Туркменская юрта

THE TURKMEN YURT

Ogultach Khojanazarova is a Candidate of Philological Sciences and 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 The Turkic peoples have significantly contributed to world culture through their architectural and handicraft achievements related to the yurt. The concept of a mobile home adapted to a nomadic lifestyle has greatly influenced similar housing forms in other parts of Central Asia. The similarities in the names of the yurt across the languages of peoples whose main traditional occupation was cattle breeding—such as Kazakhs, Kyrgyz, Karakalpaks, Turkmens, Bashkirs, and Altaians—indicate a common origin. Medieval graphic sources depicting the tutulandyr. Ak öýüň gurluş sütüni agaçdan bolup: gözenekli tärimler, gümmez bölegini emele getirýän uklar, uklary birleşdirýän ýokarsyndaky ýagtylyk düşýän tegelek tüsse çykary tüýnük we giriş gapysyny öz içine alýar. Ak öýüň daşy örülen gamyş we goýun ýüňünden taýýarlanylan keçe bilen örtülendir. Ak keçe bilen örtülen “Ak öý” adynyň manysy dabaralylyk we arassalyk düşünjesi bilen baglydyr. Merkezi Aziýanyň çarwa halklarynyň arasynda ak öýüň gurluşy, umuman, birmeňzeş bolsa-da, olaryň her birisiniň özboluşlylygy daşarky we içerki bezeg aýratynlyklarynda ýüze çykýar. Türkmen ak öýlerinde düşeklik üçin uly halylar ýazylýar. Öýüň diwaryna asylýan özboluşly haly önümleri (çuwallar, torbalar, horjunlar) öý goş- golamlaryny salmak, gap-gaçlary saklamak üçin niýetlenilendir. Bosaga – bosaga halysy ýazylýar. Gelin-gyzlar ak öýi berkitmek üçin ýüňden öýüň bil ýüpüni dokaýarlar. Şeýle hem ak öýüň daşyny ýapmak üçin goýun ýüňünden ak we gara reňkli keçeler taýýarlanylýar. Düşek hökmünde diňe halylar däl, elýeterliligi we ulanmak üçin amatlylygy sebäpli, owadan nagyşlar bilen bezelen keçeler hem ulanylýar. Ýurduň ösen şäherleşme prosesine garamazdan, türkmeniň ak öýi Türkmenistanyň birnäçe sebitinde ulanylýar. Esasan, Garagum çölüniň çöl şertlerinde ak öýleri ulanmak çopan durmuşyna mahsusdyr. Bu ýerlerde ak öý möwsümleýin mal göçüp barýarka wagtlaýyn ýaşaýyş jaýy bolup hyzmat edýär, şeýle hem aşhana, myhman öýi we adaty çäreleriň geçiriljek ýeri hökmünde ulanylýar. Ak öý mukaddeslik nyşany hökmünde türkmenleriň dünýägaraýşynda çuňňur kök urandyr. Onuň tegelek görnüşi bakylyk, sazlaşyk we deňagramlylyk bilen baglanyşyklydyr. Gümmeziniň ýokaryk açylyşy (tüýnük) asmana penjire, älem bilen ruhy baglanyşyk hökmünde kabul edilýär. Ak öýüň gurluş giňişligi türkmen jemgyýetiniň däp bolan ýaşaýyş durmuşyny şöhlelendirýär. Onda erkekleriň ýeri, zenanlaryň ýeri, myhmanlar we maşgala ojagy kesgitlenen kadalara laýyklykda ýerleşýär. “Halkymyň milli guwanjy bolan ak öý neçjarçylyk sungatynyň gazanan beýik üstünlikleriniň biridir. Munuň özi türkmen the upper part is covered with felt. A special rope made from camel hair connects the felt elements. The wooden supports – either twelve or twenty-four arc-shaped supports – pass through the middle of the cone, forming the structure’s core. The framework includes folding vertical lattice walls (kerege), a round top rim, dome poles (uyk), and an opening for light and smoke called tyundyuk, as well as an entrance door (ergenek). The exterior is layered with several sheets of wool felt, giving the yurt a solemn and clean appearance; this white felt, known as «ak öý» (“white house”), emphasizes its purity and significance. Although the yurts of various nomadic Central Asian peoples share a basic design, each group’s dwelling is distinguished by its exterior decorations. For example, Turkmen yurts feature large carpets covering the floor, as well as distinctive carpet bags (torba and khorjuns) hung on the walls to store clothes, utensils, and dishes. A long decorated strip (path) often adorns the interior, and a carpeted cape (ensi) covers the entrance. A narrow rug functions as a threshold. Women often braid camel hair (aladja) to secure the yurt. Coverings are made from plain white or dark sheep’s wool felt, and kec¬he – carpet coverings decorated with intricate patterns – are used to cover the floor. Travelers, ethnographers, and researchers worldwide have highly valued the yurt’s resilience to climatic conditions. Its felt covering provides warmth in winter and coolness in summer, and the felting technology has been extensively studied in textile industries. Experts view the design and decoration of the nomad’s dwelling as embodying profound philosophical symbolism [Berdimuhamedov (2015), 94]. The round shape is associated with eternity, harmony, and balance; the top opening of the dome symbolizes a window to the sky and a spiritual link to the cosmos. The interior layout reflects Turkmen traditions – separating men’s and women’s areas – and the placement of guests and family hearths follows established cultural norms. Within Turkic civilization, the yurt served not only a practical purpose but also a cultural one. It was a space where family rituals, celebrations, and the transmission of umumylygyny aňladýar. XIII asyrdan başlap, Eýran we Hytaý miniatýuralarynda, Merkezi Aziýa we türki halklarynyň şekillendiriş sungaty eserlerinde ak öýüň ösüşini häsiýetlendirýän baý ikonografiki materiallar gabat gelýär. Orta asyr grafiki çeşmelerinde IX-XIII asyrlarda oguzlaryň ak öýleri agaçdan ýasalan gözenekli, keçe önümleri bilen örtülen öý hökmünde şekillendirilýär. Türkmeniň ak öýi sebitiň tebigy, taryhy we medeni şertleriniň täsiri bilen emele gelen çarwa ýaşaýyş jaýynyň gadymdan gelýän görnüşidir. Çarwa we ýarym çarwa durmuş şertlerinde agaçdan we keçeden ýasalan bu tegelek gurluşly öý, esasy ýaşaýyş öýi hökmünde türkmenler we beýleki türki halklary tarapyndan asyrlar boýy ulanylýar. Binagärlik we simwolizm, şeýle hem ak öýüň köp wezipeliligi göçme jaý gurmak baradaky dünýä tejribesine möhüm goşant goşdy we türki medeniýetiniň maddy we maddy däl mirasynyň ösmegine täsir etdi. Ak öýüň gurluşynda çalt dikeltmegiň we sökmegiň, daşamagyň amatlylygy, howanyň duýdansyz üýtgemegine we ýeliň garşylygyna durnuklylygy göz öňünde Oguzes from the 9th to 13th centuries, along with rich iconographic material from later centuries, portray the yurt as a felt-covered dwelling with a wooden lattice frame. The Turkmen yurt is a traditional nomadic dwelling shaped by the region’s natural, historical, and cultural conditions. In a nomadic or semi-nomadic lifestyle, this collapsible circular structure made of wood has been used by Turkmens and other Turkic peoples for centuries, primarily covered with felt. The architecture, symbols, and functionality of the yurt have significantly influenced the global tradition of mobile homes and have contributed to the material and intangible cultural heritage of the Turkic world. The design of the yurt considers the need for quick assembly and disassembly, ease of transport, and resistance to sudden temperature changes and strong winds. The mobile yurt is regarded as one of the great achievements of nomads. Its uniqueness lies in its compactness, rapid construction capability, and ease of relocation if needed. The lower part consists of wooden supports; The moment of registration of the yurt öýüň gadymy nusgasy, sergileri bezemek üçin kiçi göwrümli görnüşleri ulanylýar. Sowgatlyklar satylýan dükanlarda çeper- bezeg görnüşindäki kiçi nusgasy alyjylara hödürlenýär. Ak öýüň şekili bezeg we amaly- haşam sungatynda, poçta markalarynda we binagärlikde giňden öz şöhlelenmesini tapýar. Meselem, hökümet binalarynyň gümmezli elementleri ak öýüň görnüşine degişlidir. Türkmenistanyň bäş welaýatynyň her birisinde iň esasy çäreleriň geçiriljek ýerinde ak öý görnüşinde uly medeni merkezler guruldy. Mysal üçin, Türkmenistanda Nowruz baýramçylygy her ýyl «Ak öý» binasyny öz içine alýan ýörite «Ak ýaýla» diýen ýerde bellenilýär. Häzirki döwürde etnografiki we ekoturizm syýahatçylygy nukdaýnazaryndan däp bolan binagärlige gaýdyp gelmek meýli bar. Garagum çölünde we daglyk sebitlerde ýerleşýän syýahatçylyk zolaklarynda esasy rahatlygy saklamak bilen bir gije hakyky ak öýlerde galmak teklip edilýär. Bu bolsa, myhmanlara gadymy miras bilen ýakyndan tanyşmaga we türkmen halkynyň ak öýüniň geçmişdäki ýaşaýyş durmuşynyň aýratynlyklaryny başdan geçirmäge mümkinçilik döredýär. Şeýlelik bilen, milli ak öý geçmiş bilen şu günüň we türki dünýäsiniň kökleri bilen XXI asyryň globallaşan dünýäsiniň arasynda köpri bolup hyzmat edýär. Maddy däl medeni mirasy goramak syýasatynyň çäginde ak öý we oňa degişli senetleri (agaç ussaçylygy, keçe basmak, halyçylyk) goramagyň ähmiýeti nygtalýar. Ak öý bilen baglanyşykly bilimler we düşünjeler bu ugurdan tejribeli hünärmenler tarapyndan we maşgala däpleri esasynda ýaş nesillere geçirilýär. Döwlet we halkara medeni guramalaryň goldawy bilen gadymdan gelýän tehnologiýalaryň ylmy resminamalary ýöredilýär, ylmy seminarlar we ussatlyk sapaklary geçirilýär. Türkmen ak öýi diňe bir geçmişiň ýadygärligi bolman, eýsem türki halklarynyň medeni mirasynyň durnuklylygyny we ýaşaýyş üçin uýgunlygyny häsiýetlendirýän hem-de medeniýetiň anyk we öz ýaşaýşyny dowam etdirýän elementidir. Ak öýler estetiki gözelligi, çuňňur simwoliki mana eýeligi bilen gündelik durmuşda-da, türkmen halkynyň medeni taýdan özüni görkezmeginde-de möhüm orun eýelemegini dowam etdirýär. various master classes are organized to keep these skills alive. The Turkmen yurt is more than a historical monument; it is a living symbol of cultural continuity. Thanks to its aesthetic appeal and rich symbolism, the yurt continues to play a significant role in the everyday cultural life of Turkmen. senetçisiniň ajaýyp açyşydyr. Alty ganat, sekiz ganat, on iki ganat ak öýleri üns bilen synlanyňda, onuň agaçdan ýasalan haýran galdyryjy ajaýyp dünýädigine düşünýärsiň. Şeýle täsin düzümden bina edilýän öýleri göçürmek, zerur bolan halatynda ýene-de bir ýerde gurmak amatlydyr. Ak öý iki bölekden – aşaky we ýokarky böleklerden durýar. Onuň aşaky bölegi, esasan, agaç gözenekden – tärimlerden ybarat. Agaç tärimleriň daşyna örülen gamyş aýlanýar, ýokarky bölegi uk we tüýnük arkaly birleşdirilip, onuň üsti keçe bilen örtülýär. Tärimleri birikdirmek – köklemek üçin düýe hamyndan taýýarlanylýan ýüpler ulanylýar. Işiksöýä birikdirilýän goşa şatärimi, öýüň merkezi bölegini emele getirýän törtärimi, ýokarky bölegini örtýän tüýnügi we uklar gurluş aýratynlygynyň özboluşly gözelligi bilen tapawutlanýar. Tüýnügiň ortasyndan atanaklaýyn geçýän ýaý görnüşli taýaklaryň – çagaryklaryň jemi sanynyň on ikä ýa-da ýigrimi dörde deň bolmagynyň çuňňur filosofiýasy bardyr” [Berdimuhamedow (2015), 94]. Türki siwilizasiýasynyň çäginde ak öý diňe bir ýaşamak üçin peýdaly bolman, eýsem medeni taýdan hem hyzmat edip geldi. Ak öý maşgala dabaralarynyň we agzeki däp- dessurlaryň dilden-dile geçirilýän ýeridir. Milli bezegleri bilen haýrana goýýan bu öýlerde maşgala dabaralary tutulyp, bagşylar tarapyndan aýdymlar, rowaýatlar we epiki eserler ýerine ýetirilipdir. Türkmen halkynyň gymmatlyk ulgamyny açyp görkezýän estetiki gözellik düşünjesi, içerki bezegde ulanylýan halylar we olaryň nagyşlary arkaly ýüze çykypdyr. Türki halklarynyň medeni mirasynyň aýrylmaz bölegine öwrülen ak öýler şu güne çenli mukaddeslik derejesini we ähmiýetini saklap gelýär. Ak öýüň dürli howa şertlerinde durnuklylygyny saklap bilýänligine dünýäniň dürli künjeklerindäki syýahatçylar, etnograflar we alymlar tarapyndan ýokary baha berilýär. Onuň keçe örtügi gyşda ýylylygy we tomusda salkynlygy üpjün edýär. Amaly ulanmakdan başga-da, häzirki Türkmenistanda ak öý milli gymmatlyk hökmünde möhüm simwoliki mana eýedir. Ak öýler toý dabaralarynyň, milli baýramçylyklaryň we resmi kabul edişlikleriň bezeginde işjeň ulanylýar. Muzeýlerde ak oral traditions – songs by bakhshy, legends, and epic stories – took place. Its interior features felt and carpet products that reveal the aesthetic values and cultural identity of the Turkmen people. As a vital part of Turkic heritage, the yurt has retained its symbolic and cultural significance to this day. Despite ongoing urbanization, it continues to be used in certain regions of Turkmenistan, especially in pastoral areas of the Karakum Desert. Here, it remains a temporary shelter during seasonal cattle herding and is used as a kitchen, guesthouse, or venue for traditional events. In contemporary Turkmenistan, the yurt has gained symbolic importance. It is actively used in festivals, weddings, national holidays, and official receptions. Its image appears frequently in decorative arts and architecture – some modern buildings incorporate domed elements reminiscent of the yurt’s shape. Grand cultural centers resembling yurts have been constructed in each of Turkmenistan’s five velayats (regions) to host major events. For example, Turkmenistan celebrates Novruz Bayram in a designated area called «Ak yayla,» which includes the «Ak oy» building. The trend of returning to traditional architecture is evident in the fields of ethnographic and ecological tourism. Several hotel complexes and tourist areas in the Karakum Desert and mountainous regions offer overnight stays in authentic yurts, ensuring basic comfort. This provides visitors with the opportunity to experience living heritage and the unique aspects of the traditional lifestyle of the people. Therefore, the national yurt acts as a bridge connecting the past with the present, linking the roots of Turkic civilization to the modern world of the 21st century. Turkmenistan’s policy on protecting intangible cultural heritage focuses on conserving yurt-making skills and related crafts such as carpentry, wool felting, carpet weaving, and embroidery. The knowledge and techniques for constructing yurts are transmitted through family traditions and craft schools. The government supports the systematic documentation of traditional technologies, while scientific seminars and A ritual aimed at treating the mentally ill by exorcising evil spirits existed among many Turkic peoples. Dhikr was performed collectively; each movement was accompanied by vocal shouts and served a functional purpose. The genre was especially prevalent in Sufi orders. “Since ancient times, musical traditions of different peoples have coexisted and interacted in Central Asia: Kazakhs, Kyrgyz, Turkmens, Uzbeks, Tajiks, Central Asian Gypsies, Bukharian Jews, Uighurs, Tatars, Arabs, etc. Together, they formed a multicolored and unique musical world of the region” [Glazunova (2016), 100]. Over time, the sacred foundation of the ritual faded, and the genre began to function as a talisman. The rite, originally used for spiritual purification, acquired a new meaning in the mid-twentieth century, becoming a kind of talisman [Abubakirova (1977), 82]. Its performance during the formation of a young family, the birth of a child, the construction of a house, the purchase of a new boat, etc., began to express functions similar to benedictions. Gradually, the religious ritual assumed a new status, aimed at elevating people’s emotional spirit, ensuring peaceful coexistence, and blessing good deeds. The movements accompanying the genre and the characteristic cries of “kusht, kusht” determined its new name – Kushtdepdi (literally “stomp”). The content of Kushtdepdi’s chants – ghazals – is closely related to the people’s history and way of life. In the past, hikmets of Khoja Ahmed Yasawi, as well as various incantations against the evil eye, were often used as a poetic basis for ghazals. In modern times, the poetic texts are lines from lyrical poems by Turkmen classical poets or poeticized wishes and words of blessing [Küştdepmeler (1998)]. Turkmen ghazalchi (singers, performers of ghazals), typically possessing beautiful voices, usually have strong improvisational skills, allowing them to compose rhyming lines spontaneously on a given topic. The structure of the ritual dance includes several sections that have retained their traditional names: «Bir depim», «Uch depim», «Divana», «Sedrat», «Zem-zem». The sequence of these sections reveals the entire cycle of däl. Onuň ewolýusiýasy bolsa Zikr (Zikir) diýip atlandyrylýan ata-babalarymyzyň köp Hudaýlylyk däp-dessurlaryndan gelip çykýar. Geçmişde erbet ruhlary kowmak arkaly näsaglary bejermäge gönükdirilen däp- dessur žanrlary türki halklarynyň köpüsinde ulanylypdyr. Zikr köpçülikleýin ýerine ýetirilipdir, onuň hereketleri özboluşly ses bilen utgaşdyrylyp, her hereketiň öz wezipeleri bolupdyr. Bu žanr sopuçylyk ordenlerinde hem giňden ýaýrapdyr. “Merkezi Aziýada gadymy döwürlerden bäri dürli halklaryň: gazaklaryň, gyrgyzlaryň, türkmenleriň, özbekleriň, täjikleriň, Merkezi Aziýa syganlarynyň, Buhara ýewreýleriniň, uýgurlaryň, tatarlaryň, araplaryň we beýlekileriň aýdym-saz däpleri bilelikde ýaşap, özara utgaşdyrylýardy. Olar bilelikde sebitiň köp öwüşginli we özboluşly aýdym- saz dünýäsini emele getiripdiler” [Glazunowa (2016), 100]. Wagtyň geçmegi bilen zikr däp- dessurynyň keramatly täsiri ýitirilip, ol tumaryň wezipesini ýerine ýetirip başlaýar. Ruhy taýdan tämizlemek maksady bilen ýerine ýetirilen bu däp-dessuryň XX asyryň ortalarynda täze mazmuna eýe bolmagy, täze žanryň emele gelmegine getiripdir [Abubakirowa (1977), 82]. Hoşniýetli öwüşginleri beýan edip, bu žanr täze maşgala dörände, çaga doglanda, jaý gurlanda, täze gaýyk satyn alnanda we ş.m. pursatlarda ýerine ýetirilýär. Şeýlelikde, gadymy dessuryň dini wezipeleriniň kem- kemden üýtgedilmegi, onuň hoşniýetli işlerde parahatçylykly we bereketli ýaşamaga gönükdirilen täze mazmuny eýelemegine getirdi. Žanr indi tansyň dowamynda ýerine ýetirilýän “Küşt, küşt” sözlerden ugur alyp, “Küştdepdi” (“ýer depmek”) diýen täze ada eýe boldy. Kuştdepdiniň gazallarynyň mazmuny halkyň taryhy we durmuşy bilen baglanyşyklydyr. Geçmişde gazallarda şahyrana esas hökmünde esasan Hoja Ahmet Yasawynyň hikmetleri hem-de dürli dogalary ulanylypdyr. Häzirki döwürde şahyrana tekstler türkmen nusgawy şahyrlarynyň liriki goşgularynyň setirlerini ýa-da şahyrana dilegleri öz içine alýar [Küştdepmeler (1998)]. Owadan sesli türkmen gazalçylary (gazaly ýerine ýetirijiler), adatça, gowy improwizator

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