The Turkmen woman at all times not only admired and inspired men, but also on a level with them ruled the history of the people, created unsurpassed masterpieces of art, not forgetting their high mission of the house-keeper and wise tutor of children. In territory of Turkmenistan since V centuryBCpeople worshipped the great goddess-mother, the goddess of the earth, fertility and home,and thousands of the female figurines that have been found out by archeologists all over country testify to it. The cult of female deities has left deep scarsin the historical memory, mentality, culture and traditions of the Turkmen people. Legends and commitments tell about women - fighters, wise rulers who, being at the head of the state, showed uncommon courage and talent in military and peace affairs, creation of cities and fortresses.
In the book of famousTurkmen scientist O.Gundogdyev “Historical portrait of the Turkmen woman” it is said, that names of such valid for human civilizationmonuments are connected with women, among which are:Nisa - a patrimonial nest of Parthiankings, Kunyaurgench - capital of Khorezmshahsempire and ancient Merv–the capital of Seljuks’ state, and also other historical and cultural objects of Turkmenistan -Togolok-depe, Big and Small Gyz-kala, the mausoleums of Tyurabeg-hanym and Gyz-bibi, Daya-hatyn caravanserai. Among such relics - the mausoleum of Parav-bibi who, according to a legend was a courageous woman struggling with enemies.
“In any corner of Turkmenistan there will be people who can tell any legend about the sacred woman or the fine girl, - the scientist wrote. - allover country there are fortresses in which, allegedly, brave girls fought with enemies. Such fortresses are in territory Mary, Dashoguz, Lebap, and Ahal provinces. There is, for example, late medieval fortresses namedGyzlar-kala in Firyuza gorge and to the south of Gyavers settlement. With their motives these legends have something very close in common with Amazonian legends”.
Ancient historians have told the world about great women of those tribes with whom the earliest layers of complexethnogenesis of the Turkmen people are connected. From works of "the father of history”Herodotus, it is known about Tomiris (Tumar), the legendary queen of the Turkmen ancestors - massagets, living on the right bank of Uzboy river. Commander talent of Tomiris and her unusual will to win were really appreciated by contemporaries and descendants. According toXenephon, after beencaptured by Kir II, the king ofAmorgsaxons, his wife Sparetra has collected army, and having deduced in fight three hundred thousand men and two hundred thousand women, has won Kir.
The history and folklore have brought to us the data about brave queen of saxons - Sarin - the wife of king Kidrei. The legend about Rodogunyfeat - daughter of Parthian tsar Mitridat I is alsowidely known, whose magnificent marble statue has been found in Nisa, decorates a collection of the National museum of Turkmenistan. Therearea lot of women-rulers and fighters, who have entered the history in other timesthanks to wisdom, courage and great prestige. For example, Guljemal-khan –Merv woman-khan, who after death of husbandin 1880, the khan of Ahal oasis - Nurberdy, played a big political role among Mervteke tribes.
About high social status not only ofsuch known historic figures, but also usual Turkmens of that period wrote historian N. Latkin who in 1885 marked: “Teke woman is not a slave to the husband, as in other parts of the Muslim Asia, but arightful citizen having civil and political rightson a level with her husband. She does not hide face under a veil.Her influence is importantnot only in a family, but also in public affairs: her opinion is listened on a level with others. In this respect Turkmens have left behind all people of Asia and even Europe”.
After more than hundred years, another Russian scientist - the orientalist M. Morozova, after visiting Turkmenistan wrote: “It is especially necessary to tell about Turkmen women. They subdue with their unique beauty, bright national dresses, prideful posture - and all this in need of performance truly unreasonable duties on maintenance of big family, education of children, respectful attitude to husband and parents, besides execution of labour-consuming industrial loadings out of door - in the field, at factory, in education system and medicine, in public service. The Turkmen woman, in my opinion, is decoration of the Turkmen nation, and the merit (it is like east wisdom) of other part of population, as well as the present government in respectful attitude to woman, and through her - in careful and attentive attitude literally to each member of Turkmen family”.
About invisible cultural-genetic relation of modern Turkmen women with their ancient ancestress testifies their clothes which, according to scientists-archeologists, “hitherto keep the shape amazingly close to clothes Hittite tsarinas and goddesses on ancient reliefs”, as well as jewelry adornments and headdresses.
Through centuries, the Turkmen women have carried the filigree art of carpet-weaving, felt mat making, national embroidery, which reflects their art talent, inexhaustible imagination and delicate taste. Moreover, they also creatively mastered those crafts, which traditionally were considered the man’s, in particular, the jewelry, demanding special skills of work with metal. Today the decorations created, for example, by woman-jeweller Ogulgerek Muradova, differ from traditional samples by refined gamut of blue and green tints, from the sated juicy colors up to tender-light.
Not only in crafts, but also in poetry, music, in other kinds of creativity, the Turkmen women created and create outstanding productions. So, poetic traditions of Turkmen poetesses of XVIII-XIX centuries Oraz-Mengli, Ak-Mengli, Sahib are continued by our contemporaries. Women have played special role in development of musical culture of the Turkmen people - from most ancient of its genres up to modern opera art.
Last year, in Internet comments concerning the statement of the Government program of gathering, research and preservation of national non-material cultural heritage for 2015-2020, one of participants of discussion has written: “I only once heard a Turkmen lullaby - a song, which was sung to child by the woman from rural settlement. Till now, I remember the sensation of something ancient sorcery, something national magic. Has fallen asleep not only the child, but also all adults in hospital chamber. I think that exactly such non-material values first of all need in protection”. Obviously, it is a question about huvdi - widely known genre of national musical creativity. Women also created music, and inspired professional composers for creation of musical productions such as operas “Ayna” of Dangatar Ovezov, “Sona” of Aman Agajikov, “Abadan” of Ashyr Kuliyev.
National traditions and legends about outstanding abilities of Turkmen women in singing and playing dutar, where they quite often surpassed the well-known men-performers, were confirmed by known musicologists, in particular, V.Belyayev. Such productions as poem of Kerim Kurbannepesov “Comntest” or story of Osman Ode “the Thirteenth harmony” are devoted to legendary women-bahshi.
Communication between talent of unsurpassed Turkmen carpet-weavers and skilful performer of Turkmen music on dutar was finely noticed in the book of President Gurbanguly Berdimuhamedov “Bakhshi – the heralds of national happiness”: “Tying of thousands small knots, forming refined ornament of carpet, is similar to even alternation of the melodic and rhythmic elements, making a musical canvas of dutar sounds”.
Among those, who continued the art of legendary women-bahshi, in this book, it was mentioned Nurjemal Adiyeva (1917-2004), Sulgun Meretgeldiyeva (1920-2002), Akjegul Myradova (1924-2004) - one of the first women-performers of destan, Nabat Nurmuhamedova (1926-1992) and our contemporaries, who are continuing their art - the winner of the International award named after Mahtumkuli Annajemal Nurmuhamedova, national actress Turkmenistan Lale Begnazarova, Shemshat Hojayeva. To them it was devoted the lines from the book of the leader of nation: “It is pleasant to see on national television and radio channels “Turkmen ovazy”, “Miras” and “Ovaz” on level with young men actively performing representatives of beautiful half, excellently playing most complicated samples of folk music”.
Whole classical Turkmen literature and poetry is literally filled with love and worship for beautiful half of the society. The cycle of lyrical verses of Mahtumkuli about Mengli, creativity of “the padishah of love” Mollanepes represent brilliant samples of poetry of national geniuses, who were inspired by women.
The relation to woman was also reflected in Turkmen proverbs and sayings - in this encyclopedia of popular wisdom. Underlining that the woman is the beginning of all beginnings, Turkmen say: “Bolduran hem aýal, güldüren hem aýal” (“It is woman who gave the birth and made to be glad”). “Without wife there is no happiness, without son - well-being”, “Good daughter follows the mother’s example”, “If you lost father – cry a day, if mother - cry whole life” – these and many other Turkmen proverbs and sayings tell about family values, about role and value of the woman, especially mother.
Created by the people and passing from generation to generation the parables about mother’s heart, about miracle force of mother’s prayer have formed among Turkmen the respectful and quivering attitude to mother, who even in informal conversation quite often is named their sanctuary.
In the book of famousTurkmen scientist O.Gundogdyev “Historical portrait of the Turkmen woman” it is said, that names of such valid for human civilizationmonuments are connected with women, among which are:Nisa - a patrimonial nest of Parthiankings, Kunyaurgench - capital of Khorezmshahsempire and ancient Merv–the capital of Seljuks’ state, and also other historical and cultural objects of Turkmenistan -Togolok-depe, Big and Small Gyz-kala, the mausoleums of Tyurabeg-hanym and Gyz-bibi, Daya-hatyn caravanserai. Among such relics - the mausoleum of Parav-bibi who, according to a legend was a courageous woman struggling with enemies.
“In any corner of Turkmenistan there will be people who can tell any legend about the sacred woman or the fine girl, - the scientist wrote. - allover country there are fortresses in which, allegedly, brave girls fought with enemies. Such fortresses are in territory Mary, Dashoguz, Lebap, and Ahal provinces. There is, for example, late medieval fortresses namedGyzlar-kala in Firyuza gorge and to the south of Gyavers settlement. With their motives these legends have something very close in common with Amazonian legends”.
Ancient historians have told the world about great women of those tribes with whom the earliest layers of complexethnogenesis of the Turkmen people are connected. From works of "the father of history”Herodotus, it is known about Tomiris (Tumar), the legendary queen of the Turkmen ancestors - massagets, living on the right bank of Uzboy river. Commander talent of Tomiris and her unusual will to win were really appreciated by contemporaries and descendants. According toXenephon, after beencaptured by Kir II, the king ofAmorgsaxons, his wife Sparetra has collected army, and having deduced in fight three hundred thousand men and two hundred thousand women, has won Kir.
The history and folklore have brought to us the data about brave queen of saxons - Sarin - the wife of king Kidrei. The legend about Rodogunyfeat - daughter of Parthian tsar Mitridat I is alsowidely known, whose magnificent marble statue has been found in Nisa, decorates a collection of the National museum of Turkmenistan. Therearea lot of women-rulers and fighters, who have entered the history in other timesthanks to wisdom, courage and great prestige. For example, Guljemal-khan –Merv woman-khan, who after death of husbandin 1880, the khan of Ahal oasis - Nurberdy, played a big political role among Mervteke tribes.
About high social status not only ofsuch known historic figures, but also usual Turkmens of that period wrote historian N. Latkin who in 1885 marked: “Teke woman is not a slave to the husband, as in other parts of the Muslim Asia, but arightful citizen having civil and political rightson a level with her husband. She does not hide face under a veil.Her influence is importantnot only in a family, but also in public affairs: her opinion is listened on a level with others. In this respect Turkmens have left behind all people of Asia and even Europe”.
After more than hundred years, another Russian scientist - the orientalist M. Morozova, after visiting Turkmenistan wrote: “It is especially necessary to tell about Turkmen women. They subdue with their unique beauty, bright national dresses, prideful posture - and all this in need of performance truly unreasonable duties on maintenance of big family, education of children, respectful attitude to husband and parents, besides execution of labour-consuming industrial loadings out of door - in the field, at factory, in education system and medicine, in public service. The Turkmen woman, in my opinion, is decoration of the Turkmen nation, and the merit (it is like east wisdom) of other part of population, as well as the present government in respectful attitude to woman, and through her - in careful and attentive attitude literally to each member of Turkmen family”.
About invisible cultural-genetic relation of modern Turkmen women with their ancient ancestress testifies their clothes which, according to scientists-archeologists, “hitherto keep the shape amazingly close to clothes Hittite tsarinas and goddesses on ancient reliefs”, as well as jewelry adornments and headdresses.
Through centuries, the Turkmen women have carried the filigree art of carpet-weaving, felt mat making, national embroidery, which reflects their art talent, inexhaustible imagination and delicate taste. Moreover, they also creatively mastered those crafts, which traditionally were considered the man’s, in particular, the jewelry, demanding special skills of work with metal. Today the decorations created, for example, by woman-jeweller Ogulgerek Muradova, differ from traditional samples by refined gamut of blue and green tints, from the sated juicy colors up to tender-light.
Not only in crafts, but also in poetry, music, in other kinds of creativity, the Turkmen women created and create outstanding productions. So, poetic traditions of Turkmen poetesses of XVIII-XIX centuries Oraz-Mengli, Ak-Mengli, Sahib are continued by our contemporaries. Women have played special role in development of musical culture of the Turkmen people - from most ancient of its genres up to modern opera art.
Last year, in Internet comments concerning the statement of the Government program of gathering, research and preservation of national non-material cultural heritage for 2015-2020, one of participants of discussion has written: “I only once heard a Turkmen lullaby - a song, which was sung to child by the woman from rural settlement. Till now, I remember the sensation of something ancient sorcery, something national magic. Has fallen asleep not only the child, but also all adults in hospital chamber. I think that exactly such non-material values first of all need in protection”. Obviously, it is a question about huvdi - widely known genre of national musical creativity. Women also created music, and inspired professional composers for creation of musical productions such as operas “Ayna” of Dangatar Ovezov, “Sona” of Aman Agajikov, “Abadan” of Ashyr Kuliyev.
National traditions and legends about outstanding abilities of Turkmen women in singing and playing dutar, where they quite often surpassed the well-known men-performers, were confirmed by known musicologists, in particular, V.Belyayev. Such productions as poem of Kerim Kurbannepesov “Comntest” or story of Osman Ode “the Thirteenth harmony” are devoted to legendary women-bahshi.
Communication between talent of unsurpassed Turkmen carpet-weavers and skilful performer of Turkmen music on dutar was finely noticed in the book of President Gurbanguly Berdimuhamedov “Bakhshi – the heralds of national happiness”: “Tying of thousands small knots, forming refined ornament of carpet, is similar to even alternation of the melodic and rhythmic elements, making a musical canvas of dutar sounds”.
Among those, who continued the art of legendary women-bahshi, in this book, it was mentioned Nurjemal Adiyeva (1917-2004), Sulgun Meretgeldiyeva (1920-2002), Akjegul Myradova (1924-2004) - one of the first women-performers of destan, Nabat Nurmuhamedova (1926-1992) and our contemporaries, who are continuing their art - the winner of the International award named after Mahtumkuli Annajemal Nurmuhamedova, national actress Turkmenistan Lale Begnazarova, Shemshat Hojayeva. To them it was devoted the lines from the book of the leader of nation: “It is pleasant to see on national television and radio channels “Turkmen ovazy”, “Miras” and “Ovaz” on level with young men actively performing representatives of beautiful half, excellently playing most complicated samples of folk music”.
Whole classical Turkmen literature and poetry is literally filled with love and worship for beautiful half of the society. The cycle of lyrical verses of Mahtumkuli about Mengli, creativity of “the padishah of love” Mollanepes represent brilliant samples of poetry of national geniuses, who were inspired by women.
The relation to woman was also reflected in Turkmen proverbs and sayings - in this encyclopedia of popular wisdom. Underlining that the woman is the beginning of all beginnings, Turkmen say: “Bolduran hem aýal, güldüren hem aýal” (“It is woman who gave the birth and made to be glad”). “Without wife there is no happiness, without son - well-being”, “Good daughter follows the mother’s example”, “If you lost father – cry a day, if mother - cry whole life” – these and many other Turkmen proverbs and sayings tell about family values, about role and value of the woman, especially mother.
Created by the people and passing from generation to generation the parables about mother’s heart, about miracle force of mother’s prayer have formed among Turkmen the respectful and quivering attitude to mother, who even in informal conversation quite often is named their sanctuary.
