Махтумкули Пираги: поэт мирового значения

MAGTYMGULY PYRAGY

IS A POET OF GLOBAL

IMPORTANCE

Muhametgurban Orazov Candidate of Philological Sciences, translator, journalist In the history of Turkmenistan’s national literature, the 19th century proved to be generous in talent. The name of the Turkmen poet, thinker, and founder of the literary language, Magtymguly Pyragy, has taken its rightful place among such thinkers as Firdowsi, Rudaki, Dante, Shakespeare, Rustaveli, and Pushkin, whose great creative achievements constitute the golden treasury of world culture. Magtymguly Pyragy was born in 1724 in the town of Hadji Govshan in the Karry- Kala district (now Magtymguly) on the

MAGTYMGULY PYRAGY

DÜNÝÄ ÄHMIÝETLI ŞAHYR

Muhammetgurban Orazow filologiýa ylymlarynyň kandidaty, terjimeçi, zurnalist XIX asyr türkmen milli edebiýatynyň taryhy köptaraplaýyn döredijiligi bilen dünýä medeniýetine mynasyp goşant goşan ajaýyp zehinler bilen baýlaşdy. Olaryň iň meşhurlarynyň biri hem şygyrlary adamzat nesliniň ruhy çeşmesine öwrülen Magtymguly Pyragydyr. Türkmen poeziýasynyň we edebi diliniň düýbüni tutujy akyldar şahyr Magtymguly Pyragynyň ady Ferdöwsi, Rudaky, Dante, Şekspir, Rustaweli we Puşkin ýaly dünýä medeniýetiniň altyn gaznasyny emele getiren akyldarlaryň arasynda mynasyp orny eýeleýär. gadymy nusgalaryň dikeldilmeginde we täze nusgalaryň döremeginde hem-de özara tejribe alyşmakda Türkmenistanyň Zenanlar birleşiginiň Merkezi Geňeşi hem- de Türkmenistanyň Medeniýet ministrligi tarapyndan geçirilýän sergiler, bäsleşikler möhüm esas bolup hyzmat edýär. 2022-nji ýylda umumy senetçilik sungatynyň dowam edip gelýän däpleri arkaly türki halklarynyň arabaglanyşygyny açyp görkezýän «Türkmen keşdeçilik sungaty» atly köpmilletli hödürnama UNESCO-nyň Adamzadyň maddy däl medeni mirasynyň görnükli nusgalarynyň sanawyna girizildi. Bu ykrarnama, diňe bir gadymy medeni amallaryň goragçysy hökmünde Türkmenistanyň halkara abraýyny güýçlendirmek bilen çäklenmän, keşdeçilik sungatynyň ýerli görnüşlerini öwrenmäge we olary resminamalaşdyrmaga bolan gyzyklanmany has hem artdyrdy. Medeni mirasyň aýrylmaz bölegi hökmünde türkmen keşdesi geçmişi we şu güni özünde birleşdirýär. Keşdeler uzak taryhy asyrlaryň ýaňyny biziň günlerimize ýetirip gelen sungat eserleridir. Bu sungat türki siwilizasiýasynyň medeni baýlygyny, halkymyzyň dünýä medeniýetiniň we çeper mirasynyň ösmegine goşan goşandyny açyp görkezýär. Häzirki wagtda türkmen keşdesi halkymyzyň milliliginiň möhüm nyşany, döredijilikli aňlatma serişdesi we halkara derejesinde ykrar edilýän gymmatlyk bolup durýar. national clothing, accessories, and interior items. Embroidery adorns women’s outfits at state receptions and family events. Artisans continue to embroider by hand, although machine-made equivalents have appeared; these reduce production costs but raise questions about maintaining authenticity. To support and preserve the art of embroidery in the country, cultural and folk art centers have clubs and workshops where experienced embroiderers teach young people ancient techniques. The Association of Carpet Makers of Turkmenistan is actively working to revive traditional crafts and ancient ornaments, providing a platform for the exchange of experience and the presentation of products at national and international exhibitions. In 2022, Turkmen embroidery was included on the UNESCO Representative List as part of a multinational nomination highlighting the interrelationship of Turkic peoples through shared crafts and traditions. This recognition not only strengthened Turkmenistan’s international image as a guardian of ancient cultural practices but also stimulated interest in studying and documenting local embroidery varieties. As an integral part of cultural memory, Turkmen embroidery combines past and present as a means of creative expression, representing an important symbol of national identity. His poetic legacy comprises numerous poems depicting the nature of his native land, heroic themes, Turkmen legends and traditions, and philosophical reflections on life. Love lyrics play an important role in the poet’s work (e.g., «Beloved», «Two Moons», «Come on a Date»). After marrying Ak-kyz, Magtymguly was deeply grieved by the deaths of his sons, Sarah and Ibrahim. Magtymguly Pyragy was buried in 1807 next to his father, Dovletmamed Azadi. Magtymguly’s poetic work occupies an important place in the history of literature around the world. Pyragy admired the work of European philosophers as well as Eastern Sufi poets – Khoja Akhmet Yassawi, Jalaluddin Rumi, and Bahaveddin Naghishbendi. Magtymguly’s poetry clearly embodied the progressive idea of uniting disparate Turkmen tribes and restoring statehood destroyed by the invasions of Genghis Khan. Y. Bertels, characterizing the Turkmen classical poets, emphasized, “The first place among them is occupied by the incomparable master of the word, the great Magtymguly” [Bertels (1965), 52]. The researcher called Magtymguly’s poetry the Cup of Jamshid. In Turkmenistan, there is hardly a household where the poet’s poems or songs based on them are not heard. His poetry, imbued with the deep philosophy of the people, has always inspired Turkmen folk musicians and storytellers and resounds in the hearts of the Turkmen people. In the middle of the 19th century, information about the poet’s work began to spread to European countries. In 1842, in London, the Polish writer L. Hodzko- Boreyko published materials containing information about Magtymguly. These were followed by publications by I. Berezin and F. Bakulin. The Hungarian orientalist Arminius Vambery wrote: “To the Turkmen, Magtymguly is presented as a miracle worker who comprehended all the books and all the sciences of the world” [Vamberi (2003), 256]. Full-scale study of Magtymguly’s biography and creative path began in the 20th century; A. Samoilovich and V. Barthold made important contributions to the study of Turkmen literature. In 1926, a book prepared for publication by the Turkmen writer Berdy Magtymguly Pyragy Gündogar we Ýewropa ýurtlarynyň taryhyny we sungatyny çuňňur öwrenýär. Onuň şahyrana edebi mirasy dogduk topragynyň tebigatyny, gahrymançylykly temalary, türkmenleriň rowaýatlaryny we däp-dessurlaryny, durmuş baradaky filosofiki garaýyşlaryny we ş.m. açyp görkezýän köp sanly goşgulardan ybaratdyr. Söýgi temasy şahyryň eserlerinde möhüm orun eýeleýär. Akgyza öýlenen Magtymgulynyň iki sany ogly dünýä inýär. Olar hem ir aradan çykýar. Şahyr ogullary Sarynyň we Ybraýymyň ölümine gaty gynanýar. Magtymguly Pyragy 1807-nji ýylda aradan çykýar we ol kakasy Döwletmämmet Azadynyň guburynyň ýanynda jaýlanýar. Magtymgulynyň şahyrana eserleri tutuş dünýä edebiýatynyň taryhynda möhüm orny eýeleýär. Akyldar şahyr ýewropaly filosoflaryň, şeýle hem Gündogaryň sopy şahyrlarynyň - Hoja Ahmet Ýasawynyň, Jalaleddin Rumynyň, Bahaweddin Nagyşbendiniň eserlerini ürç edip öwrenýär. Magtymgulynyň poeziýasynda dagynyk türkmen taýpalarynyň birleşmegi, berkarar döwlet gurmak baradaky pikirler öňe sürülýär. Türkmenleriň nusgawy şahyrlaryny häsiýetlendirýän gündogarşynas Ý. Bertels “olaryň arasynda birinji orny deňeşdirip bolmajak söz ussady – beýik Magtumguly eýeleýär” – diýip belleýär [Bertels (1965), 52]. Alym Magtymgulynyň poeziýasyny “Jemşidiň jamyna” deňeýär. Türkmenistanda şahyryň goşgularyny ýa- da olaryň esasynda döredilen aýdymlary diňlemeýän adam ýokdur. Şahyryň halkyň çuňňur pelsepesi bilen döredilen şygryýeti, türkmen halk sazandalaryny we aýdymçylaryny elmydama ruhlandyryp geldi we türkmenleriň ýüreginde ýaňlanýar. XIX asyryň ortalarynda şahyryň döredijiligi baradaky maglumatlar ýewropa ýurtlaryna aralaşyp başlaýar. 1842-nji ýylda Londonda polýak ýazyjysy L. Hodzko-Boreýko Magtymguly hakdaky maglumatlary öz içine alýan materiallary neşir etdirýär. Soňra I. N. Berezina we F. Bakulin tarapyndan neşir edildi. Wengriýaly gündogarşynas Armini Wamberi: “Türkmenler Magtymgulyny ähli kitaplary we dünýäniň ähli ylymlaryny özleşdiren gudratly şahyr hökmünde görýärler” [Wamberi (2003), 256] – diýip Magtymguly Pyragy 1724-nji ýylda Etrek derýasynyň kenaryndaky Garrygala sebitinde (häzirki Magtymguly etraby) Hajygowşan diýen ýerde dünýä inýär. Şahyryň kakasy Döwletmämmet Azady, oglunyň ruhy keşbiniň kemala gelmegine uly üns beren bilimli adam bolupdyr. Magtymguly dogduk obasyndaky mekdebi tamamlandan soň, 1753-nji ýylda Lebap welaýatynyň Halaç etrabyndaky Idris baba medresesinde, 1754-nji ýylda bolsa Buharadaky Gögeldaş medresesinde okaýar. Bu ýerde ol Möwlananyň adyny göterýän Siriýaly türkmen Nury Kazym ibn Bahar bilen dostlaşýar. Iki dost Özbegistanyň, Gazagystanyň, Täjigistanyň, Owganystanyň we Hindistanyň çäklerine baryp görýärler. 1757- nji ýylda olar Şirgazy medresesiniň ýerleşýän ýeri bolan Hywa gelýärler. Magtymguly bu ýerde Şirgazy medresesinde okuwyny dowam etdirýär. Okuwyny gutarandan soň, şahyr dogduk obasyna gaýdyp gelýär we mekdepde çagalara bilim berip başlaýar. banks of the Atrek River. The poet’s father, Dovletmamed Azadi, was an educated man who paid great attention to shaping his son’s spiritual development. After graduating from mektep in his native village, Magtymguly entered the madrasah at the tomb of Saint Idris Baba in Lebap velayat in 1753. In 1754, he went to Bukhara, where he studied at the Kokeltash madrasah. Here he became friends with Nuri-Kazim ibn Bahar, a Turkmen from Syria who bore the spiritual title of mawlana, and with whom he traveled. They visited the territories of Uzbekistan, Kazakhstan, and Tajikistan, traveled across Afghanistan, and reached northern India. In 1757, they arrived in Khiva, where Magtymguly enrolled in the Shirgazi madrasah. After completing his studies, he returned to his native village and began teaching in mektep. Magtymguly devoted a lot of time to self-education, studying the history and art of Eastern and European countries. döredijiligine degişli makalalar we terjimeler Ýewropa ýurtlarynda hem uly höwes bilen ýazylýar. Alymlar Magtymguly Pyragyny meşhur şahyrlaryň we akyldarlaryň biri hökmünde biragyzdan ykrar edýärler, çünki şahyryň eserleri diňe bir türkmen halkynyň däl, eýsem tutuş türki dünýäsiniň medeni mirasynyň möhüm bölegidir. Türkmen şahyrynyň baş arzuwy, halkynyň asuda, parahat we bagtyýar durmuşda ýaşamagy, bilim almagy we medeniýetiniň ösmegidir. Magtymguly Pyragynyň goşgularynyň manyly, çuňňur pikirleri geljege gönükdirilendir. Akyldar şahyr bütin adamzadyň ruhuna we isleglerine laýyk gelýän eserleri döretdi, şonuň üçin ony diňe bir milli däl, eýsem umumadamzat şahyry diýip atlandyryp bolar.Magtymgulynyň şahyrana mirasy milli çäklerden çykyp, adamzadyň intellektual hazynasyna mynasyp goşant goşup, dünýä edebiýatynyň aýrylmaz bölegine öwrüldi. Akyldar şahyr Magtymguly Pyragynyň hatyrasy dünýä derejesinde belent tutulýar. UNESCO-nyň baş maslahatynyň Pariž şäherinde geçirilen mejlisiniň dowamynda akyldar şahyr Magtymguly Pyragynyň doglan gününiň 300 ýyllygyny 2024 – 2025- nji ýyllarda UNESCO-nyň gatnaşmagynda bellenip geçiljek dabaraly çäreleriň sanawyna goşmak barada kararyň kabul edilmegi, Türki medeniýetiň halkara guramasynyň – TÜRKSOÝ-nyň Hemişelik Geňeşiniň mejlisinde, 2024-nji ýylyň «Türki dünýäsiniň şahyry we akyldary Magtymguly Pyragy ýyly» diýlip yglan edilmegi, şahyryň golýazmalar toplumynyň BMG-niň Bilim, ylym we medeniýet meseleleri boýunça guramasynyň «Dünýäniň hakydasy» maksatnamasynyň halkara sanawyna girizilmegi, akyldar şahyryň döredijiligine dünýä derejesinde goýulýan uly hormatdan nyşandyr. Şahyr türkmenleriň Garaşsyz ýurtda asuda we rahat ýaşap, dürli ylymlary özleşdirjekdigine berk ynanan akyldardyr. Bu gün onuň öňdengörüjilikli ajaýyp arzuwlary hasyl boldy. The Turkmen poet’s cherished dream was for his people to live peacefully, be educated, and develop their science and culture. Magtymguly’s poems are aimed at the future; he created works that correspond to the spirit of all humanity; therefore, he is rightfully called not just a national but also a universal poet. Having gone beyond the national framework, Magtymguly’s poetic legacy has become an integral part of world literature, making a worthy contribution to the intellectual treasury of humankind. The declaration of 2024 as the «Year of Magtymguly Pyragy, the great poet and thinker of the Turkic world» by the Permanent Council of the International Organization of Turkic Culture (TURKSOY) in honor of the 300th anniversary of his birth, the inclusion of the poet’s manuscript collection in UNESCO’s Memory of the World international register, and the listing of «300th anniversary of Pyragy» among the significant dates celebrated by UNESCO in 2024–2025 are evidence of Magtymguly’s high standing around the world. The poet believed that Turkmens would live peacefully in an independent country. His brilliant prophecies have come true. Kerbabayev was published and included most of the poet’s poems. Collections of Magtymguly’s lyrical works were repeatedly published in Ashgabat (1941, 1944, 1957, 1959 and later years). Selected works in Russian were published in separate books in Ashgabat, Moscow, and St. Petersburg. The works of the great poet are the basis of many songs of Turkmen bakhshy. Researchers are unanimous in their opinion that “Magtymguly’s works are not intended for reading, but for song performance,” because “the poet, embodying the hopes and aspirations of the masses in his poems, could only speak to them in the language of song, through the mouth of a bakhshy singer” [Poseluevski (1960), 65]. The immortal legacy of this classic of Turkmen literature has become an inexhaustible source of inspiration for folk singers and storytellers. The moral and aesthetic traditions of Magtymguly were continued by classical poets Seidi, Kemine, and Myataji. Zelili, Dovan Shakhyr, Kyatibi, Zynkhari, Sayly, Changly, Pidayy, Misgingylych, Dosmamet, and Bayly Shakhyr proved to be true masters of artistic expression. Their inspired work had an exceptional impact on the art of Turkmen bakhshy-dessanchys. Such concepts as Homeland, patriotism, courage, love, high morality, and humanism were embodied in the numerous songs and dessans they created, making an invaluable contribution to the enrichment of Turkmen national literature. Today, Magtymguly’s poems have been translated into dozens of languages around the world; they are published in Türkiye, Iran, Afghanistan, Uzbekistan, Azerbaijan, Kazakhstan, and other countries. The 205th issue of the Turkish magazine Dogan Kalamlar (Kardesh Kalamler), published in January 2024, contains articles by writers, poets, and scientists from Turkic countries about the life and work of the great thinker. Similar articles and translations of Magtymguly’s works are being produced with great enthusiasm in European countries. Scientists are unanimous in recognizing Magtymguly Pyragy as one of the greatest poets and thinkers, whose work forms an important element of the cultural heritage not only of the Turkmen people but also of the entire Turkic world. ýazýar. Magtymgulynyň terjimehalyny we döredijilik ýoluny öwrenmek boýunça doly göwrümli işler XX asyrda başlandy. Bu ugurda türkmen edebiýatyny öwrenmäge uly goşant goşan A. Samoýlowiçiň we W. Bartoldyň bitiren hyzmatlaryny görkezmek zerurdyr. 1926-njy ýylda türkmen ýazyjysy Berdi Kerbabaýew tarapyndan akyldar şahyryň goşgularynyň agramly bölegini öz içine alýan kitap neşir edildi. Magtymgulynyň liriki eserleriniň ýygyndylary Aşgabatda (1941, 1944, 1957, 1959 we ondan soňky ýyllar) birnäçe gezek neşir edildi. Rus dilinde saýlanan eserler Aşgabatda, Moskwada we Sankt-Peterburgda aýratyn kitap bolup çapdan çykdy. Beýik şahyryň eserleri türkmen bagşylarynyň ýerine ýetirýän ençeme aýdymlarynyň hem esasyny düzýär. Alymlar “Magtymgulynyň eserleri okamak üçin däl- de, aýdym edip aýtmak üçin niýetlenendir” diýen pikiri biragyzdan goldaýarlar, sebäbi “şahyryň goşgulary köpçüligiň umytlaryny we isleglerini öz içine almak bilen, aýdymyň-bagşynyň dilinde gürleşip bilýär” [Poseluewski (1960), 65]. Türkmen edebiýatynyň ölmez-ýitmez nusgawy mirasy halk bagşylary we aýdyjylary üçin tükeniksiz ylham çeşmesine öwrüldi. Magtymgulynyň şygyrlarynyň ahlak we estetiki däplerini dowam etdiren nusgawy şahyrlar Seýdi, Kemine, Mätäji, Zelili, Mollanepes, Dowan şahyr, Kätibi, Zynhary, Saýyly, Çaňly, Pidaýy, Misgingylyç, Dosmämmet, Baýly şahyr çeper sözüň ajaýyp ussatlary hökmünde giňden tanalýar. Olaryň döreden köp sanly aýdymlarynda we dessanlarynda, Watan, watançylyk, gaýduwsyzlyk, söýgi, ýokary ahlaklylyk we ynsanperwerlik ýaly düşünjeler milli edebiýatyň baýlaşmagyna bahasyna ýetip bolmajak goşant goşdy. Häzirki wagtda Magtymgulynyň goşgulary onlarça dillere terjime edilip, Türkiýede, Eýranda, Owganystanda, Özbegistanda, Azerbaýjanda, Gazagystanda we beýleki ýurtlarda neşir edildi. 2024-nji ýylyň ýanwar aýynda Türkiýede “Dogan galamlar” (“Kardeş Kalamler”) žurnalynyň 205-nji sanynda beýik akyldaryň ömri we döredijiligi barada türki ýurtlarynyň ýazyjylarynyň, şahyrlarynyň we alymlarynyň makalalary çap edildi. Magtymgulynyň ýörite ýonulyp ýasalan haly göllerine meňzeş bezegleri bilen tapawutlanýar. Häzirki Türkmenistanyň günortasynda taryhyň bu döwründe Seljuk türkmen döwletiniň düýbi tutulýar. Hünärmenler XI-XII asyrlaryň binagärlik gurluşygynda ýonulyp ýasalan kerpiç bezegleriniň görnüşlerinde türkmenleriň tire-taýpa «tagmalarynyň» şekilleri bilen baglanyşdyrýarlar. Etnograf G.I.Karpow özüniň deňeşdirme işleriniň netijesinde, häzirki zaman türkmen tagmalary bilen oguz tamgalarynyň şol döwrüň binagärliginiň diwar ýüzündäki kerpiç bezegleriniň arasynda köp meňzeşlikleriň bardygyny kesgitledi [Карпов (1929); Карпов (1945)]. Şol geçirilen işleriň we beýleki gelnen netijeleriň dowamynda «seljuk» ýa-da «türki» dünýäsiniň arhitekturasynyň usullarynyň meseleleri gozgalypdyr [Ремпель (1963)]. Akademik G.A.Pugaçenkowa G.I.Karpowyň geçiren işlerine esaslanyp, «tegelek şekiller türkmen saryklaryň, tekeleriň magtym we utomyş tiresiniň, ýomutlaryň hoja taýpasynyň tagmasydygyny; С-şekiline meňzeýän şekiller atabaý ýomutlaryň tiresiniň; З-şekilli tagma – gojuk, baga, düýeje ýomutlaryň, perreň we daş-aýak tekeleriň, salyrlaryň; kese sekizlik şekil – tekeleriň gagşal we saryklaryň togtamyş tiresiniň; V- görnüşli şekil – tekeleriň ganjyk we ýomutlaryň baga tiresiniň; haç şekiller – ýomut, saryk, teke taýpasynyň tagmalaryna meňzeýändigini belleýär. Şeýle hem hemme taýpalaryň tagmasynyň bardygyny, olaryň göni çyzyklary – bir, iki, keseligine çekilen görnüşinde düzülendigini nygtaýar» [Пугаченкова (1958), 334]. Ýokarda sanalan şekilleriň hemmesiniň XI-XII asyrlaryň binagärlik bezeginde öz beýanyny tapandygyny belläp geçipdir. Meşhur sungaty öwreniji L.I.Rempeliň pikirine görä, «XI — XIII asyrlaryň başlarynda käbir etnik ýagdaýlar Horasanyň binagärlik bezeginde, umuman, çeperçilik sungatynda öz beýanyny tapandygyny ýerlikli belleýär» [Ремпель (1963), 306]. Esasy obýektleri: Soltan Sanjaryň kümmeti (XII a.). «Gadymy Merw» taryhy-medeni döwlet goraghanasynyň çäginde ýerleşýän bu ýadygärik 1999-njy ýylda ÝUNESKO-nyň Bütündünýä mirasynyň sanawyna goşuldy. The architectural monuments of Turkmenistan from the 11th and 12th centuries are characterized by their monochrome brick textures and intricate “carpet” decorations created with specially shaped bricks. This era coincides with the emergence and development of the Turkmen-Seljuk state in southern Turkmenistan. Scholars link the carved brick shapes used in the architectural embellishments of this period to the tribal Turkmen “tamga” symbols. Ethnographer G. Karpov, through comparative analysis, identified numerous similarities between modern Turkmen “tamgas” and the tamgas of the Oghuz, with the patterns matching the decorative carved bricks adorning the walls of buildings from that time [Karpov (1929); Karpov (1945)]. These findings have contributed to discussions on the so-called “Seljuk” or “Turkic” style in architecture [Rempel (1963)]. Based on Karpov’s research, academician G. A. Pugachenkova notes that “the circle is the tamga of the Saryk Turkmen, the Makhtum and Otomysh Teke branches, and the Khoja Yomut family; the C-shaped sign represents the Atabai Yomut branch; the Z-shaped tamga belongs to the Kojuk, Baga, and Duedji Yomut branches; the Perreng and Dash-Ayak of the Tekin – for all Salyrs; the horizontal eight indicates the Tekin tribe of Kakhshal and the Saryk branch of Tokhtamysh; the V-shaped figure is for the Tekin tribe of Kanjik and the Yomut Bag; the crosspiece is used by the Yomut, Saryk, and Teke tribes. Nearly all tribes have tamgas composed of straight lines – one, two, or three parallel and perpendicular stripes” [Pugachenkova (1958), 334]. All these symbols are reflected in the architectural decor of the 11th- and 12th-century monuments. According to L. I. Rempel, “during the 11th to early 13th centuries, ethnic processes influenced the architectural ornamentation of Khorasan and its overall artistic craft, which ultimately led to the formation of the Turkmen nationality” [Rempel (1963), 306]. Main Monuments: - The Mausoleum of Sultan Sanjar (12th century) is considered by experts as part of a series of centrally located, portal-free

TÜRKMENISTANYŇ ÇÄGINDÄKI

TÜRKI HALKLARYNYŇ GURLUŞYK

MEDENIÝETINIŇ BINAGÄRLIK

MIRASY. SELJUKLARYŇ

BINAGÄRLIK ÝADYGÄRLIKLERI

Muhametdurdy Mamedow Arhitektura ylymlarynyň doktory Maksatmyrat Amanow Sungaty öwreniş ylymlarynyň kandidaty Türkmenistanyň çäginde Beýik seljuklar we Horezmşalar ýaly türki döwletleriniň gülläp ösen döwründe gurlan uly göwrümli binagärlik ýadygärlikleri saklanyp galypdyr. XI-XII asyrlarda Türkmenistanyň binagärlik ýadygärliklerinde bir reňkli kerpiçler we