Ancient nomadic arts
The remaining works of the ancient nomadic peoples are true archaeological treasures, since they rarely built durable or fixed pieces because of their way of life. Those that have survived over the centuries are therefore a precious testimony to these vanished cultures. There are several sites in Kyrgyzstan that provide insight into the past of the peoples of Central Asia. Funerary complexes, stone engravings, epigraphs dating from antiquity to the 18th century punctuate the country. Often set in beautiful landscapes, these works of art from the past are worth a visit.
A certain type of ancient sculptures, called Balbals (or Kurgan steles), are particularly worth a visit. These are funerary stelae made from the 6th century AD onwards, of which an impressive collection can be found near the Burana Minaret in the Chu'i Valley. Their name is thought to come from the Turkish 'Balbal', meaning father or ancestor, or from the Mongolian 'barimal' meaning hand-carved statue. Of varying sizes (from 50 cm to 4 m), they are characterized by an anthropomorphic appearance, representing a figure often carrying a bowl in its hands. They are usually located on the plains, oriented, according to shamanic tradition, towards the east, where the sun rises. These impenetrable figures are particularly striking in their original environment. But if you lack time to visit these sites, you can also admire them in the Bishkek Historical Museum, which brings together statues from different periods, giving a varied insight into this tradition.Religious art, straddling different traditions
Painting in Central Asia has been strongly influenced by the different religions that have dominated the region throughout history. From the 2nd century onwards, pictorial representations had Buddhism as their main theme. But these images of Buddha are different from the better known ones from East Asia; they are a stylistic mixture of Greek and Oriental art, as shown by the rare Parthian relics or those inherited from the Kushan Empire.
With the arrival of Islam, figurative paintings disappeared in favour of floral or geometric motifs, as the Muslim religion forbade the reproduction of human figures. The decorative panels that adorn the walls and storage niches represent vases with convoluted shapes, decorated with harmonious and sometimes immense bouquets of irises or roses symbolizing the tree of life. The ceilings of the mosques, covered with a complex assemblage of formwork and painted wooden beams, are decorated with vegetal motifs and inscriptions from the Qur'an.
With the collapse of the Soviet Union, the number of Muslims increased considerably in Kyrgyzstan, and thanks to international funding, the 40 mosques that existed in the country in 1990 have multiplied to more than 2,600. Of course, this is accompanied by architectural efforts and gives a heritage with varied influences. Not to be missed: the motifs that cover the façade of the Azreti Ali Mosque, built in 1995 in Naryn, are inspired by the traditional designs of nomadic peoples. In a completely different aesthetic, one can also admire the impressive decorations of the Al-Sarakhsi mega-mosque, the largest in Central Asia, inspired by Turkish art and particularly the Kocatepe mosque in Ankara.Soviet realism
With the arrival of the Soviets, traditional forms of painting were banned, and many works of art were damaged or destroyed. Painters are introduced to figurative art, which until then had been limited by Islam. But they also had to submit to the themes imposed by Moscow: this was the era of socialist realism. Paintings are now done on canvas, and are devoted to representations of daily life and industrial development. National specificities tend to fade in favour of a common glorification of work. Most of the fine arts museums in the region are devoted to paintings from the Soviet period.
The most representative artist of this period is undoubtedly Semyon Chuikov. Born in 1902 in Bishkek and died in 1980, he is considered the father of Kyrgyz art and succeeded in developing a personal style without departing from the canons of Soviet realism. He is also the founder of the Museum of Fine Arts in the capital, where several of his paintings can be found. One of his most emblematic paintings is The Girl from Soviet Kyrgyzstan (1948), which depicts a schoolgirl on her way, looking determined, holding books and notebooks under her arm. Allegory of a glorious future based on knowledge and independence, she highlights the progress at work in the most remote countryside of the USSR. You may come across this image, often reproduced in school textbooks or on Kyrgyzstan's postage stamps, but the original is unfortunately in Moscow. An interesting anecdote, a street art fresco reproducing this national figure was painted on the façade of a school in Bishkek. The only difference, intended to show the victory of capitalism over communism in Kyrgyzstan: the girl's books and notebooks have been replaced by an iPad.A contemporary art in development
Since independence, few artists have been able to devote themselves to painting or other mediums. Economic and social imperatives are now far removed from cultural production. Nevertheless, the works produced since independence explore new avenues, expressing committed points of view whenever possible. Nevertheless, artists are coming up against government conservatism, as illustrated by the case of the Feminnale, a biennial event for contemporary women's art that caused a scandal in 2019 and whose organizer, the director of the Museum of Fine Arts, had to resign.
. Like the other arts, photography developed only late in Kyrgyzstan, initially limited to journalistic, administrative and documentary purposes. Today, new generations are capturing their country from a variety of angles, highlighting its magnificent landscapes or exploring its political and social history through the ruins of the Soviet Union. One of the representative artists of this revival is Bolot Isabekov, who paints a critical and nostalgic portrait of a population marked by misery and brutal changes, in desolate landscapes.Street art in Kyrgyzstan since the Soviet era
Mural art did not wait for graffiti to express itself in Kyrgyzstan: already in Soviet times, the country's facades have many monumental frescoes and mosaics. Bishkek and Osh (the country's second largest city), for example, offer passers-by several grandiose public works that have hardly moved since the fall of the block. They depict communist symbols, popular scenes, characters at work, promote the 1980 Moscow Olympic Games or praise Aeroflot (the Russian national airline). Some are true masterpieces, hence the fact that the government has kept them. They also provide an understanding of the country's history. However, those with communist slogans or portraits of former leaders have been altered to be in line with the ideals of the new regime. To find them, a map references those of Osh (www.timetravelturtle.com/street-art-osh-kyrgyzstan). In the capital, the Bishkek Walks company organizes a specialized tour. Beyond frescoes, the USSR has left behind a significant public art, including statues and fountains, such as the "Sunny Fish Fountain" created by Russian designer Vladimir Krugman in 1982, when Soviet aesthetic standards were slightly relaxed. This delirious and colourful mosaic work has something of Gaudi or Niki de Saint Phalle. A touch of joy in winter and a haven of coolness in summer!
Of course, the younger generation is now indulging in a more modern and critical urban art. The monumentality is the same, but the intention is the opposite of that conveyed by the communist frescoes. The Doxa collective, made up of Sergei Keller and Dmitri Petrovski and based in Bishkek, plays a major role in the development of this provocative, free and colourful art, and tries to get it accepted. Which works, since they have signed several works subsidized by the municipality! The duo is even beginning to gain international recognition: in 2015, for example, they responded to a commission in Switzerland for a concert hall in Lausanne. For them, street art is a way of giving access to art to people who are not necessarily confronted with it on a daily basis. Their images are sometimes challenging, sometimes engaging, sometimes praising nomadic peoples. These ephemeral works, adapted to their environment, fit perfectly into the culture of nomadism!
