Symbolic Analysis And Classification Of Kyrgyz Patterns And Ornaments

Kyrgyz patterns and ornaments as an object of tangible culture depicts all the features of the existence of the ethnic group. Kyrgyz ornament represents Kyrgyz identity and culture in all its varieties and forms, which was ritualized by embodying the creative identity for the ethnic group and evolving it in the historic space by means of definite ritual elements transformed into a decorative concept. Therefore it is necessary to use symbolic analysis as a method for effective research on the ornaments in the frameworks of semantic dimension of the ornaments. According to reviewed scientific and academic literature, the creators of Tagar culture, i.e. the dinlins and the geguns (the Kyrgyzs) were the bearers of Tashtyk culture. Within the frames of the provisions of this hypothesis, we tried to single out the origins of modern Kyrgyz pattern and ornament, referring to Tashtyk culture that had both culturally historic and ethno genetic ties with the culture of the Kyrgyzs from Enisey. Thus, the subject matter of the present study is ornamental patterns on different kinds of items like: architectural monuments, utensils, needle work products, clothes, ceramic items, etc. However, the most frequently used objects on which patterns and ornaments are often seen or decorated with are: saima and tush kiyiz (needle works, embroidery in satin stitch or a Bulgarian cross stitch), which usually decorate the interior walls of the dwelling: shyrdak (decorated carpet, made of felt); and clothes. Today Kyrgyz patterns and ornaments have acquired the status of a medium communication instrument due to cross-cultural studies. Semiotic influence of ornamental patterns is represented as a means of non-verbal communication in the modern world of globalized fashion and design, which use the elements of these ornamental patterns. It means that any pattern and/or ornament, or its element is not a subject of language barrier. The use of patterns and ornaments in applied art is increasing along with their representation by images and signs which maintain a great variety of meanings. They influence on the subconscious mind rather than on the rational consciousness of a human being. The symbolism of colors found in ornaments is also of a great importance. Therefore providing the knowledge of the specifics of interpretation of various elements of patterns is one of the main goals of this study as the issue of the semantics of Kyrgyz ornamental patterns has remained one of the topical and scantily explored problems in national ethnography. It has a significant scientific value and opens new perspectives to investigate ethno cultural values of the Kyrgyz culture. The perception of semantic structures in Kyrgyz patterns and ornaments is influenced by many components that are involved in them. Many of them represent the nature of the Kyrgyz land, animals, plants and even human activities that carry certain meanings. The principles of coding and/or decoding of these symbols, their ornamental, utilitarian information are generated by differences in the mentality of the ethnos. Thus, symbols reveal the culture-creating nature of patterns and ornaments, because an i

Keywords

Kyrgyz ornaments, symbolic analysis, sign, object, representamen, interpretant, signifier, signified