THE ROLE OF USTAD ASHIQ HUSEYN SARACHLI IN THE DEVELOPMENT OF AZERBAIJANI ASHIQ ART

Abstract The article examines the Borchali ashiq school, one of the most famous schools of Azer­baijani ashiq art in the 20th century. In­formation is pro­vided about one of the grea­test represen­tatives of that school, the outs­tanding master of saz-words, Honored Cul­tural Worker of the Republic of Georgia Ashig Huseyn Sarachli (1916-1987), and his meaningful life path and rich creativity are studied. It is shown that the ancient Borchaly region, one of the most beautiful corners of the Caucasus, has his­torically been famous for its saz and word masters. It is no coin­cidence that the “Bor­chaly” saz melody, played on a koshma, was composed several centuries ago and has survived to this day as a memorization of languages. Our saz-word world, which has been growing since the past centuries to the present day, has dominated every inch and corner of Borchaly, has spread its feet and wan­dered from village to village, and continues to do so. As a result of this, our saz, roo­ted in Dede Gorgud, and our win­ged words, warmed by the breath of the “voice of the mouth” Ashiq Khin­di Mam­mad, the “building-free” Poet Nabi, Huseyn Alkhas­ağa, Poet Agacan, Ashiq Gorani, Ashiq Novruz Tahleli, Hasan Majruh, Muhaqqar, Ashiq Musa Garachöplü, Ashiq Teymur, the “khan of love” Sadıg, the “heart-adorning, tongue-twirling” Gushchu Ibrahim..., the great double wing of our Ozan world - the "king of the sazin" Dede Amrah and Ustad Ashiq Huseyn Sarachli, have been enlivened by the voices, and the "eagle-winged" Ashiq Kamandar has conquered high peaks with his saz. The article notes that Ustad Ashiq Huseyn Sarachlı had six children and fourteen disciples. He did not separate any of his disciples from his own children. Among them, Ahmad Sadakhli, Mahammad Sadakhli, Nuraddin Gasimli, Sadi Ulashli, Ashiq Murad and others were especially respected and selected among the people. Ashiq Huseyn Sarachli was indispensable in the art of Azerbaijani ashiq not only for his beautiful playing and singing of saz, composing poems and songs, but also for creating new saz melodies and epics, as well as for performing those melodies and telling epics. He created the epics "Gizil Dastan", "Kerem Burjoglu", "Baghdat dubeyti", "Gurbeti-Kerem" and other saz melodies. The chapters "Bringing Zarnishan Khanum to Chanlibela" and "Bolu Bey and Koch Koroglu" of the epic "Koroglu" were first written down in the narration of Ashiq Huseyn Sarachli. Ashug Huseyn Sarachli writes about the past and present, the joy and sorrow, the pain and suffering, the historical heroism of our native Borchal, our patriotic and hospitable compatriots living here with great poetic mastery, as if he paints the mysterious beauties of our Borchal with a painter's brush. As in classical ashug poetry, the motifs of love and affection are strong in Ashug Huseyn Sarachli. Understanding that life without love is empty and meaningless, the artist always called on his listeners to endure all kinds of suffering and pain in the path of love and affection. In his mukhamma "You Didn't Come", as well as in his songs such as "Yena", "Gelarem", "You Didn't Come", etc., the feelings of love that always elevate a person are clearly visible. Ashiq Huseyn Sarachli was a sociable, steadfast, and reliable friend throughout his life. He did not call just anyone a friend. He considered friendship very sacred, so he called on people to be wise and prudent when choosing and finding a friend. The late artist Ashiq Huseyn Saracli, who drew all his inspiration from the people and was immersed in the spirit of the customs and traditions of the people, also comes to life in the eyes of the people as a folklorist ashiq. In the spirit of the garaylis he wrote ("My Old Man", "Dede Shamkir", "Bulag", "Ele geder", etc.), folk creativity is beautifully felt. In the garaylis titled "Dağlarda", which he wrote in a simple and playful language, the people's migration from mountain to valley, the mood of the summer pastures, and the folk assemblies are beautifully depicted. The four karavellis ("The Balding Kosa", "A Camel, a Fox, and a Goat", "Can the Tahne Be Tinned?" and "Sagaltmaq the Elephant"), which were cooked in "Ustad Kurasi", are as interesting, funny and thought-provoking as their sayings. Huseyn Sarachly has always shown great interest in the genre of epics, which is widespread in ashug creativity. He knew well that telling epics is a more successful way to appeal to the artistic taste of the people at wedding and engagement parties, to talk about their historical heroes and great past. Therefore, Huseyn Sarachly had deeply assimilated our ancient heroic and love epics - "Asli and Kerem", "Koroglu", "Yusif and Zuleykha", "Gachag Nabi", etc., and had become their skilled performer. Ashiq Huseyn Sarachly was a unique artist in telling epics and conducting gatherings. He was such a powerful artist that he never told the epics he knew as they were. He always tried to sweeten the language of the epic, and sometimes even made beautiful additions to it when appropriate. In short, Ustad Ashik Huseyn Sarachli was, in the truest sense of the word, a creative ashik, a talented poet, and a master of his craft. He played an important role in the development of Azerbaijani ashik art.