Туркменское ковроткачество

TURKMEN CARPET WEAVING

Khojanazarova Ogultach is a Candidate of Philological Sciences and serves as the Deputy Head of the Department of Intangible Cultural Heritage at the Ministry of Culture of Turkmenistan Guljan Nobatova is an employee of the Department of Intangible Cultural Heritage at the Ministry of Culture of Turkmenistan A form of people’s chronicle is reflected in the carpet ornament. Both song and folk pattern were constant companions throughout the nomads’ lives. “The carpets, which can astonish anyone with their beauty, delicacy, and vibrant colors, are an inspiration of our people’s soul” [Berdimuhamedov (2016), 15]. The ornament quietly testifies to belent ýaňlanýar. Tomaşaçylaryň düzümine görä, dessançy aýdýan eseriniň sýužetini ýaýbaňlandyrýar, (ýaş we ýaşuly diňleýjilere niýetlenen hekaýatlar tapawutlanýar), dessanlaryň göwrümini üýtgedýär we täze aýdymlary goşýar [Gurbanowa (2000), 117]. Dessan başlanmazdan ozal tirme aýdymlar ýerine ýetirilýär, bu däp hem köp halklaryň ýerine ýetirijilik tejribesine mahsusdyr. Munuň ýaly sýužet bilen baglanyşykly bolmadyk girişde dessançy öz sesini türgenleşdirýär we diňleýjileriň ünsüni özüne çekýär. Dessançy bagşy öz çykyşyny pes düzgünden başlap, ýokary emosional derejesine çenli ýetirýär, bu alamat bolsa türkmen epik sungatynda saz dramaturgiýasynyň kadalarynyň ulanylýandygyny ýüze çykarýar [Gurbanow (2023), 305]. Dessançy bagşylaryň repertuary, olaryň ýerine ýetirijilik stili we usullary, şeýle hem aýdymlarda ulanylýan heň-temalary ýerli bagşyçylyk mekdeplerini tapawutlandyrýan aýratynlyklardyr. Daşoguz ýolunda esasan «Görogly» we «Gorkut ata» eposlary, «Nejep oglan», «Şasenem – Garyp», «Baba Röwşen», «Hüýrlukga – Hemra» ýaly halk dessanlary ýörgünli bolsa, Mary ýolunyň repertuarynda esasy orny gahrymançylykly we dini- filosofik häsiýetli dessanlar («Ýusup-Ahmet», «Muhammet Hanapyýa», «Edhem diwana», «Zeýnelarap», «Hatam taý», «Ymam Hasan we Ymam Hüseýin», «Gülpam»), şeýle hem aýdym-sazly rowaýatlar tutýar («Daraýy donly», «Jeren böküşi», «Uzuklar», «Saltyklar», «Goç egren» we başgalar). Her bir dessançy özüne mahsus stilini hem-de öz ýolunyň halypalardan dowam edip gelýän ýerine ýetirijilik däplerini ýüze çykarýar. Asyrlardan-asyrlara dowam edip gelýän türkmenleriň dessançylyk sungaty kämilleşdirilip ösdürilýär. Medeni gatnaşyklar esasynda dörän däp-dessurlar türki halklarynyň arasynda umumy, bütewi mirasyň döremegine getirdi. Medeniýetiň aýrylmaz bölegi bolan türkmen dessançy bagşylarymyzyň sungaty şu günlerde-de özüniň çeper-estetiki wezipelerini ýitirmän, diňleýjilere ruhy lezzet berýär. the opportunity to warm up the voice and attract the listeners’ attention. A dessanchy’s performance is based on the principle of emotional growth and follows the laws of musical drama [Kurbanov (2023), 305]. The repertoire, style, and methods of performance of epic storytellers, as well as the set of melodies they use in songs, are distinctive features of the local bakhshy schools. The central place in the repertoire of the Dashoguz school is occupied by chapters of the epic cycles «Gyorogly» and «Gorkut ata», and by folk dessans («Nejep oglan», «Shasenem and Garyp», «Baba Rovshen», «Hurlukga and Khemra»). Dessans of a heroic and religious-philosophical nature («Yusup and Akhmet», «Mukhammet Khanapiya», «Edhem Divana», «Zeynelarap», «Khatam Tai», «Imam Hassan and Imam Husseyin», «Gulpam»), as well as legends with music («Darayy donly», «Jeren bokushi», «Uzuklar», «Saltyklar», «Goch egren»), are particularly popular in Mary. The style of each dessanchy is individual and, at the same time, closely connected with the performing traditions of his school. Over the centuries, Turkmen storytellers have continually refined their skills. Cultural contacts have produced a symbiosis of traditions, allowing us to speak of the common heritage of the Turkic peoples. As an integral part of culture, the art of bakhshy- dessanchy fulfills an important artistic and aesthetic mission, bringing pleasure to its listeners. gaýtadan işlemegi we nagyşly matalary dokamagy başarypdyrlar. Has irki orta asyrlarda halylar Merkezi Aziýada mesgen tutan türki dilli taýpalaryň köpüsi üçin gündelik durmuşyň häsiýetli elementine öwrülipdir. Türkmenleriň arasynda haly dokamak sungaty durnukly sebit mekdepleri hökmündäki özbaşdak çeperçilik ulgamynyň medeni aýratynlyklarynyň aýrylmaz bölegine öwrüldi. Bu ugurda teke, ýomut, ärsary, saryk, salyr, çowdur ýaly her bir türkmen taýpasynyň öz stilistik kadalary emele geldi. Tapawutlar diňe bir haly bezeginde däl, eýsem reňk öwüşgüninde, çitim usulynda, önümleriň ölçeginde we ulanylyş maksadynda-da ýüze çykypdyr. Şeýlelik bilen, teke halylary çitiminiň dykyzlygy we gyzyl reňkleriň agdyklyk etmegi, ýomut halylary ajaýyp geometrik şekili we goýy gyzyl reňkleri, saryk halylary kompozisiýanyň baýlygy we uly gölleri (merkezi çarçuwa) bilen tapawutlandy. Bezegler köplenç urug alamatlary bolan tagmalar bilen baglanyşykly bolup, ol her önüme etnik degişlilik häsiýetini beripdir. Türkmen haly nagyşlarynyň elementlerini b.e. öňki IV-III müňýyllyklaryň başynda dörän we Göksüýri keramikasy diýlip atlandyrylýan Günorta Türkmenistanyň gadymy toýun küýzeleriniň nagyşlaryndan hem tapyp bilersiňiz. Olarda geometrik nagyşlar agdyklyk edip - basgançakly piramidalaryň, egremli çyzyklaryň we atanaklaryň, esasan salyr taýpasynyň nagyşlaryna meňzeýänligi bellenilýär. Türkmen halylarynyň çeper-bezeg nagyşlarynda gadymy ýerli keramikanyň nagyşlary bilen meňzeşligi görmek bolýar we şol bir wagtyň özünde olar pars we kawkaz halylaryndan tapawutlanýar. “Türkmen gölli halylarynyň dykyz, açyk gyzyl reňkli fonlary bar. Gadymy Günorta türkmen gap-gaçlary hem gyzyl fon bilen örtülendir” [Sarianidi (1967), 84]. Halyny ýüwürtmek örän hysyrdyly iş. Ilki bilen goýun ýüňi arassalanýar, saýylýar, daralýar, egrilýär, bükdürilýär. Bu işler maşgala agzalarynyň gatnaşmagynda agzybirlikde ýerine ýetirilýär. Haly sähetli güni ýüwürdilýär. Halyny ýüwürdýän halyçylara “Işiňiz ileri bolsun” diýip, şowlulyk arzuw edilýär, olar hem “Ýaşyňyz uzyn bolsun” diýip, jogap berýärler. Haly gurnamasy established regional schools and became a core element of cultural identity. Each Turkmen tribe – Teke, Yomud, Ersary, Saryk, Salyr, and Chuvdur – has its own stylistic standards. Differences are evident not only in ornamentation but also in color schemes, knotting techniques, size, and functional uses. Teke carpets are recognized for their dense pile and predominant red shades, while Yomud carpets are distinguished by elegant geometric patterns and brown hues. Saryk carpets feature a strict composition with large gels (medallions). Often, ornaments are linked to tribal symbols – tamga – adding an ethnic character to each piece. Elements of Turkmen carpet ornamentation can be found on ancient pottery from Southern Turkmenistan, dating back to the fourth and third millennia BC, known as Geksyuri style ceramics (Göksüýri is an ancient agricultural settlement from the fourth millennium BC in the old Tejen River delta). Geometric patterns – such as step pyramids, zigzags, and crosses – are remarkably similar to the motifs in Turkmen carpets, especially those of the Salyr tribe. Turkmen carpets display notable similarity to ancient local ceramics but differ from Persian and Caucasian carpets. “Turkmen carpets have a thick, bright red background decorated with ornaments. The same characteristic is visible in ancient South Turkmen dishes, which also feature a red background” [Sarianidi (1967), 84]. Creating a carpet is a meticulous process. Initially, sheep wool is sheared, then cleaned, combed, dyed, and spun—all tasks performed by the entire family. Carpets are woven on specific auspicious days (syakhetli gyun), with hopes for good luck, to which weavers respond with gratitude. The loom can be arranged horizontally or vertically. Small looms accommodate one or two weavers, while larger carpets involve many women. Our ancestors took great care to preserve the art of carpet weaving, ensuring its transmission across generations. Elder women involved young people in all stages of the craft, enabling Turkmen girls to learn the secrets and techniques of creating carpets. Carpets served various functions. Beyond floor coverings, wall hangings and decorative haýran goýýan halylar halkymyzyň ruhy ahwalydyr” [Berdimuhamedow (2016), 11]. Onuň göl-nagyşlarynyň mazmuny, durmuşa, umuman, dünýä paýhasly garamagy öwrenmäge mümkinçilik döredýär. Türkmen halysy halk medeniýetinde möhüm orny eýeleýär. Onuň ähmiýeti amaly-haşam sungatyndan has ýokary bolup, nagyşlar halkyň ruhy dünýäsini, çarwa durmuşynyň aýratynlyklaryny we türkmen taýpalarynyň gurluşyny, şeýle hem müňlerçe ýyllardan bäri türki halklarynyň arasynda ösen gymmatlyklaryň ulgamyny çuňňur şöhlelendirýär. Türkmenistanda haly dokamak däpleriniň döremegi gadymy döwürlerden gözbaş alyp gaýdýar. Ýurduň dürli sebitlerinden, şol sanda iň iri we gadymy medeni ojaklar hökmünde tanalýan Marguş, Goňurdepe (miladydan öňki III-nji müňýyllyk) ýaly gadymy taryhy ýadygärliklerden tapylan arheologiki tapyndylar, bürünç eýýamynda ösen dokmaçylyk sungatynyň bolandygyna şaýatlyk edýär. Şol wagtlar Murgap derýasynyň jülgesiniň ýaşaýjylary ýüňi a refined aesthetic sense developed over centuries. Its content allows insights into a wise attitude toward life and the world at large. The Turkmen carpet holds a significant place in Turkmen culture. Its importance transcends decorative and applied arts, as its motifs embody spiritual concepts, aspects of nomadic life, the structure of Turkmen tribes, and the value system cultivated among Turkic peoples for thousands of years. The tradition of carpet weaving in Turkmenistan dates back to ancient times. Archaeological discoveries across various regions, including the main citadel of Margush Gonur-depe (III millennium BC), indicate the existence of advanced weaving techniques during the Bronze Age. Even then, people in the Murghab River valley were skilled in processing wool and creating ornamental fabrics. Later, in the early Middle Ages, carpets became a staple of daily life for most Turkic tribes in Central Asia. Among the Turkmen, the art of carpet weaving evolved into an independent artistic system with däp-dessurlaryň çuňňur simwoliki manysyny aňladypdyr. Mysal üçin, halylar gyzyň sep- bukjasyna hökman goşulypdyr, maşgalanyň ruhy dünýäsini daşarky dünýäden tapawutlandyrýan giňişligi döretmek maksady bilen toý tutulýan günlerde, şeýle hem degsin etmek üçin geçirilýän ýatlama dabaralarynda ak öýlerde haly önümleri giňden ulanylypdyr. Haly nagşy tumar bolup hyzmat edipdir we ony döretmeklik sabyrlylygy, pikir-garaýyşlaryň tämizligini we däp-dessurlary hormatlamagy talap edýän mukaddes hereket hökmünde kabul edilipdir. Haly dokamak hemişe maşgala işi bolupdy: senetçi zenanlar ýüňleri arassalamak, saýmak, daramak, egirmek we bükdürmek, halyny ýüwürtmek, nagyşlary çitmek işlerini ýerine ýetirse, erkek adamlar dokma enjamlaryny ýasamakda, goýun ýüňüni gyrkyp almakda kömek edýärdiler, çagalar bolsa ýaşyna baglylykda ýüplükleri ýumaklamak, haly ýüwürdilende mäşirigi gatnatmak we bu gadymy senediň inçe syrlaryny öwrenmek işlerine gatnaşýardylar. Işleriň şeýle tertipde paýlanmagy diňe bir prosesi çaltlaşdyrman, eýsem, bilimleriň we endikleriň nesillere geçirilmeginde hem uly goşantdy. Haly dokamak sungaty türki halklarynyň dünýä medeniýetine goşan esasy goşantlarynyň biridir. Asyrlar boýy türkmen halylaryna ýokary baha berlipdir we halkara söwdasynyň gymmatly önümi bolup hyzmat edipdir. XVI asyrdan bäri Horasandan gelen halylar, şol sanda türkmen halylary, Eýranyň, Hindistanyň, Osman imperiýasynyň we Gündogar Ýewropanyň bazarlaryna ýetirilipdir. XIX asyrdan başlap Ýewropaly kolleksionerler we muzeýler tarapyndan türkmen halysyna bolan gyzyklanma artypdyr. Londonyň Wiktoriýa we Albert muzeýlerinde, Berliniň Yslam sungaty muzeýinde, Luwr we Döwlet Ermitaž muzeýlerinde türkmen halylarynyň möhüm ýygyndylary saklanýar. Gözelligi babatda taýsyz bolan halylar, ajaýyp diplomatik sowgatlar hökmünde, köşkleriň we medeni edaralaryň bezeginde ulanylypdyr. Russiýa imperiýasynda bezeg interýerleriniň elementleri hökmünde türkmen halylary secrets. This division of labor not only sped up production but also facilitated knowledge transfer between generations. The contribution of the Turks to global culture is primarily demonstrated through their carpet weaving tradition. For centuries, Turkmen carpets have been highly prized and have played a significant role in international trade. Since the 16th century, carpets from Khorasan, including those made by Turkmen artisans, have been exported to Persia, India, the Ottoman Empire, and Eastern Europe. From the 19th century onward, interest in these carpets grew among European collectors and museums. Major institutions such as London’s Victoria and Albert Museum, Berlin’s Museum of Islamic Art, the Louvre, and the State Hermitage Museum hold substantial collections of Turkmen carpets. They were also used as diplomatic gifts, and for decorating palaces and cultural establishments. In the Russian Empire, Turkmen carpets gained popularity, being widely employed as decorative interior elements. The Turkmen carpet is the main symbol of the country. The patterns of the five velayats (regions) are featured on Turkmenistan’s national flag and coat of arms. An Association of Carpet Makers has been established in Turkmenistan to support artisans, preserve traditional techniques, and foster new innovations. Every year, Turkmenistan celebrates the Day of the Turkmen Carpet, a holiday that brings together artisans from all regions through exhibitions, competitions, and craft fairs. In 2019, the “Art of Turkmen Carpet Making” was inscribed on UNESCO’s List of the Intangible Cultural Heritage, underscoring the global significance of the Turkmen carpet tradition as a living cultural practice. Despite urban growth, carpet weaving in Turkmenistan remains relevant. Furthermore, it has maintained continuity, with artisanship secrets being passed down from grandmothers and mothers to younger family members, ensuring the preservation of knowledge and traditions. The finest examples of carpet weaving are showcased in the country’s state museums. The National Museum of Turkmen Carpet, established (stanogy) ýatyk we dik görnüşde bolýar. Haly ýüwürtmek kiçi göwrümli halylarda iki sany halyçy zenan tarapyndan alnyp barylýar. Uly halylarda köpçülik bolup ýerine ýetirilýär. Haly ýüwürdilende ýaş gyzjagazlaryň biri mäşirigi iki ýana gatnadýar. Ene-mamalarymyz bu hünäriň ýitmezligi, nesilden-nesle geçmegi üçin alada edipdirler. Olar haly dokamak işiniň ähli tapgyrlaryna ýaş gyzlary hem gatnaşdyrypdyrlar. Şeýlelikde, ýaş gyzlar hem haly dokamagyň iň inçe we iň gizlin syrlaryna belet bolup, ony jikme-jikligi bilen öwrenipdirler. Halylar türkmenleriň ýaşaýyş durmuşynda dürli hyzmaty ýerine ýetirip geldi. Ýere düşenilýän halylardan başga-da, diwar halylary we asma halylar, şeýle hem belli bir maksatlar üçin: torba, çuwal, horjun (egne atylýan), namazlyk (namaz okamak üçin) we başgalar giňden ulanylypdyr. Olaryň köpüsi textiles were widely used, as well as applied items such as chuval (bags), khorzhjun (chests), and namazlyk (prayer mats). Many had ritual significance and symbolic meanings. For example, carpets were essential parts of a bride’s dowry, decorated yurts during weddings and memorials to create sacred space, and served to separate the family’s inner world from the outside. Their patterns acted as talismans, and their creation was regarded as a sacred act requiring patience, purity, and respect for tradition. The process of carpet weaving involved the entire family: women crafted knots and ornaments, men assisted with loom installation and operation, wool preparation, and dyeing. Children, depending on age, contributed by threading, sorting yarn, memorizing patterns, or learning the craft’s

BAGŞYÇYLYK SUNGATY

Gurbanow Myrat Kakajanowiç Maýa Kulyýewa adyndaky Türkmen milli konserwatoriýasynyň Sazyň taryhy kafedrasynyň uly mugallymy Bir asyr mundan ozal Türkmenistan boýunça üç gezek saz-etnografik ekspedisiýa geçiren sazşynas W. Uspenskiý şeýle ýazypdyr: “Haly önümlerde we milli lybaslarda ulanylýan türkmen nagyşlarynda bolşy ýaly, türkmen aýdym-sazynda hem reňkleriň üýtgeşik öwüşgini we daşky täsiri üçin hiç hili hasaplamanyň ýoklugy ilkinji nobatda haýran galdyrýar. Türkmen aýdym- sazynda şüweleňlik ýok we tejribesiz adam üçin bir tüýsli hasaplanyp bilner. Emma has içgin öwrenýänler üçin aýdym-saz duýgularyň çuňlugyny açýar. Ol türkmenleri dürli-dürli we güýçli duýgulara çümdürmäge ukyplydyr” [Uspenskiý (1979), 69].