I was standing in front of the element, frozen in swirling surroundings. The air, the sky and the earth were moving quickly. I was focused only on two approaching points, they were facing me rapidly. From the distance two shapeless forms become to be horse riders in chase, in the middle of grass meadows, where I was standing. Colorful uniform of the fiancée was floating in the rush, fox tail of the fur hat was following, the details become more clear. Horse in hurry with wide open snorkels and muzzle, gleam in the eye – animal pretended to be frighten passing me as a thunder. Suddenly, second rider on the horse appeared, I felt like I was in the tunnel, surrounded and stacked. It was only a glimpse, but sudden impact retained the time.

Wild crisped flume is opening the entrance to the canyon. Red rocks within fanciful shapes, bright blue sky and muggy preheated air – the landscape is floating on the horizon. The small kid is riding scrawny nag, with an crop forcing it to go up to the dried creek. Bevy of sheep’s slavish following the boy.

Work and rest in the horse saddle. Nomadic roots of Kirgiz people are reflected in the local traditions, culture and the way of living. The horse and the rider become an symbol, it has own place in the culture – within ancient pictograms, murals, paintings and patterns.

I am passing park gallery in the downtown, sunday’s paintings for middle class are hanged high in the passage – horses in rush, still life, mountains and landscapes. Nothing particular, indeed. Even though, there is one painting – the Rider and the Horse, art naïf composition, which is pure definition of Kirgiz cultural code. Bright colours, folk contexts of warrior in expressive pose of an archer on the horse, mountains and yurt as a background. The 100th anniversary exhibition of Kirgiz graphic artist birth – Lidia Ilyina Alexandrovna takes place in Gapar Aitiev’s Museum of Fine Arts in Bishkek. Artist whose work was always close to the Kirgiz people and their traditions. The exhibition consists of set of lithographic sheets from variety of collections, including major series such as ‘Word of Kyrgyz women’, and ‘Holiday on the farm’. Expressions of rural life are illustrated in ‘based on the story of Chingiz Aitmatov’, as a kaleidoscope view for the mosaic of folk ceremonies, traditions and daily activities. This particular series might be seen as the Horse Festival within its respective parts and national games. The artist puts the rider and the horse on the pedestal, as a significant elements of the composition within its prevalence and dissociation… Turing to the hall with hand-craft art, there are discernible appliqués in floral and national patterns and consecutive sort consists of the horse and the rider patters on the compacted wool tapestries. They are interweaved with the folk craft, dancing around the yurt.

Locals are piling over the yurt, there are trying to organize a pair of horses for foreigners. Again on the roam in the Tien-Shan mountains –young, at most eight years old jockey is guiding to the waterfall via narrow patch on the hill’s slope. The horses are climbing higher and higher, the jockey is pushing nag to impose for more effort. A huddle of kids is surrounding an six old rider on a horse who is passing us in hurry to approach the waterfall very first. They were born in horse saddle…

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