Kyrgyz Carpet Weaving
Patterns whose names are associated with the plant world are equally diverse. The foremost among them is "toguz döbö," various versions of which in the form of rosettes are widely spread across Kyrgyzstan. However, a rosette with a more or less smoothed contour is often referred to by carpet weavers, as mentioned above, as an animal's footprint. Alongside the Kyrgyz name "toguz döbö," another name—segiz pista (eight pistachios)—is found in the western regions of the Osh region, borrowed from the Uzbeks.
The pattern "kyrk shak" has gained wide popularity in patterned fabrics called "terme." It is also present in carpet products and varies in the degree of completeness of the depiction. For example, there is the pattern kyrk shak toluk (forty fully branches) and kyrk shak jarty (forty half branches). Often, the name "shak" extends to border patterns in the form of a wavy line with branches.
Kyrgyz people also use the pattern kytay shak (Chinese branch), which is found in Eastern Turkestan carpets.
Patterns such as alma köchöt (apple tree ornament), alma gul (apple blossom), and anar köchöt (pomegranate ornament) are also part of the complex of carpet ornaments of Eastern Turkestan. On Kyrgyz carpets, "alma köchöt" is depicted as a tree trunk with branches that end in circles. This pattern is also referred to as kytay köchöt. It is usually used in the decoration of carpets that we classify as the third type. The pattern "alma gul" resembles rosettes found on carpets of the first and second types. This same design is sometimes referred to by artisans as "jolbors tamан."
The pattern "anar köchöt" received special attention from A. Felkerzam, who considered it characteristic of the products of the Kashgar Kyrgyz. We did not manage to document carpets with this ornament among the Osh Kyrgyz, but artisans retained memories of its existence.
We also encountered names for carpet patterns such as jiyde gul (flower of jidy) and tal berki (leaves of the tamarisk).
Of great interest are patterns with names of silk fabrics (pashaiy köchöt, kymkap köchöt), which were very fashionable in Central Asia in the 19th century. These patterns are found on pile products produced in the western regions, but similar designs are no longer observed in carpets made in recent years.
The pattern resembling the interlocking of four "C"s has two names: chyt (calico, printed fabric) and orus köchöt (Russian pattern). This pattern is also found on Chinese brocade and is known in Chinese symbolism as a "sign of happiness." Most likely, it was adopted by the Kyrgyz in Eastern Turkestan. According to some artisans, this pattern was copied from calico brought from Russia, which is quite possible, as patterns of Russian calico often included Eastern motifs.
There is a group of small carpet products with a pattern that clearly repeats the ornamentation of ancient items made using the kuraksh technique.
Of significant interest are pile products with the patterns karakalpak köchöt, kytay köchöt, kalmak köchöt. These names are evidently the result of the Kyrgyz's connections with these peoples. The pattern "karakalpak köchöt" is characterized by the cross-shaped arrangement of its elements. The pattern is often enclosed in a frame resembling a cross. It is very popular, decorating the central field of the carpet, carpet bags, and is found in the decoration of mats made from chiy. Therefore, in some places, this pattern is known as "ashkana köchöt." Sometimes it is referred to as Kipchak. The Kyrgyz of the Batken region, belonging to the Kipchak group, still predominantly decorate carpets with this pattern.
The name "kytay köchöt" is given by Kyrgyz carpet weavers to the aforementioned patterns "alma köchöt," "anar köchöt." Additionally, a complex of patterns is associated with the name "kytay köchöt." Among them are the intertwining of geometric lines, meander, and images of floral rosettes.
In the ornamentation of carpets from the Laylak, Batken, and Frunze regions, we observe, according to our observations, the most noticeable similarity to Chinese ornamentation.
A group of ornaments called kydyrsha köchöt stands out particularly. Most of them are no longer used. In the past, they were typical for the clan group kydyrsha.
Some patterns are given names by Kyrgyz artisans related to household utensils and nomadic dwellings—yurt.
Such patterns are usually placed on the border.
The pattern kazan kulak (ear of the kettle) resembles the very common pattern "tumarcha."
The name of the pattern potnoe köchöt is evidently related to the Russian word for tray. Some artisans call this pattern tegerik (circle) or chömuch bash (head of a ladle).
This also includes the pattern takta köchöt (takta—board), usually placed on narrow border strips of the carpet.
The completely original pattern chaidosh (teapot) is of interest. This name refers to a group of netted diamonds with anchors and branches resembling a human figure. In appearance, the pattern has nothing in common with a teapot (neither metal nor porcelain). This ornament was placed on carpets of the first type, on bags, and door curtains. The pattern is ancient. It is not developed in products of recent years. The name "chaidosh" is also used by Kyrgyz artisans for patterns that reproduce the ornamental motifs of Uzbek handicraft fabrics.
In the border, the pattern kerege bash (the upper part of the lattice frame of the yurt) is often found, resembling a diamond with elongated lines on one side. The pattern kalit (lock) is clearly related in its origin to carpets of Eastern Turkestan, where it is also placed on the border.
The name "ala monchok" is given by artisans to any pattern in which contrasting colors alternate. Such a pattern is placed in the border or in the center of the medallion.
Patterns with names such as "ay," "ay puska," and jıldız (star) are also found; the latter takes the form of an eight-pointed rosette. Notably, these patterns fill the so-called "free" spaces in the carpet. In the collections of the Museum of Arts of the Uzbek SSR, there is a carpet made by the Kyrgyz of the Osh region at the end of the last century. It depicts the moon and a starry sky, and the compositional plot of the product is also unique.
Geometric lines in the carpet, as everywhere in Kyrgyz ornamentation, also receive a certain interpretation.
Patterns koroo, korgon, which mean enclosure, frame, regardless of its shape, deserve attention.
The lines of patterns, having rhythmic zigzag repetitions, are called by Kyrgyz people kıygaç (curved), iyrek (zigzag).
Often these lines are accompanied by hook-shaped figures, referred to as "ilmek."
A preliminary analysis of the data we collected on Kyrgyz carpets and their comparison with the information we currently have about the carpets of other peoples allows us to draw some conclusions.
Carpet weaving has developed the most among the Kyrgyz belonging to the tribal union içkilik.
Their stay in Eastern Turkestan enriched Kyrgyz carpets with traditional Chinese ornamentation, partially adopted from carpets made in Hotan and partially from Chinese fabrics.
Small carpet products bear more archaic features and show the greatest similarity to the carpet products of the Uzbek Lokay and Karakalpak peoples.
In all main indicators (technique, ornament, color, composition), Kyrgyz carpets have similarities, and often complete analogies with Andijan-type carpets. It can be assumed that the main role in creating carpets of this type was played by the Kyrgyz, among whom representatives of the Kipchak and Kydyrsha groups, who still live in the Andijan region, occupied a special place.
Among Samarkand-type carpets, the Beshir carpets are most closely related to Kyrgyz carpets in ornamentation and composition.
But despite the commonality of many technical and artistic techniques with the carpets of other peoples, Kyrgyz pile carpets possess a lot of originality. They seem to synthesize the artistic taste of the Kyrgyz, develop their own stylistic features, create a special harmony of ornamental motifs, and define their own color solutions. Kyrgyz carpets are not difficult to recognize among many others.
Kyrgyz carpets, in the broadest sense of the word, play a significant role in the formation and development of national visual art. Therefore, the study of carpet weaving art has, in addition to scientific, great practical significance.
Kyrgyz carpet weaving should continue to develop based on the powerful age-old traditions laid down in folk art.
Carpet patterns related to the animal world