Искусство туркменского бахши

THE ART OF TURKMEN BAKHSHY

Murad Gurbanov Senior Lecturer in the Department of Music History at the Turkmen National Conservatory named after Maya Kuliyeva A hundred years ago, the musicologist V. Uspenski, who conducted three musical and ethnographic expeditions to Turkmenistan, noted: “Both in the Turkmen ornament used in the making of carpets and women’s dresses, as well as in the choice of colors for them, and in Turkmen music, one is primarily struck by the unique precision of color and the lack of any expectation of external effect. The music of the Turkmens lacks bravura and might seem monotonous to an untrained ear. However, for those willing to explore it further, it reveals profound depths of emotion and mood. It is no coincidence that it can immerse Turkmens into intense feelings—from deep sadness to joy and ecstasy” [Uspenski (1979), 69]. meşhurlyga eýe bolupdyr. Türkmen halylary Eýranda, Päkistanda, Owganystanda, Özbegistanda we beýleki ýurtlarda ýaşaýan etnik türkmenler tarapyndan hem dokalýar. Türkmen halysy ýurduň esasy miras baýlygydyr, gymmatlygydyr. Bäş welaýatyň haly gölleri, Türkmenistanyň Döwlet baýdagynda we gerbinde şekillendirilendir. Däp bolan usullary gorap saklamak, täze başlangyçlary ösdürmek we senetçileri goldamak üçin eziz Diýarymyzda «Türkmenhaly» döwlet birleşigi döredildi. Türkmenistanda her ýyl sergiler, bäsleşikler we senetçilik ýarmarkalary bilen bilelikde ähli sebitlerden gelen hünärmenleri birleşdirýän baýramçylyk bolan – Türkmen halysynyň güni bellenilýär. 2019-njy ýylda «Türkmenistanda haly dokamagyň milli sungaty» UNESСO-nyň Adamzadyň maddy däl medeni mirasynyň görnükli nusgalarynyň sanawyna girizildi. Bu bolsa türkmenleriň medeni tejribesi hökmünde haly dokamak däpleriniň dünýä ýüzündäki ähmiýetini tassyklady. Dokma senagatynyň ösenligine garamazdan, Türkmenistanda elde haly dokamak sungaty öz ýokary derejedäki ähmiýetini ýitirmedi. Bu hünäriň ussatlyk syrlary saklanylyp, ene-mamalardan maşgalanyň ýaş nesline geçmegini dowam etdirýär. Haly dokmaçylygynyň iň gowy nusgalary ýurduň döwlet muzeýlerinde aýawly saklanylýar. 1994-nji ýylda Aşgabatda döredilen Türkmen halysynyň milli muzeýiniň baý sergi gaznasy bolup, bu muzeý türkmen halylaryny ylmy esasda öwrenmek, wagyz etmek işleri bilen giňden meşgullanýar. Muzeýde Ginnesiň rekordlar kitabyna girizilen dünýädäki iň uly türkmen halysy hem saklanylýar. Türkmen haly dokmaçylygy çuňňur mana eýe bolan özboluşly alamatlar ulgamy bolup, ol türki dünýäsiniň taryhyna, dünýägaraýşyna we sungat medeniýetine düşünmäge mümkinçilik döredýär. Bu gadymy senetçilik, gündelik durmuşda möhüm ähmiýete eýe bolup, gymmatyny saklap, dokmaçylaryň, sungaty öwrenijileriň we döwletiň goldawy netijesinde häzirki zaman şertlerinde ösmegini dowam etdirýär. in 1994 in Ashgabat, boasts an extensive collection and is also involved in research and archival work. The world’s largest Turkmen carpet, recognized by the Guinness Book of Records, is housed in the Carpet Museum. Turkmen carpet weaving is a unique system of symbols imbued with profound meaning, offering insight into the history, worldview, and artistic culture of the Turkic world. Thanks to the efforts of artisans, researchers, and government initiatives, this ancient craft remains a vital part of Turkmens’ daily life, maintaining its value and relevance while evolving in a modern context. (gamyşdan ýasalan ýel saz guraly) ýanynda ýerine ýetirijidir. Epiki žanrlar doly görnüşinde, aýdymlary we kyssa bölekleri bilen dessançy bagşy tarapyndan ýerine ýetirilýär. Geçmişde türkmen taýpalarynyň aýratyn ýaşaýyş şertleri we gündelik durmuşy ruhy medeniýetde yz galdyrdy. Netijede, Türkmenistanda birnäçe bagşyçylyk ýollary, olaryň atlaryndyrylyşynda tire-taýpa häsiýeti agdyklyk edýärdi (Ahal-teke ýoly, Ýomut- göklen ýoly, Salyr-saryk ýoly, Çowdur ýoly). XX asyryň ortalaryndan başlap, stilistik tendensiýalaryň atlary territorial aýratynlyklar bilen kesgitlenip başlandy [Ahmedow (1983), 15]. Häzirki wagtda Türkmenistanda – Ahal ýoly, Daşoguz ýoly, Lebap ýoly, Balkan ýoly we Mary ýoly ýaly bäş sany ýerli bagşyçylyk mekdepleri bar. Her mekdebiň wekilleri öz ugurlary bilen baglanyşykly däp-dessurlara ýokary hormat goýýarlar . Bäsleşikler halk ýerine ýetirijileri üçin adatydyr, bu ýerde bagşylar we sazandalar saz gurallarynda ýerine ýetirijilik başarnyklaryny we improwizasiýa ukyplaryny görkezýärler. Halk sazandalary üçin tomaşaçylaryň goldawy möhümdir. “Bagşy hakyky joşguna ýetýänçä ýerine ýetirijileriň we diňleýjileriň keýpi yzygiderli ýokarlanýar, bagşyny tassyklamalar ýygy-ýygydan eşidilýär, sylag we kanagatlanma hökmünde diňleýjilerden halynyň üstüne pullar seçilip başlaýar...” [Uspenskiý (1979), 43-44]. Gijäniň bir wagtyna tune of the tuyduk (a reed wind instrument). Full epic genres, with songs and prose recitations, are performed by bakhshy- dessanchy. Historically, the Turkmen tribes’ specific living conditions influenced their spiritual culture. Consequently, several local performing schools (bagshychylyk yollary) emerged in Turkmenistan, initially bearing tribal names (akhal-teke yoly, yomut-goklen yoly, salyr-saryk yoly, chuvdur yoly). From the mid-20th century onward, stylistic trends began to be defined territorially [Akhmedov (1983), 15]. Today, there are five regional bakhshy schools in Turkmenistan: Akhal yoly, Dashoguz yoly, Lebap yoly, Balkan yoly, and Mary yoly. Each school’s representatives cherish the traditions associated with their style. Competitions are common for folk performers, where singers and instrumentalists showcase their performing arts and improvisational skills. Audience support plays a crucial role for folk musicians. “The mood of the performers and listeners steadily rises until it reaches true ecstasy; expressions of approval become more frequent, money starts flying onto the carpet on which the bakhshy sit, as a reward and as a sign of appreciation from satisfied and touched spectators...” [Uspenski (1979), 43-44]. Until late at night, the audience listened to songs, legends, and “latest news” — during travels, the bakhshy kept informed of events and acted as informants. In terms of composition, the couplet form is typical for bakhshy’s songs, with the poetic structure of the verse varying from couplet to decameter, where mesnevi, rubai, goshgi (or murapbagh) are primary, and less frequently muhammes (pentameter) and ghazal (couplet). The songs are based on seven-, eight-, and eleven-syllable patterns. “Judging by the songs, the people did not think in isolated sounds, but in distinct intonation complexes, rhythmic cells, chants, turns, phrases, and all these are remembered, transmitted, and applied from memory in the oral folklore tradition. The precise transmission of each sound is not only impossible but also unnecessary in such a context” [Zemsovski (1975), 43]. Türkmenleriň aýdym-saz mirasyny gorap saklamakda we ösdürmekde bagşy- sazandalaryň hyzmaty uludyr. Trkmenistanda bagşyçylyk gadymy we hormatlanýan kärleriň biridir, türkmen toýy bagşysyz doly däl hasaplanýar. Olaryň sungaty däp- dessurlar bilen däl-de, ýatdan aýtmagyň professional sazy bilen baglanyşyklydyr. Aýdymlar köplenç maşgala dabaralarynda we milli baýramçylyklarda ýaňlanyp geldi. Aýdymlary we sazlary eşdip ýatda saklaýan bagşylaryň we sazandalaryň kömegi bilen halk döredijiliginiň epiki mirasy nesilden- nesle geçdi. «Bagşy» sözüniň etimologiýasy başda «mugallym» diýmegi aňladýan sanskrit dilindäki «bikşu» bilen baglanyşykly, soň bolsa ýyl ýazyjy, tebip, porhan düşünjelerini birleşdiripdir. “Käbir türk dillerinde «bagyş» sözi saklanyp galypdyr, bu bir tarapdan «ukyp», «haýyr-sahawat», beýleki tarapdan «bagyşlamak» manylaryny berýär. «Bagyş» sözüne adamy aňlatmak üçin ulanylýan «-çy» söz ýasaýjy goşulmasy goşulsa «bagyşçy» sözi ýasalýar. Aýdym-sazly geçýän «bagyş» (gurban etmek) dessuryny ýerine ýetirijiler türki dilinde «bagyşçy» diýlip atlandyrylan bolmagy, soň bolsa «bagşy» sözüne öwrülen bolmagy mümkin” [Gullyew (2003), 109]. Gadymy adamlar aýdym aýtmak ukybynyň, aýdym-sazdan lezzet alyp, awy üstünlikli we ekinleri hasylly edýän pirleriň (ruhlaryň) islegi bilen adamlara berilýändigine ynanypdyrlar. Ýokardan berilýän ylham bilen döreýän gudratly ukyp şeýle ynamyň galyndylary bilen baglanyşyklydyr. “Ilatyň nazarynda bagşy gudratly güýçlere eýe bolupdyr. Geçmişde türkmenler aýdymçylara we sazandalara adatdan daşary güýçleriň – erenleriň, pirleriň, musulmançylykdan öňki, şamançylyk rowaýatlaryň gahrymanlarynyň howandarlyk edýändiklerine ynanypdyrlar“ [Garryew (1968), 132]. Bagşy düşünjesine instrumentalistler (dutarçy, gyjakçy we tüýdükçi), aýdymçylar (tirmeçi, ýanamaçy) we hekaýatçylar (dessançy) girýärler. Türkmen bagşylarynyň köpüsi tirmeçi, sebäbi dessanlaryň aýdymlaryna hem-de nusgawy şahyrlaryň sözlerine esaslanýan aýdymlary ýerine ýetirýärler. Bagşy ýanamaçy ýitip giden däp-dessurlary göterijilerdir - tüýdügiň The contribution of traditional performers, bakhshy and sazanda, is significant in conserving and developing Turkmen musical heritage. The profession of bakhshy in Turkmenistan is ancient and highly respected; no toy (celebration) can do without a singing bakhshy. Their art belongs to the realm of professional oral music tradition; it is not linked to rituals or ceremonial practices, and their songs are often performed at family gatherings and national celebrations. Thanks to singers and musicians who memorized songs and dessans by ear, folk art creations were transmitted across generations. The origin of the word “bakhshy” is linked to the Sanskrit “bhikkhu,” which initially meant “teacher,” and later encompassed the ideas of chronicler, healer, or shaman. “In some Turkic languages, the term ‘bagysh’ has survived, meaning ‘gift,’ ‘donation,’ or ‘dedication,’ and also ‘forgiveness.’” By adding the suffix “-chy” to “bagysh,” denoting a person, the term “bagyshy” is formed. It is quite plausible that performers of the “bagysh” (“sacrifice”) ritual, using music and singing, were called “bagyshchy” in Turkic, which later evolved into “bakhshy” [Gullyev (2003), 109]. Ancient peoples believed that the gift of singing was granted by spirits, who, pleased with music, granted success in hunting and bountiful crops. The idea of poetic inspiration as a miraculous, prophetic gift, originating from divine influence, was rooted in such beliefs. “Bakhshy” was perceived as possessing miraculous powers by the people. Historically, Turkmens believed that singers and musicians were under the protection of supernatural beings – the “ubiquitous” erens, legendary saints, characters from pre- Islamic, shamanistic legends, and pagan mythology [Karryev (1968), 132]. The concept of bakhshy covers instrumentalists (dutarchy, gijakchy, and tuidukchi), singers (tirmechi, yanamachy), and storytellers (dessanchy). Most Turkmen bakhshy are tirmechy, performing songs based on classical poets’ words, as well as individual songs from dessans. The bakhshy yanamachy are carriers of a tradition that has been waning recently – singing to the mugallymyň ýanynda bolupdyr: öýünde ýaşapdyr, çykyşlarda we gezelençlerde ýoldaş bolupdyr. Türkmenlerde: «Şägirt halypadan ozmasa, kär ýiter» diýilýär. Bu paýhasly halk sözleri terbiýeçiligiň çuň manysyny öz içine alýar. Talyp, ak pata bermezden ozal isleýänleriň hemmesiniň okuwçynyň kämillik derejesini barlamagy üçin ýaşululary çagyrdy. Ýaşulularyň razylygyndan soň halypa ak pata berdi, şondan soň ýaş sazanda garaşsyz ýola çykdy [Berdimuhamedow (2015), 238]. Halypa-şägirtlik däpleri ajaýyp janlylygy bilen tapawutlanýar. Halk aýdymçylary we sazandalary elmydama halypalardan diňe bir aýdymyň we gurallaryň ýerine ýetirilişiniň ýatdan çykmajak mysallaryny däl-de, eýsem milli däp-dessurlary gorap saklamak we abraýly wezipe - däp-dessurlaryň goragçysy bolmak, başarnyklary ýerine ýetirmegiň syrlaryny geljekki nesillere bermek, halkyň iň baý ruhy we medeni mirasyny wagyz etmekligi hem öwrenýärdiler. Bularyň hemmesi türkmenleriň däp-dessurlaryny terbiýelemegiň köp asyrlyk tejribesiniň döremegine esas bolup hyzmat etdi. Häzirki döwürde Türkmenistanda bagşynyň köp sanly saz žanrlaryny, stillerini we ýerine ýetiriş mekdeplerini öwrenmek üçin giň gerimli işler alnyp barylýar. Alymlar, sungaty öwrenijiler we halk sazandalary türkmenleriň aýdym-saz mirasyny öwrenmek, gorap saklamak we wagyz etmek üçin köp işler edýärler. of song and instrumental performance but also a profound sense of responsibility for safeguarding national traditions. They serve as custodians of cultural heritage, passing on the secrets of their craft to future generations and promoting the rich spiritual and cultural legacy of the people. This formed the foundation for the centuries-old practice of mentoring within Turkmen culture. Today, Turkmenistan actively researches many musical genres, stylistic trends, and performing schools of bakhshy. Artists, researchers, and folk musicians are engaged in extensive efforts to study, preserve, and promote Turkmen musical heritage. çenli ýygnananlar aýdymlary, rowaýatlary we «iň soňky habarlary» diňleýärdiler. Kompozisiýa taýdan türkmen bagşylarynyň aýdymlary üçin bent formasy mahsusdyr; goşgynyň düzüminde iki setirli gurluşlardan on setirli gurluşlara çenli duş gelmek bolýar. Bu ýerde esasan mesnewi, rubaýy, murapbag, şeýle-de az ulanylýan muhammas we gazal gurluşlary hem bar. Aýdymlar ýedi, sekiz we on bir bogunly ölçeglere esaslanýar. “Aýdymlara seretseň, adamlar aýratyn seslerde däl-de, aýry intonasiýa toplumlarynda, ritmiki öýjüklerde, öwrümlerde, sözlemlerde pikirlenipdirler we bu toplumlaryň hemmesi ýatda saklanýar, halk döredijiligi-de ýatda saklanýar we diňe dilden aýdylýar. Her sesiň şeýle kontekstde ýaýramagynyň takyklygy diňe mümkin däl, hökmany däl” [Zemsowskiý (1975), 43]. Türkmen bagşylarynyň aýdymlarynyň häsiýetli aýratynlygy, ösüş tebigatynyň giňeldilen sesli goşundylarydyr. Alym Ş. Gülýewiň pikirine görä, göwrümine garamazdan, şeýle wokal-instrumental gurluşlar forma goşmaça hasap edilmelidir, sebäbi olarda tekst hökmünde goşgynyň setirleri däl-de, eýsem dürli tekstler, esasy tekstden aýry sözler we söz düzümleri, şeýle hem «juk-juk» we «hümlemek» ýaly adaty ses usullary ulanylýar. Leksiki manysy bolmadyk sözlere gurlan aýdym böleklerine «aleksiki aýdym bölekleri» diýilýär [Baigaskina (1991), 128]. A. Zataýewiç olarda “...sesleri owadanlygy bilen gulagy begendirmek” [Zataevich (1925), 14] ýaly aýdymçynyň ses ukyplaryny görýär. Däp-dessuryň umumy köklerini görkezýän köp sanly türk dilli medeniýetlerde şuňa meňzeş leksik däl sözler bar. Her ýerine ýetiriş ugruna mahsus ýerine ýetiriş usuly, türkmen bagşa stilistik dürlüligi berýär, däbi asyl reňkler bilen baýlaşdyrýar. Nätanyş bagşyny diňläniňizde, haýsy mekdebe ýa-da ýerine ýetiriş ugruna degişlidigini ýalňyş kesgitläp bilersiňiz. Türkmen bagşy sungatynyň kesgitleýji ýörelgesi dilden yzygiderlilikdir. Estetiki duýgy üçin döredilen halk sazandalarynyň sungaty köp ýyllap hünär taýýarlygyny talap edýär. Geçmişde bagşy diýlip atlandyrylmak hukugyny gazanmak üçin her bir sazanda (şägirt) sylanylýan halypa hakyna tutulypdyr we uzak wagtlap okuw dowam edip, A distinctive feature of Turkmen bakhshy’s songs is the detailed vocalized additions of a developmental nature. According to researcher Sh. Gullyev, despite their scale, such vocal and instrumental improvisations should be regarded as supplements to the form, since they do not use the poem’s stanzas as text, but incorporate various exclamations, individual words, and phrases from the main text, along with traditional vocal techniques “juk-juk” and “humlemek”. Choruses based on words lacking lexical meaning are known as “alexic choruses” [Baigaskina (1991), 128]. A. Zataevich views these as a means to “...please the ear with the beauty of consonance” [Zataevich (1925), 14], demonstrating the singer’s vocal skill detached from the poetic content. Similar non-lexical choruses are found across many Turkic cultures, illustrating the shared roots of this tradition. The performance style, specific to each genre, gives Turkmen bakhshy art its stylistic variety, enriching the tradition with unique nuances. When listening to an unfamiliar singer, one can accurately identify the school or performing tradition they belong to. The fundamental principle of Turkmen bakhshy art is oral transmission. Folk musicians’ art is rooted in aesthetic perception and demands many years of professional training. Historically, to earn the title of bakhshy, every musician (shagirt) was apprenticed to an esteemed mentor (halypa), with whom they remained for a lengthy period during their training: living in the mentor’s home, accompanying them in performances and travels. A Turkmen proverb states, “If a student does not surpass their mentor, the craft will vanish.” This insightful saying encapsulates the essence of mentoring. Before blessing the apprentice, the mentor would call elders to confirm the student’s maturity. With elders’ approval, the mentor would give their blessing, and the young musician would then proceed independently [Berdimuhamedov (2015), 238]. Mentoring traditions have proven remarkably resilient. Throughout history, folk singers and musicians have adopted from their mentors not only timeless patterns salan pursatlarynda hem bedewinden elini üzen däldir. Ol, gaýtam, özi heläk bolsa-da, bedewini halas edendir” [Berdimuhamedow (2019), 15]. Ahalteke aty dünýädäki iň gadymy medeni tohumlaryň biridir. Onuň döreýiş taryhy müňýyllyklary öz içine alýar we ähmiýeti taýyndan adaty atçylykdan has ýokarydyr. “Miladydan öňki 1500-1250-nji ýyllarda Gündogar ýurtlarynyň arasynda has şöhratlanan gadymy Goňurdepede arheologiýa barlagyny geçirenlerinde hem, täsin tapyndylaryň üstünden barýarlar. Ahalteke bedewiniň kümüş heýkeli, ykjam eýerlengi atyň daş heýkeli, ýokarsy atyň nalynyň keşbinde tamamlanýan hasa diňe bir atyň ynsan durmuşyna kemsiz ornandygyny aňlatman, eýsem, sungatyň şol döwürlerde ýokary derejede ösendigine hem şaýatlyk edýär” [Berdimuhamedow (2016), 10]. Bu gadymy tohum atlaryň ewolýusiýasyny alymlaryň arheologiki gözleglerinde tapylan tapyndylarda aýdyň görmek bolýar. Gadymy döwürlerde Kopetdagyň demirgazyk eňňidindäki türkmen düzlükleri Parfiýa atlylaryny meşhur eden tohum atlary köpeltmek üçin esasy ýer hasaplanypdyr. Hut şu ýerde syrdam syratly we çalt ýöreýän, uzak aralyga ylgap bilýän, çydamly, rimlileri haýran galdyran atlar ösdürilip ýetişdirilipdir. Atlar Sasanidleriň atly goşun hereketlerine gatnaşyp, duşmanlarda gorky döredipdir. Gadymy çeşmelerde ahalteke atlaryna meňzeýän atlara salgylanmalar hem duşýar. Gresiýaly taryhçy Gerodot Merkezi Aziýanyň sebitlerinde ýaşaýan çarwa halklarynyň massagetleriň metal ýaly ýalpyldawuk atlary hakda ýazgy galdyrypdyr. B. e. öňki V-IV asyrlarda pars şalary adatdan daşary çydamlylygy bilen tapawutlanýan “Nusaý atlaryny” harby ýörişlerde ulanypdyrlar. Häzirki döwürde alymlar, taryhçylar we zoologlar bu düşündirişleriň ahalteke tohumynyň ata-babalaryna degişlidigi bilen ylalaşýarlar. Beýik Ýüpek ýoly döwründe Hytaýda, arap we pars dünýäsinde türkmen atlaryna uly isleg bildirilipdir. Hytaýda gözelligi, örän üşükliligi, häsiýetliligi we çydamlylygy üçin olary “jennet atlary” diýip atlandyrypdyrlar. Türkmenler ahalteke bedewlerini harby işde, diplomatiýada we medeni-güýmenje maksatlarynda ulanypdyrlar. Tohumyň with a history spanning over a millennium, and its significance extends far beyond mere horse breeding. “Even in difficult times, the Turkmen people did not forsake their horses. When faced with hunger and disasters, the Turkmen person never parted with his horse; he never even considered ending its life. On the contrary, he was willing to die himself but would save his horse” [Berdimuhamedov (2019), 15]. Scientists have traced the evolution of this ancient breed through archaeological research. The earliest depictions of horses within Turkmenistan are found in the collection of terracotta figurines from Kara Depe (a site of the Anau culture dating to the 4th millennium BC), where a figurine with a magnificent tail and mane was discovered. Terracotta models of chariots from the VI–II millennia BC (the period when wild horses were domesticated and began being used for economic, military, and other purposes) have been excavated in southern Turkmenistan at sites such as Namazga-depe, Altyn-depe, and Gonur- depe. Among these are models of wagons with spokes, into which ancestors of the modern Akhal-Teke horses were harnessed during celebrations. Pottery from the XI– XII centuries depicting two horse heads, found at the Soltangala monument in Merv, a Bronze Age horse statue from Gonur- depe excavations, and a set of wind musical instruments used in horse breeding – all are of great importance in studying the history of Turkmen equestrian art [Berdimuhamedov (2016), 10-11]. In ancient times, the plains along the northern slope of the Kopetdag were regarded as the main breeding area for thoroughbred horses, celebrated members of the Parthian cavalry. It was here that majestic, fast-galloping horses capable of covering great distances were raised – horses that astounded the Romans. These horses accompanied the Sassanid armies in cavalry maneuvers, striking fear into enemies. Ancient sources mention horses resembling the Akhal-Teke. Herodotus wrote about the metallic-shiny horses of the Massagetes, a nomadic people of Central Asia. In the V–IV centuries BC, Persian kings

AHALTEKE ATLARY

Hojanazarowa Ogultäç filologiýa ylymlarynyň kandidaty, Türkmenistanyň Medeniýet ministrliginiň Maddy däl medeni miras müdirliginiň başlygynyň orunbasary Nobatowa Güljan Türkmenistanyň Medeniýet ministrliginiň Maddy däl medeni miras müdirliginiň hünärmeni Ahalteke atlary diňe bir türkmenleriň milli guwanjy bolmak bilen çäklenmän, eýsem sähranyň hereket, tizlik we ruhy güýjüne eýe bolan siwilizasiýanyň döremeginde türki halklarynyň täsirine şaýatlyk edýän türki dünýäsiniň medeni mirasynyň möhüm bölegi bolup durýar. “Türkmenler ýaşaýyş- durmuşyny, tutuş milletini taryhyň synaga