Sculptural Monuments. Togolok Moldo In the monumental sculpture of Kyrgyzstan, which began to be created en masse in the 1960s, the form of the portrait monument develops in its early stages, commemorating the memory of outstanding figures of national history and culture. In 1965, in Frunze, the oldest sculptor of Kyrgyzstan, O. Manuilova, created a bust monument to the national poet, one of the founders of Kyrgyz Soviet literature, Togolok Moldo, which was installed in one of the central
The production of pile carpet products among the Kyrgyz was closely linked to the needs of a nomadic lifestyle. Each item was adapted primarily to this, while also meeting the aesthetic needs of the Kyrgyz people. Carpet products gradually began to replace felt items, displacing some of them, although the production of the latter is much simpler and requires significantly less time.
In the 19th century, especially in its second half, carpet weaving in southern Kyrgyzstan was widespread and was entirely in the hands of women. Originating from the needs of nomadic life, carpet weaving among the Kyrgyz initially developed in conditions of semi-subsistence farming, characterized as home production intended to meet the needs of individual families. However, even at that time, carpet products were mainly acquired by the upper class of society—the Kyrgyz nobility.
Pile weaving has long been known to the Kyrgyz living in the territory of the modern Osh region, and it is widespread in the southern areas, while in the northern regions (the former Jalal-Abad region), it is practiced by Kyrgyz inhabiting areas closer to the Fergana Valley.
Kyrgyz Carpet Weaving All three types of patterned fabrics, briefly described by us, are artistically unique and attractive. Currently, patterned weaving is in decline; primitive techniques are losing their strength literally every day. Only a transition to factory production (Jacquard machine) could preserve the age-old folk traditions and create beautiful decorative fabrics that fully meet modern tastes. In the most substantial works related to the applied art of the peoples of Central Asia,
Sample of patterned fabric 'besh keshté'. Nookat District. The most vibrant and colorful of all types of patterned fabrics among the southern Kyrgyz is 'besh keshté' (The words 'besh keshté' mean 'a lot of embroidery' ('besh' — a lot, 'keshté' — from 'kashida' — the work of hand embroidery).
A saddle blanket made from strips of "kadjary" fabric Fabrics made using the "kadjary" technique are widely spread in southern Kyrgyzstan, known to the Pamir Kyrgyz, and are produced by Kyrgyz living in southern Xinjiang. Uzbeks, Kazakhs, and Karakalpaks also use a similar technique.
The process of "smoking" leather dishes (chanach yshtoo) Leather from cattle, camels, and horses was used to make shoes, suede for saddlery, dishes, and more. The tanning of leather was carried out as follows: first, the hide was soaked in water, the hair was shaved off, then it was soaked for 3-4 days in ayran with alum, after which it was dried, cut into straps, and kneaded by hand.
Tanning sheepskin with ayran. Mid-19th century. The photograph is kept in the State Museum The Kyrgyz were skilled in processing animal hides. The process of tanning sheepskin was as follows. First, the remnants of fat and muscle tissue were carefully removed from the skin with a knife. After that, the sheepskin was soaked from the inside with sour milk (whole, not skimmed) — ayran mixed with salt, rolled up, and left in this state for 4-5 days. Then the skin was taken out into the sun for a
The fabric "terme" is known to all Kyrgyz people. It is widely used among the Turkic-speaking peoples of Central Asia. By the method of production, this fabric belongs to the type of supplementary weaves, and its folk name "terme" reflects the main technical technique that forms its specificity. "Terme" means "assembled." The warp threads, which create the pattern, are paired together on a stick (tergich) during weaving and temporarily, depending on the
Alongside the production of simple solid-colored or striped fabrics used for making clothing and some household items, patterned weaving was widespread in southern Kyrgyzstan in the 19th and early 20th centuries. There are three types of patterned fabrics distinguished by their weaving technique: terme, kajary, and besh kashté. Patterned fabrics not only met practical needs but were also intended to satisfy the aesthetic tastes of the Kyrgyz population.
Traditional string instruments include the guitar and violin, while among the Kyrgyz, there are komuz and kyl kyak. A classical guitar can be purchased in almost any store, but national Kyrgyz musical instruments are almost always handmade.
Typically, two women work on the navoi. One unwinds the threads onto the warp (erish) of the fabric, while the other picks up each thread and secures it in the heddle. When winding the warp, the artisans consider the width, pattern, and color of the product. When creating patterned fabric, the threads are counted precisely. Therefore, the winding of the warp is one of the critical stages in patterned weaving.
The southern Kyrgyz are also known for a manual device for cleaning raw cotton from seeds — the chygyrik, which was widely used in areas where cotton cultivation has been practiced for a long time.
Among other domestic crafts, weaving held one of the primary places among the Kyrgyz in the past. The development of capitalist relations, which gradually dismantled the foundations of the natural economy, brought about several changes in domestic weaving. In the lively trade of various types of fabrics, both from Central Asian handicrafts and Russian industrial production, observed in the Fergana Valley in the late 19th century, Kyrgyz fabrics made at home also had a certain presence.
Rope weaving. Batken district. In the economic life of the Kyrgyz, the lasso has wide applications. In the past, the nomadic livestock economy had a daily need for this type of wool product. Therefore, the Kyrgyz are well-versed in the technique of making lassos, which were previously sold in large quantities. Until recently, the production of lassos was based on manual labor.
Researchers note the traditional nature of the clothing of the peoples of Central Asia, which has developed within a unified culture. While there were significant differences in the past, over the centuries they have smoothed out and formed something cohesive. However, despite the unity of the constructive basis, the clothing of the Kyrgyz has not lost its originality, especially clearly manifested in the decoration and manner of wearing. Researchers note the lack of differentiation in some
Kyrgyz people have long used the stems of the steppe plant chiy for various products. A. P. Fedchenko wrote about the properties and benefits of this plant, as well as its use in the southern regions of Kyrgyzstan: "Being thin, strong, and uniformly straight over long distances, without knots, they (the stems of chiy — K. A.) are very convenient for making mats. Mats made from chiy are widely used by the Kyrgyz, and the sides of the yurt are necessarily covered with chiy; it is dense
In the economic life and daily life of the southern Kyrgyz, various items made using the technique of hand weaving held a prominent place. Currently, many types of weaving have almost been lost. They have been best preserved in the Alay Valley and in the southwestern regions of the Osh region. Like all Kyrgyz, the weaving of woolen belts — gashniks (ychkyr), used for men's and women's sharovars, was widespread. They are woven by hand from uncolored twisted threads (white or brown).
A significant place in the decoration of felt products among the Kyrgyz is occupied by appliqué. This decorative technique is much simpler than mosaic. It can be considered ancient in the art of decorating felt. Appliqué has developed significantly among the Kyrgyz belonging to the ichkilik group. They have preserved more archaic techniques to this day. In the eastern part of the region, appliqué was also present in the decoration of the yurt. Modern artisans or enthusiasts of handmade
An interesting fact is the existence of felt wall carpets called 'tush kiyiz' (also known as 'tush tuurduk') in the Alai region as early as the beginning of our century. These carpets were trimmed with fringe on three sides and made using mosaic techniques. Essentially, such felt carpets did not differ from 'shirdamal' type carpets (the same colors, the same shape, the same manufacturing technique), but they were typically used for insulating yurts: they were hung
The term "shirdamal" is used among the pre-Fergana Kyrgyz. Carpets by this name are made here only by Kyrgyz who identify themselves with the tribal groups of Adigine, Mongoldor, and Mungush. Northern Kyrgyz refer to such a carpet as "shyrdak." Among the Kazakhs, a similar carpet is called "syrmak," "syrdak," or "syrdamal." In the past, it was laid on the ground in a yurt, used during migrations, covering the loaded camel. Nowadays, it serves
The main ornamental motif is the curl, executed in various variations. Sometimes the entire pattern consists only of curls enclosed in squares or triangles. This decoration, "ala kiyiza," is most typical for the Batken region. More often, artisans develop simple and more complex rosettes that incorporate the curl motif in different combinations and positions.
Using the technique of rolled colored pattern, a felt carpet is made, which has the original name ala kiyiz (multicolored felt). No other types of products created in this way are noted among the Kyrgyz. Felt carpets are widely and commonly used in the daily life of the Kyrgyz. The technique of rolled colored pattern in felt carpets is applied by many peoples of Central Asia, the Caucasus, and the Kazakhs, as well as by the Kyrgyz of Xinjiang.
The technology of producing felt, both unadorned and adorned, is mainly reduced to the same process, complicated in the latter case by the creation of ornamentation.
The production of felt used to occupy a significant place in home industry. In the 19th century, it remained an indispensable material in Kyrgyz life, serving to protect homes from cold, rain, wind, sunlight, moisture, and dampness. Felt was widely used for making clothing items, pack transport, and so on. Now, felt is used in the form of covers for yurts, carpets, and men's headwear.
Dyeing is one of the important processes in the production of woolen products. The color largely determines the quality of the created items. In the past, the best dyes were of plant origin; the Kyrgyz used roots, stems, and fruits of various plants for this purpose. However, it is difficult to ascertain the details of the use of natural plant dyes, as much has already been forgotten, since they ceased to be used about 100-120 years ago.
In the nomadic lifestyle of the Kyrgyz, wool found wide application. Wool products and materials made from it were used for arranging and decorating dwellings, clothing, and crafting items related to riding and pack transport. Wool was used to make ropes, mats, and other household and economic items. Sheep's wool was most commonly used, along with goat and camel wool. For yarn and weaving, spring shearing wool was preferred. Autumn shearing wool was used to make felt.
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).
Cultural contacts with the countries of people's democracy and the West have become increasingly stable and diverse in recent years. Acquaintance with progressive foreign art has expanded and enriched the repertoire. The role of theater in strengthening these cultural ties is significant. It is the stage that best introduces audiences to all that is advanced in the creative work of artists from all over the world.
A prominent place in the repertoire of the Russian Drama Theater was occupied by the works of A. N. Ostrovsky. The plays "Wolves and Sheep," "The Guilty Without Guilt," "The Forest," and "The Storm" were performed with great success on its stage. The talented portrayal of the role of Katerina in "The Storm" by the Honored Artist of the Kyrgyz SSR K. A. Guriyeva left a deep impression on the audience.
The choice of the "Kremlin Chimes" for the repertoire is quite understandable, although the theater took a creative risk by entering into competition with the best theatrical companies in the country. The situation was more complicated with the selection of other Soviet plays. The theater constantly had dozens of new works in its portfolio. Which ones should be selected? Which play has the right to stage adaptation first?
By including "Kremlin Chimes" by N. Pogodin in its repertoire, the theater took on a very responsible commitment. The image of Lenin, captured through the means of art and theater, is a powerful ideological weapon in the hands of the party. Its impact and influence on the people are limitless. To learn from Lenin, to follow his precepts in everything—this is the aspiration of every communist, every Soviet person. There is no higher, no more honorable task for a writer, artist, or
Honored Artist E. V. Zhenin — Kazanok. "Kremlin Chimes" The repertoire is a mirror of the theater. It is the repertoire that defines the very character of the creative team's work. The choice of dramatic works depends on the creative aspirations of the directors and actors, on that elusive concept that constitutes the face of the theater troupe. One can judge by the repertoire how bold the collective is, whether it aims for well-played and long-known plays or takes on untested
O.V. Popova, K.Ya. Ivanov, I.K. Tkachuk Regular classes were organized for all young, mostly talented actors. Directors M. Malamud and V. Molchanov, as well as leading actors, helped the youth master Stanislavsky's system, conducted classes on theater history, expressive reading, acting skills, etc. We are not even mentioning some special classes that were mandatory for the entire troupe. For instance, before the productions of "Hamlet" and "The Comedy of Errors," the
Actors of the Russian Drama Theater of the Kirghiz SSR: L. V. Nelskaya, V. N. Dostovalov, I. A. Ivarfэ L. V. Nelskaya, V. N. Dostovalov, I. A. Ivarfэ The Russian Drama Theater named after Ch. T. Aitmatov is one of the leading theaters in the Kirghiz Republic. It has a well-equipped foyer, rehearsal halls, dressing rooms, and facilities for hairdressing and other workshops.
After the war, the theater troupe was joined by new actors. By this time (1945—1956), the core of the ensemble had fully formed, which largely defined the creative face of the theater. This includes the chief director M. M. Malamud, and the actors V. F. Kazakov, K. A. Guryeva, A. F. Kuleshov, O. D. Dussan, E. V. Zhenin, G. G. Karkotsky, T. P. Artamonova, V. P. Sobolev.
In the evening, the capital of Kyrgyzstan is especially beautiful. Bright rays of streetlights break through the dense green veil formed by the branches of trees, flowerbeds glow with colorful reflections, and the black southern sky fades at the edges from the electric glow. However, perhaps the most beautiful place in the city of Bishkek is Oak Park. Almost century-old oaks, planted by the founders of the city, grow here freely and broadly. In the shade of the oaks stands a large building.
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.
