Kyrgyz Dance On August 13, a music video titled "Kyrgyz Dance" was released in Bishkek. The lyrics were written by poet Kiyalbek Urmambetov. The music was composed by Azamat Otunchiev and Mirlan Niyazov. The performer is Sultan Sadyraliev.
The total volume of gross construction output in January-June 2014 amounted to 31,046.1 million soms, which is 18.5 percent more than in January-June 2013. In June of this year, compared to June of last year, its volume increased by 9.7 percent and amounted to 6,923.2 million soms. In January-June 2014, compared to the corresponding period in 2013, the volume of investments in fixed capital increased by 20.6 percent (in comparable prices) and amounted to 33,503.9 million soms, in June of this
The gross output of agricultural products, forestry, and fishing in January-June 2014 amounted to 52,263.7 million soms, which is 1.4 percent higher than the level of the corresponding period last year.
In the first half of 2014, industrial enterprises produced goods worth 65,851.3 million soms, with a physical volume index of 107.2 percent compared to the first half of 2013. Excluding enterprises involved in the development of the Kumtor deposit, the figure was 40,799.8 million soms, or 105 percent, with a 103.7 percent index as of May 2014. In June 2014, industrial production amounted to 11,357.5 million soms, with a physical volume index of 110.3 percent compared to June 2013. Excluding
Main Socio-Economic Indicators of the Kyrgyz Republic The socio-economic situation of the Kyrgyz Republic contains an analysis of the country's economic condition in January-June 2014 based on operational data, including the real, state, financial, external, and social sectors. Detailed statistical tables are provided in the appendices.
Imports to Kyrgyzstan account for approximately a quarter of the total consumption of public goods in the republic.
At the III Congress of Architects of Kyrgyzstan (1954), the issue of training personnel from the indigenous population was raised. This issue remained pressing at subsequent congresses, and only in 1965, at the initiative of the Union of Architects of Kyrgyzstan, was an architectural department established at the Frunze Polytechnic Institute, and from 1977, an architectural faculty was created. Most of the buildings constructed in the capital and cities of the republic were designed by local
The school for improving professional skills and discovering talents has been the participation of our architects in republican, all-union, and international competitions. The tradition of architectural competitions in the republic has a history of almost half a century. Competitions activate the creative activity of architects and help, especially the young ones, to find themselves. Public discussions held on the materials of the competition, which sometimes provoke lively debates, awaken
The significance of rural architecture in the life of Kyrgyzstan is very great, as more than half of the population of the republic are rural residents. There are about 2000 rural settlements in Kyrgyzstan. Despite a noticeable increase in the rural population over the past four decades, there has been a trend towards a reduction in the network of rural settlements with subsequent concentration and consolidation. An important role in the further development of rural construction was played by
Housing. The new Constitution of the USSR was one of the first in the world to proclaim the right to housing. This vital right for each of us depends on the skills of architects and builders. In Kyrgyzstan, mass housing construction is carried out according to standard projects, with industrial construction being the predominant method of building. The most widely used buildings are 5- and 9-story large-panel structures of series "105," designed to withstand seismic activity of 8-9
Industrial architecture. Today, the industry of Kyrgyzstan comprises 130 sectors and sub-sectors. Its output has increased 345 times compared to 1913. This development underscores the significance of industrial architecture as an urban-forming factor. The leading organization in the field of industrial design is the institute "Kyrgyzpromproekt". In Kyrgyzstan, many factories and plants have been built, which have a quite expressive appearance, such as: the flour mill in Kara-Balta,
Urban Planning. The development of urban planning in Kyrgyzstan represents a typical picture characteristic of most populated places in the USSR, expressed in the rapid growth of existing cities and towns and the emergence of new ones. The modern stage is associated with the development of master plans for a number of cities and towns in the 1960s. For some populated places, these were created for the first time, while for others, they replaced outdated plans. The technical and economic
The primary task of the Government and the National Bank of Kyrgyzstan (NBK) is financial stabilization, which includes:
In connection with the adoption in 1976 by the Supreme Soviet of the USSR of the Law on the Protection and Use of Historical and Cultural Monuments, concerns were expressed at the congress about the fate of numerous monuments that are being destroyed in several regions of Kyrgyzstan. The twelfth congress (1986) of Kyrgyz architects was particularly significant, taking place in an atmosphere of great scrutiny and demands, criticism and self-criticism, and an understanding of the need to work
The 1970s were a period of significant professional growth and creative achievements for the architects of the republic. The first graduates of the architectural department (since 1978 — the faculty) of the Frunze Polytechnic Institute joined their ranks. There was a numerical increase in the membership of the Union of Architects of the republic, and at the same time, the creative potential of architects was developing. During this decade, the architectural fund of Kyrgyzstan was enriched with
The second half of the 1950s was filled with activities aimed at restructuring design methods and building technologies in accordance with the goals and objectives set by the party and government for the architects of our country. The creative union congresses provided significant assistance in restructuring the design and construction sector in the republic. In August 1955, the fourth congress of the Union of Architects of Kyrgyzstan took place. The congress called on all architects of
MUKSINOV Munir Nigmatullovich AFONIN Petr Alexandrovich
KUTSEMELLOV Leonid Gavrilovich
ALBANSKY Alexander Mikhailovich
The establishment of the first design institution laid the foundation for the formation of professional design and construction practices in Kyrgyzstan. Later, this organization evolved into a multidisciplinary design institute with a large volume of design and engineering developments, which served as the basis for the subsequent opening of a number of specialized institutes. With the organization of the design institute, the first professional architects came to Kyrgyz architecture. The term
The artistic principles of constructivism were built on the basis of formal solutions to a number of compositional tasks — this involves the search for artistic effect in the combinations of simple volumes, in the juxtaposition of vertical and horizontal lines, in the contrast of the solid masses of walls with large glass planes, etc. At a certain stage, this direction played a positive role, opening new possibilities in the field of form creation and the search for functional appropriateness;
Kyrgyzstan, having become an independent state, entered the global community as a developing country undergoing a transitional process towards building a truly democratic state with a market economy.
The development of new architecture began with the establishment of Soviet power in the territory of Kyrgyzstan and concluded by the mid-1930s. This period is characterized by the formation of almost all major spheres of architectural creativity. Urban planning began to develop in the republic simultaneously with the construction of new large industrial enterprises and the associated influx of rural population into cities. At the same time, rural settlements were also intensively built up. By
Artistic and Stylistic Range of Young Artists' Works Possessing a gift for painting, most of them take their professional culture seriously, focusing on the tasks of realistically reflecting the life of the people. In their work, there is a search for thematic direction, and a unique plastic language is being developed. A characteristic feature of contemporary youth art is the peculiar interaction of various figurative-emotional elements — expressive-dramatic when addressing
An original master of landscape is Naryn Turpanov. Unlike most artists, he immediately found his theme and style. While artists of his generation began to move away from nature, aestheticizing formal techniques, Turpanov presented landscapes in which the objectivity of the world resonated with particular pathos. His unexpected perspective on familiar scenes of nature, along with a naive-childlike impartiality towards nature, led the artist to a paradoxical result at first glance. The detailed
Kyrgyz Masters of the Easel In the 1970s, Murat Bekdzhanov established himself as a fine portraitist, not shying away from formal explorations. The logic of the formally spatial solution (the clear rhythm of various tones of color-coordinated planes organizing the space) in his portraits creates a certain psychological mood related to the character and spiritual appearance of the models (“Portrait of Sculptor E. Mergenov,” 1974; “Girl Lit by the Sun,” 1974). The artist also addresses spatial
Tursunbek Koichiev addressed the revolutionary theme in a monumental and generalized manner in his triptych "Women of Kyrgyzstan. The 1920s" (1968). The left part of the triptych, titled "First Letters," depicts two young women and a child in national attire. One of the women holds a pencil and a notebook, symbolizing the pursuit of education. The central part, "At the Meeting," features a short-haired woman in a leather jacket, a revolutionary soldier, and a
The creative program of Nurdamir Kongurbayev is clearly manifested in his studies. In terms of their solutions, they do not differ from compositions made in the studio without a model. In the studies, the artist actively and consciously transforms the real forms of nature into the given forms of artistic language. For him, the combination of objects to create a new, aesthetically meaningful reality is more important than the motives or objects themselves. The artist uses a given palette, the
The contradictory search for Sapara Torobekov. In his painting, two lines develop: tonal-plein air, lyrical, and decorative-formal, in which he addresses figurative tasks through the means of textural painting, with an overt aestheticization of the color layer. The first line, close to the formal-figurative system of the founders of Kyrgyz painting, is characterized by independence and completeness of artistic solution, while the second, to which he gives preference, has a more experimental
Thematic Painting Aman Asrankulov works in the field of portrait and thematic composition. In such paintings as "Mulberry Cutting" (1974), "Tobacco Pressers" (1974), "Mowers" (1974), the process of labor is depicted directly, allowing the artist to convey the character of the natural environment and the uniqueness of labor rhythms. It should be noted that he is primarily attracted to manual labor, where mechanization has not yet replaced humans and where a person
The working days and traditional way of life are the themes of Mukhtar Mukambetov's creativity. He did not immediately find his own style. After creating several works in the manner of E. Moiseenko, he sharply distanced himself from it in his intimate portraits of children. His life drawing revealed the strong side of the artist's talent—his compositional intuition. As for the color solution, the artist struggles greatly to overcome the darkness of the palette, the dull colors
Success was more easily achieved through traditional means of plein air painting, especially landscape or mixed genre, when a particular plot was depicted in a landscape setting. It was more difficult for those who sought an artistically expressive image through creative experimentation, primarily concerning artistic form and a specific system of visual language. And this did not always bring success. For instance, in the portrait of S. Karalaev, painted by Suimenkul Chokmorov in 1966, the
Jumabay Umetov is an applied artist by nature and profession, who engages extensively in landscape painting, finding in the living nature a source of his creative fantasies. In the landscape genre, he seeks original motifs of nature, demonstrating his heightened sensitivity to the plastic and color decorative qualities of natural realities, processing them according to the task at hand. And although painting in Umetov's work serves a certain purpose, in terms of its artistic merits, it
If A. Voronin early established himself as a realist artist with a distinctive creative face, then Alexey Nikolaevich Kamensky worked for twenty years in easel painting both in a conventionally decorative style and in a realistic manner, never refusing from working from life. In the formal structure of the painting "Oodarysh" (1970), the artist's fascination with ancient Russian painting is evident. On a neutral conventional background, several groups that are not plot-related
The monumentalist artist Vladimir Georgievich Butorin most vividly and originally expressed himself in easel painting. Unlike Bakashev, his easel works do not show the influence of monumental art. He works in various genres— thematic painting, portraiture, landscape, and still life. Butorin rarely works from life, possessing a vivid creative imagination, artistic taste, and a strong academic background in drawing, composition, and painting. This allows him to realize his fantasies not only in
Sabitjan Bakashev places great importance on the beauty of pictorial texture and the brightness of color in his paintings. The essence of the depicted theme appears in his works as starkly unambiguous, largely abstractly schematized, yet always sounding solemn and festive due to the significant decorative merits of form. Like most Kyrgyz artists, he enjoys depicting nature; however, it appears in a transformed, highly decorated guise, with a realistic, professionally executed drawing serving
Joоmart Kadraliev also resorts to the language of allegory, but his allegories have a more elaborate, narrative form of expression. For example, in the painting "Today. A Day Among Days" (1984), two seated giant figures are depicted, frozen like stone statues against the backdrop of an immense earthly landscape. The meaning of the painting is revealed in the interpretation of the global landscape and the cosmic scale of the figures. In many of his works, Kadraliev resorts to
Satar Aitieva took his own path in stationary painting, having obtained a degree as a film set designer at VGIK. At the beginning of his creative journey, he still relied on the experience of film masters, creating sketches for an unrealized film based on K. Dzhusubaliev's story "The Sun Has Not Finished Its Self-Portrait." In these sketches, the psychology of pictorial convention emerged, along with a love for pure painterliness and a delicate organization of color composition.
Mels Akynbekov is the closest to the creative program of B. Jumabaev. He turned to the memories of his childhood spent in the mountains and created several talented works in which he demonstrated a keen sense of composition, decorative use of color, and a profound understanding of the laws of constructing Kyrgyz ornamentation. His best work, "In the Alai-Ku Valley" (1969), provides a generalized image of high-altitude Kyrgyzstan with an indispensable attribute: a pasture covered like
Belek Jumabaev, endowed with vivid imagination and sharp observation, was the first to paint thematic works without an etude basis, rejecting plein air painting. The choice of themes also changed. While Chuykov, Aitieva, Akylbekov, and subsequently artists of a different generation depicted themes of everyday life, labor, and history with a high degree of realistic authenticity, as they calibrated each image with live observations recorded in sketches, B. Jumabaev mainly materialized his
Paintings by Kubanychbek Amankozhoev As mentioned earlier, the first artist to somewhat depart from traditional themes and the characteristic formal solutions of the older generation of artists was Kubanychbek Amankozhoev. The painting "Heat" is a typical landscape image in which the genre motif plays a significant role. The state of nature is revealed through the pictorial texture and coloristic structure, which, despite its decorative nature, is still connected to the solution of
Academicism of Kyrgyz Painters Kulchoro Kerimbekov, Jakul Kozakhmetov, and Altymysh Usubaliev, who underwent academic training, did not significantly influence the overall stylistics of Kyrgyz painting. Rather, they themselves were influenced by the founders, preserving certain features of academicism in their work. Academicism manifested mainly in the character of color solutions and compositional structures of the works; however, all of them aimed to work within the framework of established
Artists of the Mid-20th Century For the centenary of Kyrgyzstan's voluntary accession to Russia, Viktor Stepanovich Tyurin painted "The Meeting of the First Russian Settlers with the Kyrgyz" (1963). For this work, Tyurin gathered a large amount of study material, created portraits of the descendants of the first Russian settlers suitable for the painting in terms of type, and made studies of Kyrgyz life and ancient utensils. The painting is narrative in nature, where all details