Domestic production among the southern Kyrgyz in the last century, especially in the first half, played an important role. A significant portion of the population engaged in livestock farming had a natural economy at its core, and almost all necessary household items were produced domestically. The production was based on the use of both livestock raw materials and materials sourced from nature. The only purchased material was metal (silver, iron).
Shepherds in high-altitude pastures still live in yurts. In cities and villages, yurts are set up during national holidays and large family celebrations, as well as during funerals. The yurt is one of the most optimal structural solutions for nomads. It can be quickly assembled and disassembled, easily transported by wheeled or pack transport, and its felt covering is waterproof and protects against the wind.
Embroidery was a very popular and widely practiced form of handicraft, practiced by women of all ages, from young girls to the very elderly. This type of handicraft, compared to other traditional crafts, was more individualistic, as it did not require collective efforts.
In the south of the republic, when crossing turbulent mountain rivers, they still successfully use sal — a unique raft made from inflated skins of water bags.
Ancient jewelers produced a variety of women's jewelry, horse harness items, household utensils, belts, and hunting equipment. They primarily used silver, sometimes gilded, in combination with precious stones. They were familiar with various techniques for manufacturing and finishing products: stamping, openwork carving, embossing, granulation, blackening, and decorating items with enamel.
In the past, the Kyrgyz produced two types of weapons — cold and firearms, and they made bulletproof clothing. This was necessitated by inter-feudal wars and frequent clan conflicts. They skillfully utilized natural defensive conditions (the surrounding mountains) and constructed special fortifications.
Deep ancient local traditions in the art of the Kyrgyz can be traced when studying the ornamentation of the domes, which our predecessors paid little attention to. Three types of ornament were used in the decoration of Kyrgyz burial sites: painting, appliqué, and patterned brickwork.
The material culture of the Kyrgyz people from the 16th to the first half of the 19th century has not yet been the subject of special study, and during our expeditionary work, it was important for us to gather any information in this area. Moreover, the study of fortresses was interconnected with the nature of Kyrgyz settlements and dwellings, while the ornamentation and paintings of epitaphs and domes directly relate to the traditional decorative applied art of the Kyrgyz.
The dominant type of dwelling in the conditions of centuries-old nomadic life of the Kyrgyz was the yurt. Even when erecting burial structures — gumbazes — the Kyrgyz often gave them the shape of a yurt so that the soul and body of the deceased would feel comfortable in the "afterlife." The yurt encompassed the entire life of the herdsman, starting from birth. He wintered in it even during the harshest frosts and migrated with it across vast pastures.
Elechik is a women's headwear in the form of a turban. In its full form, it consists of three parts: a cap with a side piece worn on the head, a small rectangular piece of fabric on top that covers the neck and is sewn under the chin; and on top of everything, a turban made of white material. Among different tribal groups of Kyrgyzstan, the women's turban had various shapes — from simple wraps to complex structures that slightly resembled the Russian horned kik. The turban became
As is known, the category of self-sounding instruments (idiophones) includes all sound-producing devices in which the source of vibrations is the body itself or part of it, rather than a string, membrane, or column of air enclosed in a channel. In Kyrgyz musical culture, this includes the so-called mouth (lip) komuz of several types, as well as instruments like jingles, bells, rattles, etc.
Kyrgyz folk percussion instruments form a small group. The arsenal of folk percussion instruments consists of three membranophones: dobulbash (in northern Kyrgyzstan — dobulbas), dool, and karsyldak. These instruments are carriers of rhythm, one of the strongest means of artistic influence on humans and animals.
The oldest instruments, which are wind instruments, were primarily given practical significance by the Kyrgyz. They performed signaling functions (calling people to public events, moving herds of livestock), and only later artistic, aesthetic functions (rest, entertainment). In ancient times, instruments of this group were included in ensembles during military battles. The epic "Manas" mentions performers on wind instruments, whose playing made a significant emotional impression on
Kyrgyz folk instruments are an essential part of the national artistic culture — both as attributes of musical creativity and as creations of applied art. In modern society, they function in various aspects and situations. They are played solo, as well as in ensembles and orchestras, during home music-making and at public concerts. Music schools, studios, and secondary and higher educational institutions introduce children and youth to instrumental performance or provide opportunities to
A man-made wonder — fantasy and fiction? Yes. But also reality! This is how the art of ancient nomads is described, characterized as mythological in content and realistic in form. Among all forms of art, decorative and applied art is endowed with these traits to the greatest extent.
