Эпическое наследие туркменского народа

THE EPIC LEGACY

OF THE TURKMEN PEOPLE

Murad Gurbanov Senior Lecturer, Department of History of Music, Turkmen National Conservatory named after Maya Kuliyeva Epic heritage is an important branch of Turkmen folk art. The tradition of performing epics and dessans in Turkmenistan is still active today. The main centers are the Dashoguz (northern) and Mary (southeastern) velayats, where various stylistic schools of bakhshy-dessanchy are concentrated. The names of talented storytellers – Ata bakhshy (who performed 44 chapters of the epic «Gorogly»), his son Palvan bakhshy, Makhtumkuli Garliyev, Palta bakhshy, Ilaman Annayev, Bally Matgeldyev, Ore Kakajanov, Akjagul Myradova, Gurt Yakubov, Mustak görnüşinde ýerine ýetirilendigini görkezýär. Wepat bolan gahrymanlaryň hatyrasyna arhaik ertekileri ýerine ýetirmek däpleri söweşe howandarlaryň ruhlaryny çekmäge gönükdirilendir. Eposda gopuz (kobyz) saz guraly bilen birlikde oguzlaryň maşgala dabaralarynda we söweş hereketlerinde ýaňlanan – surnaý, bory, nagara ýaly beýleki saz gurallary hem agzalýar. Türkmen bagşy- sazandalary şu güne çenli Gorkut atany, şeýle- de Aşyk Aýdyň piri we Baba Gammary aýdym- sazyň howandarlary hasaplaýarlar we olaryň keramatly mazarlaryna zyýarat edýärler. Gorkut ata bilen Baba Gammaryň arasynda bar bolan umumylyklary alymlar şeýle belleýärler: ikisi hem sazyň howandary hasaplanylýar; ikisi hem şeýtanyň maslahatyndan peýdalanyp, öz saz gurallaryny ýasapdyrlar we ikisi-de ölmez-ýitmez hasaplanýarlar [Basilow (1970), 62]. Diýmek, «Gorkut ata» eposynyň baş gahrymany we ozany türkmen dessançylarynyň baştutanydyr. Türkmenistanda eposlar we dessanlar diňleýjilere ruhy lezzet paýlap, baýramçylyklarda we toýlarda belentden- bory, nagara. To this day, Turkmen musicians revere Gorkut ata, as well as Ashyk Aydyn Pir and Baba Gammar, as patrons of music and traditionally make pilgrimages to the graves of these saints. Researchers note commonalities between Gorkut and Baba Gammar: both are patrons of musicians, both invented musical instruments and sought the advice of sheytan (devil), and both are considered immortal [Basilow (1970), 62]. Thus, the main ozan of the epic, Gorkut ata, is the prototype of the Turkmen bakhshy- dessanchy. In Turkmenistan, epics and dessans are performed at holidays when listeners are in high spirits. Depending on the composition of the audience, a dessanchy shapes the plot (he will sing differently for older listeners than for young people), adjusts the scale of the narrative, and introduces new songs or tunes [Kurbanova (2000), 117]. The prefacing of a dessan with tirme songs unrelated to the plot of the narrative occurs in the performing practice of many Turkic peoples. Such an introduction gives the narrator begleriň edermenlikleri baradaky aýdymlary we rowaýatlary düzýän ozandyr” [Körogly (1972), 49]. A. Ýakubowskiý hem, «Gorkut ata kitabynyň» irki orta asyrlarda türkmen jemgyýetini öwrenmek üçin aýratyn ähmiýeti bar”, diýmek bilen, “...aýdymlary aýdýan aýdymçy “uzan” adalgasy bilen atlandyrylýar” diýip belleýär. Gorkudyň özi hem ussat uzandyr (bagşy)” diýip pikirini jemleýär [Yakubowskiý (1962), 122]. Eposa gatnaşýan beýleki gahrymanlaryň hem ozançylyk sungatyna degişliligi ýüze çykýar (Salyr Gazan, Bamsy Beýrek, Hantöreli), bu ýagdaý oguzlaryň ruhy durmuşynda ozançylyk sungatynyň aýratyn ähmiýetiniň bolandygyny subut edýär. Paýhasly Gorkut ata, ozan wezipesinden daşary oguzlaryň jemgyýetinde geňeşçi hökmünde hem çykyş edýär, şeýle-de oguz ýigitleriniň atlaryny dakýar, umumymilli dabaralara ýolbaşçylyk edýär. Türkmen bagşylarynyň hem şuňa meňzeş wezipeleri ýerine ýetirýänligini bellemelidir. “Gorkut eline gopuz alyp, aýdym aýtdy, gör bak, näme diýdi...”, diýen söz öwrümleri gadymy eposyň ozanlar tarapyndan aýdym importance of the «Book of Gorkut» for the study of Turkmen society in the early Middle Ages, A. Yakubovsky notes: “…a singer singing songs is designated by the term ‘uzan.’ Gorkut is the ideal uzan (bakhshy)” [Yakubovski (1962), 122]. Ozan’s art is also mastered by other heroes of the epic (Salyr Gazan, Bamsy Birek, Khanturali), which indicates the ozan’s special role in the spiritual life of Oguz society. In addition to his duties as a storyteller, the wise Gorkut ata serves as an adviser: he names the Oguz youths and directs national celebrations. Modern Turkmen bakhshy also perform similar functions. “Gorkut picked up a gopuz (kobyz) and sang, let’s see, my khan, what he sang...” Such epic clichés in the texts show that the legends were performed by the ozans precisely in the form of song. The custom of performing archaic tales in honor of fallen heroes before battle was aimed at attracting patron spirits to the battlefield. Along with the kobyz, the epic mentions other musical instruments that sounded at family celebrations and during the fighting of the Oguz – surnay,

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