Architectural ornament dating back to high antiquity is not only an important element of the buildings decor, which takes a significant place in composition of architectural forms, but also it reflects the contemporaries attitude to environment moral aesthetic ideals and art views of society. In architecture the ornamentations peculiarity is contained in decor which must be consonant with the composition of a building. Architectural ornament reproduces the strain of structural details having a loading, and it emphasizes lightness of crowing elements. In the constructions interiors grace, not big dimensions, more detail drawing of patterns are usual for architectural ornament.

  The last 20th century can be characterized as an epoch of successful development of ornament wide-spread in architecture of dwelling and public buildings, in the artists handicrafts of national trades of Central Asian countries. The Kyrgyz ornament, as ornamental motives in neighbouring Central Asian republics (Kazakhstan, Tadjikistan, etc.) was wide used in the constructions decor of the 1930s-50s of the neoclassicisms style. Ornamental patterns decorating facades and interiors of buildings of this period were made in techniques of sgraffito, modeling plaster or concrete and many-coloured paintings. In the 1960s-80s the Kyrgyz architectural ornament was created in techniques of mosaic fulfilled of smalt, ceramic tiles, marble and granite, in techniques of casting of concrete and chasing of metal.

  Vegetable, animalistic and geometrical motives of the Kyrgyz ornament and also the Soviet emblems were spread in architecture of dwelling and public buildings in the 1930s-1980s. A deep interest of the republics prominent architects to the Kyrgyz applied art, their study of scientific works on Central Asian culture, including the Kyrgyz people, furthered the inculcation of national ornament in decor of architectural constructions [6, 7, 8]. Among traditional vegetable patterns, which were used by architects of Kyrgyzstan, different versions of the motif wave with curls (kiyal - fantasy) have the most popularity. This type of decor made often in the technique of modeling of concrete was adopted by architects from the Kyrgyz and Kazakh embroidery. The best examples of the motif kiyal are shown in the portal and facades of International university of Kyrgyzstan (architect E.G. Pisarskoy, 1954), pavilion of aerated waters (architect A.M. Albansky, 1952), the buildings of the Artists Union of Kyrgyzstan and Ayilbank (1950s) and in the monuments pedestal of K. Marx and F. Engels (architect E.G. Pisarskoy, 1975). In the ornamental strips of the buildings facades of International university of Kyrgyzstan wave with curls alternates with rosettes which were not typical for the Kyrgyz embroidery and can be an innovatory interpretation of the Kyrgyz traditional patterns. The motif kiyal used by architects in the facade of the Chemical Institute of the National Academy of Science (1960s) is represented in an original version too. Wave with curls is a part of the composition with the motif chess check framed by repeated circles. This composition was made in the technique of mosaic of ceramic tiles: the motif kiyal was painted by red colour on the dark-blue background; geometrical motives are yellow and brown colours.

  Except wave with curls architects of Kyrgyzstan often used in their projects such vegetable motives as palmettos, half-palmettos, rosettes with narrow petals gul (flower), rosettes with a flower inside toguz dobo (nine low hills), the motives almond (badam) and pomegranate (anar). In this form these types of decor are well-known in embroidery and jewelry art of Kyrgyzes and neighbouring people Kazakhs, Tadjiks and Uzbeks. Different versions of the motif gul decorate the columns capitals of International university of Kyrgyzstan and the Kyrgyz economic university (architect E.G. Pisarskoy, 1957), facades of pavilion of aerated waters, pilasters, lattices and interiors of the Kyrgyz academic theatre of opera and ballet (architect A.I. Laburenko, 1955) and also the buildings portal of town hall in Bishkek (architect P.P. Ivanov, 1957). Palmettos, half-palmettos, rosettes with narrow petals are fulfilled in techniques of modeling of plaster and concrete, chasing of metal and many-coloured paintings. The motif toguz dobo painted by gilding, brown, blue and black colours takes a noticeable place in facades of pavilion of aerated waters. The motives badam and anar fulfilled by dark-blue, red and black paints together with horn patterns form ornamental compositions of the mosaic of the Biotechnological Institute of the NAS.

  The motif wave with curls was used in tombstones and mausoleums of the 17th-19th centuries (koi-tas, sagana-tam) of the peninsula of Mangyshlak in Kazakhstan and was kept in the fragments of the interiors paintings of Jarkinbai Sagynbekov mausoleum (early 20th c.) in the Sokuluk district of Kyrgyzstan [5, p.75,77; 10, p.76]. The same ornamental patterns are typical for facades and interiors of the NAS of Kazakhstan in Almaty (architects A. Tshusev, N. Prostakov, 1948-1953), and also for the buildings of the cultures houses in the Almaty region and Jezkazgan (1950s). Not infrequently narrow-petalled and round rosettes, popular in the buildings decor of Kyrgyzstan of the 1930s-50s, resemble by their contours architectural ornamentation of Tadjikistan of this period: S. Aini theatre of opera and ballet (architects A. Yunger, V. Golli, D. Bilibin, 1939-1946), Firdousi library (architect S. Anisimov, 1950s), Bekhzod National museum of Tadjikistan (architect A. Knopmus, 1955-1956) and the others [1, p.92-93; 3, p.78-79].

  Vegetable motives created under the influence of the Russian architectures ornamentation in the style of classicism are known in architectural decor of public buildings of Kyrgyzstan. We can adduce as an example rosettes modeling of concrete in facades of International university of Kyrgyzstan and the information agency Kabar (1950s).

  The motives of six- and seven-pointed stars shaping compositions with flower and vegetable patterns have peculiar outlines. These motives decorating the facade of the airports building (architect E.G. Pisarskoy, 1956), most probably, were adopted by architects from medieval architectural monuments of Central Asian region. It is known that star motives (girekh) consisting of different polygons with many-beam stars belong to main types of architectural ornament of Uzbekistan and Tadjikistan. Moreover, the motif of six-pointed star dating back to the antiquitys epoch had not only a decorative function. The type of decor, according to the scientists opinion, is the images imitation in an ancient seal. It says in a legend that six-pointed star of two cross triangles embodies the seal of Suleiman, the biblical king Solomon, who is numbered with Islamic prophets. Suleiman was considered the man knowing the Gods supreme name which was engraved in his ring. Suleiman having this ring could give orders to people, beasts, spirits and elements.

   Horn patterns in diverse versions (kochkor muiuz, tort muiuz, teke muiuz), motives in the form of the birds wings (kush kanat), curls with offshoots (karga tyrmak) were favourite motives in animalistic ornament of architectural constructions. Horn patterns adopted from the Kyrgyz and Kazakh felt and napless carpets, patterned mats and embroidery were used constantly in facades and interiors of public and dwelling buildings, in pedestals of monuments of sculpture.

  This types motives were made in techniques of modeling of concrete or plaster, chasing of metal, many-coloured paintings, mosaics of granite, marble and ceramic tiles. The patterns muiuz (horn), karga tyrmak (claws of a raven) and kush kanat (the birds wings) decorate richly the Kyrgyz academic theatre of opera and ballet, the Chemical and Biotechnological Institutes of the NAS, the building of the Artists Union and the agency Kabar, National library of Kyrgyzstan (architects S. Nurgaziev, K. Ibraev and the others, 1984), house of communication in Bishkek (architects A. Isaev, O. Janekov, I. Ishenov, 1985), the Philharmonic Societys building (architect A. Pechenkin and the others, 1980), the Kyrgyz state historical museum (architects V. Anistratov, S. Abyshev and the others, 1984), National university (1938), and many other architectural monuments of the republic.

  Analogous horn motives were cut in tombstones in the form of pillars (kulup-tas; 17-th 19-th c.) of the peninsula of Mangyshlak in Kazakhstan, and also took an important place in decor of a mausoleum (19-th c.) in Lama village of the Jumgal district of Kyrgyzstan [5, p.68-69; 8, p.178]. Moreover, horn patterns decorate facades and interiors of many architectural constructions of modern Kazakhstan, including Abai theatre of opera and ballet and the National Academy of Science [1, p.90,96].

  Such animalistic motif as it kuiruk (a dog tail) like a running wave is little known in architecture of Kyrgyzstan. We can see this pattern in the fountains decor near the Palace of marriage in Bishkek (architects A. Logunov, A. Klishevich, 1986). The motif it kuiruk is fulfilled in the technique of mosaic of white, red and brown pieces of smalt.

  Innovatory animalistic motives are represented by stylized images of the goats white head and a green running goat in the colour mosaic of the Biotechnological Institute of the NAS, and also a decorative image of the deers head in the technique of chasing of metal in the facade of the Philharmonic Society. New animalistic motives create united compositions with traditional horn and vegetable patterns. The goats image was used originally in decoration of the exterior of Kozhomkul Palace of sport too (architects V. Kostin, V. Marukov, 1974). Three pairs of goats reflecting each other as in a mirror form a semicircle, which reminds of a sunrise. The semicircle with animals fulfilled by yellow pieces of smalt has the concrete rosettes fragment near it.

  The schematic face of a girl united with horn and flower ornamental elements is the only example of human image in architectural decor. This motif was included in decorative metallic panels of the portal of the Philharmonic Societys buildings.

  In architecture geometrical motives of the Kyrgyz ornament are not numerous and play a part of secondary elements of ornamental compositions. Among them are circles (aichyk - moon), triangles (tumar - amulet), whirlwind rosettes (kun - sun), zigzags (iyrek) and chess checks (chymyn kanat). These Kyrgyz patterns are shown in the town halls building of Bishkek, the Philharmonic Society, Chemical Institute of the NAS, in the pedestal of a monument of K. Marx and F. Engels and in the fountain near the Palace of marriage. The motives are fulfilled in techniques of modeling of concrete, chasing of metal, many-coloured paintings and are faced with smalt.

  The Soviet emblems decorated facades of public buildings of Kyrgyzstan and neighbouring Central Asian republics in the 1930s-80s. The symbols of the Soviet time the hammer and sickle, five-pointed star, the State insignia of the USSR and the Kirghiz SSR were made usually of concrete and metal or in the technique of many-coloured paintings. In the years of the national independence the Soviet emblems were replaced by concrete images of the Kyrgyz Republics insignia in the greater part of buildings.

  At the end of the 20-th - the early 21-th centuries the Kyrgyz national ornament was comprehended originally in architectural constructions and projects created by representatives of an ethnocultural style in architecture of Kyrgyzstan. It is important for this style to find a new plastic form of ethnocultural objects reflecting aesthetic ideals and oriental ideas of people about harmony and to use the national ornaments semantics in design, architectural and building projects [9, p.25]. Attributes of the traditional objective world, sculptural symbolic and decorative elements of the Kyrgyz culture are present often in architectural ensembles and buildings of the ethnocultural style. The mythical and poetic language of the epos Manas helps the ethnoarchitectures representatives (D. Omuraliev, O. Baygozhoev, S. Amyrkulov, J. Isakov, A. Alseitov. etc.) in their work on architectural projects, ideological and structural basis of objects. The best examples of the new style are the architectural ensembles Manas ayili in Bishkek (architects D. Omuraliev, O. Baygozhoev, 1995) and Manas ordosu in Talas (architect J. Aliev, 1995), and also some mausoleums, projects of commercial centres, dwelling houses and the other constructions.

  The architects working on the project of the ensemble Manas ayili used motives of geometrical forms not only as decorative elements. D. Omuraliev and O. Baygozhoev paid their attention to the geometry of the horizontal picture of the world of nomads. The plan of picture of the world was formed by concentric circles and squares which have symbolic barriers in their crossing [9, p.77]. Animalistic and geometrical motives of the Kyrgyz traditional ornament are spread mainly in the project of separate parts of the ethnocultural ensemble Manas ayili and some other objects.

  In another direction the national ornaments traditions are used in Tadjikistan and Kazakhstan neighbouring with the Kyrgyz Republic [2, 4]. In 2002-2010 in administrative and public buildings of Tadjikistan the House of government, Presidential palace Kokhi Millat, residence of the president, national tea-house, Moscow specialists laid a parquet of the woods valuable kinds. Designers and artists representing the company Amber lock - parquet ("Янтарная прядь - паркет") leaned on rich traditions of the Tadjik ornament, which includes in the main vegetable flower and star motives: gul many-petalled flowers, turundzh reserved rosettes, lolamadohil arrow-headed patterns, etc. For example, rosettes and borders reflecting originality and great variety of the East non-nomadic culture do not dominate, but play a special part in the parquet of the Presidential palace (2008). Such kinds of wood as merbau, oak, nut-tree, maple, silver birch, olive, kempas, yellow tree, wenge, lime-tree and many others were used in the creation of the architectural ornament.

  Astana, the new capital city, where the national ornaments traditions interlace with last achievements of foreign architectural technologies, has a great importance for modern Kazakhstan. The Palace Ak Orda, a residence of the president (2002), embodies these new tendencies best of all. The palace constructed in the style of neoclassicism includes interiors with national peculiarities. Architects used the Kazakh traditional ornament (motives koshkar muyiz , tumarsha , etc.) in the interiors decoration of main and conference halls. The form of a hall on the first floor, the furnitures design and elements of the halls decoration testify that the interior is a synthesis of the Kazakh traditional culture and innovatory methods of modern architecture.

  Thus, vegetable, animalistic and geometrical motives of the Kyrgyz ornament were wide-spread in architectural decor of Kyrgyzstan of the 20-th - the early 21-st centuries. In the years of the national independence an ethnocultural style trying to interpret the national ornaments traditions in a new fashion got the development in architecture of the Kyrgyz Republic. In Tadjikistan and Kazakhstan traditional ornament is used as before as a main element of architectural decor of modern monuments of architecture. At the same time in spite of all characteristic features of Central Asian republics, the countries are united by a constant interest to their ancient cultural legacy and national ornamental art.