the Pamir Kyrgyz), highlighting its national distinctive character. This is primarily confirmed by the presence of common ancient motifs in the ornamentation and the overall ancient embroidery technique.

It is in the most ancient all-Kyrgyz embroideries that analogies with older Karakalpak, Kazakh, and Bashkir styles are noted, although each of these peoples has developed its own unique style over time. Some more archaic ornamental motifs in the embroideries indicate distant connections with the peoples of the Volga region and China.

Due to the influence of Russian, Ukrainian, and urban culture, as well as the increased material and spiritual needs of the Kyrgyz rural population, modern hand embroidery is acquiring new forms. Elements of new content are being incorporated into the ornamentation. Symbolic images of the world, the union of workers and peasants—such as the dove, sickle and hammer, star, and coat of arms—are becoming common. In the formation of new embroidery, there is a tendency to preserve folk traditions. It should be noted that machine embroidery, which is gaining popularity in cities, unfortunately does not utilize the richest folk traditions of hand embroidery, which is rich in ornamental forms and possesses a highly artistic color palette.

Artistic Crafts