Ashugh Poetry
Ashugh poetry is a constituent part of Ashugh syncretic art (combines poetry, music, dance, declamation, improvisation). It is related to the work of ozans, folk narrators and musicians of the Turkic-speaking world (7th–12th centuries).
Ashugh poetry formed as a romantic lyrical genre. The very word “ashugh” (derives from Arabian word “ashik” — in love) expresses the theological idea of Sufism. Ashugh poetry was further enriched in terms of genre and theme by adding romantic-heroic adventure and social, religious and other motifs. Ashugh poetry is a specific literary occurrence. It represents a kind of synthesis of written literature and folklore. It is based on folk literature. The artistic thinking, versification, as well as worldview in it is equal to classical literature.
A distinction is made between urban and rural Ashugh poetry. When it comes to urban version, traces of urbanization and related events can be observed. As for the rural one, it is more traditional, characterized by realistic principles of vision.
Azerbaijani and Turkish Ashugh poetry was revived in the 18th century. The great figures of Ashugh poetry are: Qurban, Kul Mehmed (16th century), Abbas Tufarqanlı, Gevheri, Ashik Omer, Karaja Oghlan (17th century), Dertli, Seyran, Ashugh Aleskeri (19th century).
Ashugh poetry in the Georgian language is connected with Sayat-Nova. The existence of non-Georgian speaking Ashughs even before that is also likely. The growth of the eastern element in the population in Tbilisi formed the basis for this. After Sayat-Nova, Ashugh poetry had a wide arena in Tbilisi. Ashughs who traditionally spoke in three languages — Georgian, Armenian and Azerbaijani lived there (for example, Kichik Nova, Seyran, Budaghoglan, Shamchi Melko, Tujara and others). Most of the Ashughs of Tbilisi were of non-Georgian origin.
Georgian language Ashugh poetry has drastically lost its traditional appearance since the beginning of the 19th century.
Ashugh art gradually lost its public function in Georgia. This literary form no longer corresponded to the socio-political and public-cultural life of the country. In a way, it opposed the Georgian public thinking of the 19th century. A completely independent third type of literature emerged on its basis — urban poetry, which is called the poetry of Old Tbilisi.
Literature: გრიშაშვილი ი., თხზულებათა სრული კრებული ხუთ ტომად, ტ. 3, თბ., 1963; შაყულაშვილი გ., საიათნოვას აზერბაიჯანული ლექსები თეიმურაზისეული დავთრის მიხედვით, თბ., 1970; Намазов К., Азербайджанское ашыгское искусство, Баку, 1984; Араслы Н., Ашыг japaдычылыгы, Бакы, 1960; Кöрrülü M. F., Türk Sazşairleri, 1–2, Ankara, 1962.
G. Shakulashvili
