The ancient Turkic nomads who inhabited the territory of Kyrgyzstan left behind unique monuments — large stone sculptures that captured the spiritual essence of an entire era. The main themes of these sculptures are the defense of the homeland against foreign invaders, the awareness of one's identity and strength, and the understanding of the role of man in the world and the meaning of life.
Most of the stone sculptures were created by skilled artisans. They accurately conveyed the Turkic ethnic type, as evidenced by the fused eyebrows, prominent cheekbones, narrowed almond-shaped eyes, wedge-shaped beards, and mustaches. Unique details such as headgear, clothing, and other elements enhance our understanding of the people of that time, their customs, and traditions. The stone monuments first appeared at the turn of the VI-X centuries, with some dating back to the X-XII centuries. After the XIII century, their installation ceased, which is associated with the spread of Islam in Kyrgyzstan, which prohibited the depiction of all living things: people, animals, and birds.
Today, there are not many architectural monuments from the Middle Ages preserved in modern Kyrgyzstan. Written historical monuments, remnants of once-magnificent architectural structures, and archaeological finds convince us that there were many religious buildings in the medieval cities of Kyrgyzstan — minarets, mosques, mausoleums, and others. Endless destructive wars, formidable natural disasters, and the relentless passage of time took their toll — architectural monuments disappeared one after another from the face of the earth. Among the preserved historical architectural monuments of Kyrgyzstan, the Burana Tower, the Uzgen architectural complex, the Shah-Fazil mausoleum, and others are of significant interest today.
Among the most striking examples of medieval minarets in Kyrgyzstan are rightly considered the Burana Tower and the Uzgen Minaret. Both structures were built during the reign of the Karakhanid dynasty (X-XII centuries) with a difference of about 100 years. Therefore, it can be assumed that the construction of the Uzgen Minaret took into account the previous experience of erecting both the Burana Tower and other similar brick structures. In other words, if the Burana Tower represents the first step in architecture, then the Uzgen Minaret is a testament to the flourishing of architecture and construction during the Karakhanid era.
According to available information, until the V century, the height of minarets was insignificant. However, both the Burana Tower and the Uzgen Minaret are exceptions to this rule: they had impressive heights of 40 and 44.7 meters, respectively. Unfortunately, both suffered a bitter fate — as a result of one of the earthquakes, their upper parts were destroyed, and currently, the height of the Burana Minaret is 24 meters, while the Uzgen Minaret is 27.4 meters.
The significant architectural monuments of medieval Kyrgyzstan that have survived to this day include the Koshoy-Korgon settlement and the Shirdukbek fortress — architectural monuments of the X-XII centuries in Central Tien Shan; the Shah-Fazil mausoleum — one of the remarkable architectural monuments of Central Asia from the XI-XIV centuries in the Alabuka region; the Tash-Rabat caravanserai (XV century) in the Tian Shan; and the Manas dome (XV century) in Talas.
The nomadic lifestyle and patriarchal-clan way of life left an indelible mark on the material culture of the Kyrgyz. Their entire surrounding life and means of existence — housing, utensils, clothing, food, tools — were determined by the peculiarities of the nomadic way of life, the necessity for rapid relocation, and the seasonal nature of their economy. Historical data and large-scale archaeological research conducted in Southern Siberia, Altai, Tien Shan, Semirechye, and Pamir confirm that the Kyrgyz, in their material culture, were direct bearers and continuators of ancient nomadic traditions stemming from the Saka, Usun, Hunnu, and Mongol peoples.
The Kyrgyz had two types of housing: portable and stationary. The main dwelling of the nomadic and semi-nomadic Kyrgyz was the yurt. Their entire life took place within it. Accordingly, over many centuries, the practice refined the characteristics of this dwelling. The yurt could be quickly and reliably assembled, easily disassembled, and was convenient for transportation. During migrations from one campsite to another, the wooden structures of the yurt, felt, and other necessary parts were loaded onto horses, camels, and yaks.
The size and decoration of the yurt depended on the social status of its owner. Wealthy individuals and manaps had several large white yurts. The overwhelming majority of nomads had one small yurt. Most people cramped into sooty, tattered huts that represented something between a yurt and a shelter (alachik). Traditional Kyrgyz clothing has survived with only minor changes until their transition to a sedentary lifestyle. Changes in lifestyle led to a transformation in the style and cut of clothing: uniformity in men's and women's outerwear was disrupted, and many differences and characteristics of clothing among various tribes were leveled. Fundamental changes occurred in cutting methods (some of which disappeared entirely).
Since ancient times, the Kyrgyz have developed applied arts. Their material base was home production related to the processing of livestock products, wood, metals, etc. Every family member participated in it, regardless of age. The emergence and development of various crafts were driven not only by the practical needs of a nomadic lifestyle. Significant roles were also played by internal spiritual demands, the people's yearning for beauty and perfection, the desire to satisfy aesthetic needs, and the use of all opportunities to improve and beautify their daily lives.