The nomadic lifestyle and patriarchal-clan way of life left an indelible mark on the material culture of the Kyrgyz. Overall, the material culture of the Kyrgyz, including housing, clothing, and decorative applied arts, remained largely at the level of the Middle Ages. Under the influence of new conditions, changes in material culture began to occur slowly. In the early 20th century, with the population transitioning to a sedentary lifestyle, new forms began to emerge in both settlements and housing in Kyrgyzstan. The feudal nobility built large estates with spacious houses and numerous outbuildings.
Their laborers settled nearby in yurts or adobe huts—shanties. In mountainous areas, the Kyrgyz's transition to a sedentary lifestyle followed ancient traditions: houses were built without any planning, in separate groups, chaotically. The street system of construction was observed only in certain cases. In the south, many villages were located on the slopes of foothills, resembling Tajik settlements.
They often stretched along roads or along the banks of rivers. Changes in lifestyle led to a transformation in the style and cut of clothing. The diversity of clothing was influenced by neighboring settled peoples—Tatars, Uzbeks, Tajiks, Kazakhs. Factory-made fabric gradually displaced hand-made analogs. The poor wore clothing made from the cheapest fabric (mata). People with higher incomes bought ready-made clothing, which was very expensive in remote regions.
Spiritual Culture. In the 17th century, the expansion of the Dzungars forced some Kyrgyz from the Tien Shan Mountains to relocate to the Fergana Valley and its bordering areas. This contributed to the rapid spread of Islam among them. However, after the fall of the Dzungar Khanate, the Kyrgyz returned to their native places, and the process of Islamization slowed down again.
The widespread adoption of Islam among the Kyrgyz occurred during the period of the Kokand Khanate's dominance. The clergy served as a powerful support for the feudal lords in their exploitative policies. By preaching unquestioning obedience to religious tenets, they profited from the oppression and lack of rights of the people. The most significant influence of Islam was in the southern part of the country and partly in the Chui Valley. Islam initially spread among the bai, manaps, and other representatives of the feudal ruling elite, and only later among the common people.
During the modern era, epics were refined, especially "Manas." According to Russian scholar V. V. Radlov, the Kyrgyz in the 19th century were at the height of epic creativity. This was confirmed in the art of manaschi—the storytellers of the epic "Manas," whose artistic content reached its peak through relentless improvement. The performance of the epic was particularly honored and popular among the Kyrgyz. The most prominent performers of this genre—Balik, Keldibek, Nazar, Chonbash, Teltai, Kalmyrza, Suranchy, Choo-dan, Zhandake, Tynybek, Sagymbay, Sayakbay, and others—were known among the people as "great manaschi" and enjoyed great respect. Thus, the historical and cultural significance of the epic "Manas" also lies in the fact that it has significantly influenced the formation of the national character, moral and ethical ideals and norms, and social behavior of the Kyrgyz people over the centuries. The smaller epics were divided into heroic and socio-domestic based on their content. Heroic epics include "Er-Toshtuk," "Kurmanbek," "Janış and Bayış," "Er-Tabyldy," "Janil-Myrza," "Er-Eshim," and others, created in the 16th-17th centuries, which, by reflecting real events, are close to historical legends—they narrate the struggle of the Kyrgyz against the aggression of Mongolian and Kalmyk feudal lords and the deep social contradictions in Kyrgyz society. Socio-domestic epics—"Olzhobai and Kishimzhan," "Sarinji-Bokoy," "Kozhozhash," "Kedeykan," and others—tell of love, the tragic confrontation between man and nature, and humanity's striving for social justice. Oral poetic creativity (lyrical songs, instructive songs, competitive songs, praise songs, mockery songs, lament songs, labor songs, ritual songs, farewell songs, laments, dirges, lullabies) held a significant place in the national culture of the Kyrgyz. It vividly and multifacetedly reflected the uniqueness of the historical fate of the people, their ancient culture, everyday life and way of life, dreams, and hopes.
The creative pursuits of the people found new expression in the works of akyns and national thinkers. Among them, for their highly artistic works and philosophical reflections on existence, the people held special respect for Jenijok (Ote Koke uulu, 1859-1918). The great akyn of the Kyrgyz people Toktogul Satylganov (1864-1933) earned wide recognition for singing about the hard fate of his people, celebrating the ideas of justice in his songs, and exposing existing class and social contradictions. The famous improvisational poet Barpy Alykulov (1884-1949) sang instructive songs distinguished by rich deep didactic and philosophical reflections. One of Toktogul's students was the improvisational poet Eshmambet Bayseit uulu (1867-1926). His songs were always characterized by imagery, philosophical depth, and sharp polemics.
Great poetic and improvisational mastery was vividly expressed in the works of akyns—Zhanibay, Kurman, Naimanbay, Kalik.
The rich spiritual culture of the people found expression not only in epics, oral folk creativity, or in the songs of improvisational akyns but also in the legacy of folk thinkers.
Kalygul Bay uulu (1785-1855) stood out for his oratory skills and philosophical thoughts, while Arstanbek Builash (Boylosh) uulu (1824-1878) created the poetic discourse "Tar zaman" ("The Violated World") about society, politics, and existence in connection with specific historical conditions.