Some features of symbolic classification of Kyrgyz ornament.

Kyrgyz ornament, as well as other ornaments of nomadic ethnos, depict all spatial-temporal characteristics of the existence of the ethnic group. The unwritten culture compelled to search for other informative resources, and about it the most valuable role was of the applied creativity, in which the basic information is first of all ethnic identificational (for identification of the ethnos), with time was ritualized by embodying the creative identity for the ethnic group, and evolving in the historic space some ritual elements are transformed into a decorative concept.

     Taking it into account, from our point of view the most reasonable method will be using multi-profile humanitarian aspect on behalf of the research object of applied art:

1. different formats of the items correlate with different degrees of willingness to innovations, i.e. the embroidery is transformed faster than felt – a) felt b) kurak (a mosaic of patches of tissue) c) embroidery, such products as tush kiiz combine the idea of shirdak (felt carpet), kurak and embroidery. At the same time the products for temporary ornamentation semantically are allocated as follows: the more utilitarian the object is, the more it is innovated and therefore the more the product is ritualized, the more canonical it becomes.

2. ideological transformation is depicted by angular and central spots of the star composition, coat of arms – by national symbol, tamga (ethnic-tribal sign) – by a Islamic six-pointed star, this period of creativity derives mainly from Soviet period, but also demonstrated the power of mental sacralization at the level of family-clan membership, as well as changing the symbols of his power, along with the change of substantial semantic base.

3. regions retain traditionality, although through the development of communications the mental consciousness is being destructed, If civilization penetrates, resulting in a mixed type of ornamental motifs from the center to the periphery. Since according to our hypothesis confirmed by field material, the center of the composition of the item reflects individual «boundary» of the item, and the periphery, in turn, illustrates the objective world-view of the craftsman. Hence the modern ornament compositionally disposes from the personality to the tradition. By types, mechanically it looks as follows:

а. influence of Kalmak and Mongolian motifs, theme associated with the sea and fish, and also a number of Iranian –agrucultural motifs – reflection of the sun, of the flowers – was retraced in the process of study.

4. Branding, reflection – that of birds and deer in dual mirror image which in the product is seen as an integrity of dark and light.

If innovation touched the whole illustrative field of the product, then the ethnic memory is represented stronger in the color scheme of the product.

     The fact that the small forms of the decorative art become more and more popular in today’s world, centralization is taking place, and in large forms – deliberate decentralization, can be another confirmation of our thesis.

Summing up the preliminary analysis of the tush-kiiz, it should be noted that if the product has a ritual meaning, the periphery and borders almost always reflect the cycle time. It is either a path or a calendar symbolism (seasond, month, day, weekdays, days of the month).

The birth of a child (tush kiiz on the north of Kyrgyzstan), then the periphery sacralizes the number 9 (months), 3 times in threes or 12 months (a year initiation).

Color design depends on the habitation space of the ethnic group, on the ratio of the collective and individual consciousness which is reflected from the center towards the peripheries, the size of the product depends on the utilitarian and household characteristics of the ethnic group.

Ala-kiiz (the carpet, much easier in implementation than shirdak) is collective consciousness, but perspective-oriented short-term mood (mainly calendar semantics). Traditionally utilitarian product is designed to perform household functions. Analysis of ornament is as follows: large smooth, detailed – the prevalence of solar symbolism (technique – applique, felt). Semantics: in addition to solar symbolism, there is also the symbolism of an infinity sign often used. That, from our point of view, also reflects the philosophy of a nomad.

Nevertheless, from among the modern products that we have analyzed, The kuraks (patchwork art) are the most topical for us, we believe that it is first of all due to the utilitarian function of the product. «Kurak practically cannot be identified by clans and tribes». We can talk here about the spatial identification – the color, form of the product. Kurak represents the product of a utilitarian destination, although at the present stage kurak is ritualized, especially in southern regions of Kyrgyzstan, primarily in account of sacral feasts.

Reviewing the modern applied art in our country in general, we would like to note that currently:

1) national products become obsolete and in a utilitarian purpose are replaced by unified modern household items.

2) during these processes commercially unique items are really being created in many organizations, but here it makes sense to talk about individual design production rather than about national tradition.

3) the majority of products by their location is accidental (urban factor).

Note: The material collected at the habitat of "practically new ethnic group which have joined the Kyrgyz ethnicity - Kalmaks (19 – 20 centuries)" is of interest. According to the analysis, the ornament is characterized by a deliberately rough detailing of ornament. And by a clear indication of compositional boundaries.

We tried to explain the semantics - the decentralization of ornament, in the spatial-temporal sense - it makes sense to talk about the individual consciousness of the Mongolian nomadic groups here, as well as about deliberate distance undertaken by local residents, even at the household level.  A new - anatomical (mainly the spine and other parts of the skeleton of cattle) typology of ornament reveals during the expedition, this type can explain some elements of the semantics of the ornament on a number traditional objects of art of tribal ethnic groups of Kyrgyzstan. Unfortunately at present, due to advanced communications, it is difficult in a research plan to segment a specific ornament to a particular territory.

The same situation is observed in the central regions of the country. But there is another reason - here we have rather uncontrolled migration flows. In other words, when the Russian-speaking population leave, their houses get filled with locals representing various tribal structures and often disconnected from the material and ritual tradition.

"The most developed applied art is in the foothills of remote areas" (away from the communications). The analysis shows that in these areas applied art is developed overall - especially the weaving (tush-kiiz), shirdak and ala-kiiz.

In the process of analyzing the semantics of the ornament, exactly in remote areas we came to these conclusions: that applied creativity in the minds of the local population is strictly graded into ritual and utilitarian functions.

1. Tush-Kiiz plays the role of a mascot of a particular subject or a couple. In our opinion it is the most sanctified element in applied art. Based on this we can say that tush-kiiz was the individual talisman of a particular individual or a couple and that’s why was often made on the occasion of a birth of a child or a wedding. Therefore, even in traditional tush-kiizs, a certain freedom in arranging the traditional magical characters was permitted for a craftswoman.

2. Sacralization of shirdak is more oriented on the magic rite of household needs. And it requires teamwork and quite laborious in construction of patterns sewn on its surface, and also is typical for a particular tribe or a family. Therefore, this pattern became canonical over time and, losing its own initiating function obtained ritual destination, e.g. a dowry of a modern bride.

3. Ala-kiiz either plays the role of a decorative element or is intended for ritualization of a routine space. But in the historical tradition of tribal groups who valued mobility and ease of luggage – e.g. - hunter, ala-kiiz often substituted for a shirdak which is an initiator of a family. Also of interest is technique “taldyrma” found mainly in the mountainous regions of the republic - which combines technology of shirdak, ala-kiiz and kurak. This technique can serve as a subject for further study.

4. Kurak mainly has both decorative and utilitarian load. In the present craftwork the technique kurak is often used in making of tush-kiiz, and it can have two reasons: a) decorative substitutes ritual. b) the most important component  in the mind of the artisan is the form rather than content (this version must be checked).

The version that by the use of communication channels for the development of regional communities identity is lost in direct proportion is confirmed.

At the same time the craftswoman often portrays her personal perception in the form of a brand or a conventional sign in the angular periphery of an ornamented space. Subsequent form of changes of the product under the influence of communication is an absolute unification of tribal, territorial differences of all the crafts, this stage in most areas of the north of the country, we are now observing.
Changes occur not only in the ritual decorative orientation of items, but also in their utilitarian function. Heading into its use in everyday life, they become an attribute of the main rituals: weddings, funerals, births, etc.

An indirect confirmation of this hypothesis is the fact that in the researched area of the expedition there are practically no handicraft centers for the production of other consumer products of leather, wood, metal, they are not widely used in the ritual, not utilitarian function.

Another interesting fact discussed by us in the expedition is that in the southern region the main ritual function is carried by saima (embroidery in satin stitch or a Bulgarian cross stitch) - while it is actively used in shirdak technology as well as in making of ala-kiiz (which is also a new feature) . Use of stitch is probably related to the proximity of the neighboring agricultural ethnic groups - Uzbeks, Tajiks.

Also new is The fact that, according to the ornamentation, ritual items are ala-kiizs, destination of which is segmented strictly at a live birth – the ornament performing the function of sacralization of fertility is interesting.
On this basis we hypothesize - in the ornamentation magic (fertility, crop, duality), and zoomorphic (Deer, Falcon, Spider-find out why) motifs are represented. Technique kurak is represented (as well as another motivation for the method of balancing the space.)

applied products in traditional communities are represented in a large volume; there are a number of reasons for it.

1. They serve as a means of ethnic identification

2. According to tradition a detailed specification of ornament and composition is taking place.

A similar situation but in a smaller volume is observed at other ethnic groups settled in the territory of Kyrgyzstan.

But the expedition’s study reveals that the tribal groups under the influence of emerging communications are losing their self identification.

The semantics of the ornament, ornament in the north of the republic is practically divided into two types due to the type of management.

1. utilitarian-stock-breeding, i.e. on the center there is an imaging of the cattle; imaging of the birds of prey – either an eagle or a falcon (which acts as a talisman, as well as an additional identifier the group) is located on the periphery, or wedged in the top and bottom of the composition.

2. Utilitarian-hunter’s as we believe is a more ancient type (as is clear from the very name of the tribal clan integrations). Instead of horns of cows (bulls) we see the horns of deer and goats.

Shirdak and ala-kiiz both carry the ritual and the magic function which are often reinforced by images protecting from the evil eye, tumar transformation.

Hypothesis: it is likely that these species represent fertility and prosperity not only of cattle but the family when combined with the calendar and spatial cycle.

Dominant colors: red-black, red-green, blue-red, red-yellow-green.

1. Retain their affection to ritual and utilitarian orientation.

2. Ornament is more ritual an because of it the junction of peripheral (ritual) and central fields. Practically no anthropomorphic motivation. Dominated by dark colors, tush-kiizs are preferred of the products, which despite the overall trend is showing a mixture of styles and shapes from the middle of the twentieth century.

3. On the contrary, the ornament is more realistic, pragmatic: as a consequence anthropomorphic ornaments dominate in the product at the expense of zoomorphic and vegetative ornament. The most numerous products are kiizs and shirdaks. Ritual painting as a tribute to the tradition is acquired by kurak, but in this product the tradition is rather an utilitarian form – of his own plot, slander, etc.

The analysis shows that these products combine ideological and ritual purposes, which in our view is shown through the calendar cycle. Hypothesis: own utilitarian preferences were always closer than the state idea.

1. Shirdaks - a feature of these products in the study region that ritual and reality in the product are combined and used interchangeably.

2. solar symbolism is transformed from the ritual into utilitarian. It accompanies a household-everyday and event ornament.

3. this transformation is what leads to mixing of techniques in the creative production. The consciousness of artisan (in contrast to other regions) can not strictly segment the belonging of the product and its purpose.

An indirect proof of these theses is abstract symbolism of ala-kiizs on which we see a mixture of semantics for the future, for now and descriptive color characteristics. Moreover, all is alternated with solar symbolism.
Tush-kiyizs were embroidered as a talisman and the magic combination of ornament, a wish usually on a live birth. Or on a major desired event. Strongly ornamented. Hypothesis: all this explains the classification as such ideological classification of the wish of the birth of a child in the power, flower duality - a girl, family, etc.

Study of applied products shows that in large settlements the society delegates one or two of its representatives from among the older generation for a short-term performance of a ritual (a dowry, weddins, etc.), which fulfil the function of the creative production, as a result we have a quality, innovation, loss of regional traditionality. Summarizing it the following can be asserted:

1. Tribal identification of floral and zoomorphic ornament.

2. If a representative of some tribe comes to the village dominated by representatives of another tribe, he is more likely to engage in creativity, because is not initiated by the rest of the population and goes to the unifying specialty e.g. to business.

3. Integrations located away from the communications due to their remoteness are more conservative in work and traditional in the final product.

Perhaps we are dealing with the formation of an intermediate option between the artisan and craftsman. "Ritual color of this craftsman appears to be dual, because on the one hand it is a manifestation of the personality of the artist, and on the other - the desire to observe the tradition of the region whose bearer he is not».

The main hypothesis: so that the applied art would develop and survive from generation to generation, the following factors are necessary:

1. Local habitat of one or dominant tribal group

2. remoteness from communications

3. lack outside the territorial markets.

4. the absence of direct assistance of international organizations and donors.

Further localization of applied products, keeping their semantic load in mind, occurs due to the following principles:

1) the spatial correlation of habitat of ethnic group.

2) tribal tradition.

3) and communication channels of the republic (or the violation of both tribal and regional traditions).

In conclusion, it should be noted that this study for the most part merely states the current situation prevailing in contemporary Kyrgyz applied art.