KIRGIZ MOTİFLERİNİN SEMBOLİK AÇIDAN İNCELENMESİ VE SINIFLANDIRILMASI

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 individual perceives the society or environment through signs and symbols. In order to reveal issues regarding ornament interpretation, we addressed to the semantics of ornamentally-pictorial patterns and ornaments. This contributed to identification of universal, religious and local stratums in the world outlook of the Kyrgyz. The similarities in ornaments of Turkic nations prove that they have the same roots and cultural values that are reflected in different works of applied art. Especially it is worth noting the similarities in depicting the ornaments of zoomorphic origin, representing plants and narrative ornaments in Turkish handicraft. For instance, we can witness the similarity of such Kyrgyz and Turkish ornaments as: koçboyunuzu (ram’s horn), gül küpe (rose earrings), sıçan dişi (rat’s tooth ), üzümlü (grape), kedi izi (cat’s trail), tavuk ayağı (chıcken’s feet) (Nas 2012, 16-25) and as an ornament wıth narrative ability, we can refer to such Turkish compositions as yılanlı bahçe (garden of snakes), kuşlu bahçe (garden of birds), etc. (Nas 2012: 1622-1628). Kyrgyz ornaments, according to their origin, are generally distinguished and classified into four main groups:1. Ornaments of zoomorphic origin: “kochkor müyüz” (ram’s horn), “arkhar müyüz” (wild ram’s horn), “bugu müyüz” (deer’s horn), “it kuyruk” (dog’s tale), “jylan” (a snake), “bürküt” (eagle), “ak kuu” (a swan), “kochkor bashy” (ram’s head), “arkhar bashy” (wild ram’s head), “uy müyüz” (cow’s horn), “too teke” (mountain goat), “kögüçkön” (pigeon), “it üyür” (pack of dogs), “altyn bürküt” (golden eagle), “kyrgool” (pheasant), teke müyüz (goat’s horn), “jolbors” (tiger), “karga tyrmak” (crow’s claws), “chychkan izi” (mouse’s trace), etc.: 2) Ornaments, that represent plants: “anar” (pomegranate), “balatı” (firtree), “joogazin” (tulip), “jüzüm” (grape), “ kyrgak” (cone), “baychechekey” (primrose), “kyrk shak” (name of a plant), etc.: 3) Ornaments, that represent geometric figures and images: circle, rhombus, “kerege köz” (rhombic grid of the yurt), etc.: 4) Ornaments, that represent cosmogonic objects: “aychyk” (the moon), “kün” (the sun), “jyldyz” (a star), “suu” (water), etc. However, in the process of study it was revealed that this classification should contain more sections. Consequently, it was suggested to include two more sections that would contain far more interesting and numerous patterns that are divided into such categories as: 1. Patterns and ornaments, that represent objects and/or items: “komuz tili” (komuz’s runner or “tongue”), “tutkuch” (oven glove), “oimok” (thimble), “kerege” (a round trellis wall of the yurt), “arkan” (lasso), “tarakcha” (comb), “tumar” (amulet), “kishen” (fetter), etc.: 2) Compound ornaments, which represent some action: “A wild ram pasturing on the summer field”, “Let the bird fly into your house’s place of honour” (a wish), “Two villages placed along the both banks of the river”, “People assembling a round trellis wall of the yurt”, “A snake strangling a mountain goat”, “An eagle dispersing pheasants, “Lucky hunting”, “A tiger that has torn two cows in the pasture”, “A man that is put into irons”, etc. Also, we provided the list of some ornaments with their interpretations that have been scientifically researched and decoded from semiotic point of view. On the basis of the sample of the narrative ornament, we revealed that the symbolic analysis of Kyrgyz ornaments and patterns made it possible to interpret the meaning of every element which is a part of the whole, as a sign, object, and interpretant. Also, it contributed to in-depth understanding of the whole story about the life of the Kyrgyz people at a definite period of time in the past and their occupations. Every element that is given next to the picture in the sample is a signifier while the decoded information is a signified object, which at the same time represents a part of the whole. As a result, only in combination of one element with another element(s) and within each other, it is available to understand the represented composition of the ornament through interpretation. As a conclusion, Kyrgyz patterns and ornaments as well as their elements from which they consist of can be the object of research as they carry definite meanings that can be interpreted. Being represented as symbols and signs (representamen), ornaments become signifiers and the meanings they produce are the signified objects or their interpretation. The difference between sign and symbol is, first, symbol is created on basis of linguistic sign (in our situation – ornamental), and second, symbol represents not only the meaning of the form, but also the cultural-communicative aspect.