International scientific conferences dedicated to the 200th anniversary of Mollanepes, 350th anniversary of Nurmukhammed Andalip, 300th anniversary of Magtymguly will become a historical event in our country. These decisions are the basis for a through study of our literary heritage. It should be noted that the themes, ideas, certain plots in the works of the Eastern masters of the word took place among the great Turkmen masters of the word Dovletmammed Azadi, Andalib, Shabende, Sheydayi, Makhtumkuli, Magrupi. According to their works it is known that they played a big role in explaining the ideas of socialism. One of such works of ours is Turkmen poems. The XVIII century is the era of the development of poems in the history of Turkmen literature. In this century, Turkmen poets created a large group of poems. Art began to decline in the 19th century. In the 19th century “Leyli-Majnun”, “Yusup-Zuleikha”, “Zeynelarap”, “Babaroushen” written by Nurmukhammed Andalip “Yusup-Ahmet”, “Dovletyar” “Shamelek-Metkhaldzhemal’ written by Gurbanguly Magrup “Gul-Bilbil”, “Shabahram”, “Khojamberdi Khan” written by Abdulla Shabende, “Gul-Senuber” written Sheidai became the favorite works of the inhabitants and to this day does not fall from the lips of the people. In our Turkmen writings, one of the topics for study is the creation of literary images of Turkmen women. Their images are decorated with national traits such as natural beauty, prudence, wisdom, moral purity, patriotism, humanism, which were characteristic of the soul of our ancestors. They were beautiful not only with their beautiful faces and national costumes, but also with the richness of their spiritual world.

Here in these poems, one of the things that should be studied is the development of the image of the traditional life of women. Certainly, both in folklore and in early classical literature there is an image of traditional Turkmen women. In fairy tales, legends and in various stories, women show themselves with their intelligence, diligence, business abilities, and resourcefulness. In such fairy tales as “The Poor’s Daughter Guljahan”, “Akpamyk”, “Dear Stepmother”, in the legend of Novai, Magtymguly and Kemine and in other stories, you can find many such artistic images.

In the ancient Oguz epic “Gorgut ata” Burla khatun, Banuchechek, in the epic”Gorogly” Gulendam, Aisoltan, in the poem “Shasenei-Garyp” by Shasenem, Akja kelin were depicted as they were in ordinary life. They contain the characters characteristic of Turkmen women, such as spiritual and moral values, wisdom, high humanity, high love for the Motherland, country, amazing beauty. But what has been said means that the Turkmen poets of the 18th century had examples from the past for creating images of women in their poems.

The development of such vitality in Turkmen poetry has not left its influence on Turkmen poetry. Written in this century in many poems you can see the movement of ordinary Turkmen women.

In XVIII century, Gurbanaly Magrupi and Abdilla Shabende contributed greatly to the development and enrichment of Turkmen sculpture. They brought some innovations to painting, including creating artistic images of brides.

Magrup’s essay “Yusup-Ahmet” praises military heroism, bravery, bravery, patriotism, and humility rather than arrogance. Yusup and Ahmet, being young, did not listen to the words of their uncle Bozagan Khan, overestimated their own strength, became arrogant, ignored the enemy, and faced great misfortune. They are taken captive by the Beautiful King and imprisoned for seven years. Then they experience a lot of oppression and realize their own mistakes. But it is late. In any case, Yusup and Ahmet, Shaile and Babagambar and others continue their struggle for freedom, independence, and the preservation of the independence of the country and the people. Brides are not left out in those struggles.

When Yusup, Ahmet, and Babagammar were lying alone in the dungeon, Karagöz, the daughter of the jailer, Hemze Mirsheb, came to them and received news from them. Joseph asked him to bring wood and stone so that he could build a pillar. He fulfills their request. Religion is not that either. Garagoz also brings them forty-one ingots. And then he looks at those in the dungeon. He does not deprive them of anything to eat and drink, but brings them curds and other necessities. This is what is said when you say:

“Hamze mirsheb had a daughter named Garagoz. She was a pure, bright, beautiful figure with a delicate body. One day that girl came and looked into the dungeon. She saw Yusup beg and Ahmet beg there and bowed to them…

Then Yusup Beg looked at it and said:

- O beauty! We are musicians. We are stuck in this dungeon and we are very dirty. Go, if you would bring me a wheelbarrow, or a mulberry tree, and a piece of silk, we would make it a mulberry tree, and we would make you a lot of trouble! – he said. After that, Karagoz Khan:

- Good luck! – he brought her fur, silk, and silk. He tied them together with forty-one ingots and threw them into the dungeon. At that time, Grandfather immediately jumped up, grabbed the hair with both hands, rubbed the hair over his eyes, then took the tesh in his hand and sat down. Babagammar cut down that tree and finished it. Ahmet beg opened the lid of the door. Joseph closed the curtains of the tent. They ate a fat meal, knocked on the doors of the house, looked at Garagoze and said something.

Let’s see with secret!

I loved you, Karagoz!

Let’s cut and salt my liver,

I have no more patience, Karagoz!

Karakoz then keeps in touch about the state of Yusup, Ahmed, Babagammar:

“… Karakoz Khan saw the beauty of these bays and left satisfied with a calm soul. She came home, cooked nine two- layer cakes, sprinkled with sugar on top, dedicated one ten to Yusuf Bey, dedicated the other nine to Ahmet Bey, and after preparing six cakes for Babagammar, she brought them with a ribbon for hair, handed over from the prison.

Threshold Karakoz, not being afraid of his father, the ruler of the country of King Gozel, sympathizes with Yusuf, Akhmet, Babagammar who ended up in prison. She knows that the case is serious and if this becomes known, she faces a big punishment and she makes sure that they do not suffer. She does everything possible so that they go free. here the deep meaning of the image of Karakoz is revealed. Her noble humanity, philanthropy, resourcefulness, courage, generosity, generosity are fully revealed. Karakoz help Yusup and Akhmet, as the most devoted fan would help, he takes under his wing. karakoz fear against the involuntary holding of a person, the humiliation and trampling of rights. There is no condescension in this image. Even if she is the daughter of a dungeon, she gives the impression of a simple girl of the people. Her life force is also strong.

The artistic image of Karakoz can be considered the most unique Artistic image in Turkmen writings.

The poem “Yusup and Ahmet” describes the life image of many women. They empathize with Yusup and Ahmed when they were in prison for seven years, worry about their path to freedom.

Yusup Beg is the governor of Khiva! He marries Erali Khan’s daughter Gulkhatyja. When Yusuf goes to prison, Gulkhatyja sends his giant cranes from the henhouse to bring a message. The cranes came to Mosul, the land of the beautiful king. Yusup, Ahmet and Babagammar go to the sleeping dungeon and return safely. After Külkhatija found out that their souls are resting in peace, the souls of Yusub’s mother Lagly and her sister Abadan are also resting. They wish for them to get out of prison and return safely to their country.

In this place, Gulhatija tries to dream of Yusup and Ahmed sending orders to find out how and where he is. But in the early times, they sent messages to distant lands through birds. In any case, this incident does not damage the vitality of Gulkhatija’s artistic image.

It helps to understand that he is deeply concerned about the fate of the main characters, and that he is deeply involved in the events of the story. Mahlasy gives a name to Gulharija Yusuf and Ahmedin Dessan. When they are released from prison, Gulkhatija welcomes them with a big party. In general, Gulkhatyja’s brave actions remind the bride and groom in “Gorkut ata” and “Gorogly” scenes and “Sayatly-Hemra” scenes.

As we can see, the artistic image of the bride and groom in Magrupy’s “Yusup-Ahmet” essay is clearly depicted, and they are deeply interested in the events described in the work. They are the freedom of the main characters. They do not hesitate to help in their struggle for independence.

From what has been said, studying the development of the literary and artistic image of brides in Turkmen dessans is one of the most important issues for today. Through these characters, it will be possible to encourage patriotism, philanthropy, loyalty, and humility in the younger generation. These characters and personalities of the brides are a model school. In our era of Great Revivals, one of the necessary tasks is to study the samples of our literary heritage.

1. Gurbanguly Berdimuhamedov. The spiritual world of the Turkmen – Ashgabat, 2020.
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6. Mashadova.  L. In Turkmen writings national images of Turkmen brides. Ashgabat, 2001.
7. Atayev. K. XVIII century Turkmen literature. Ashgabat, 2010.
8. I. Begmekov., P. Rejepov., M. Tuvakbayeva. Turkmen literature. Ashgabat, 2010.

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