S H A R Q M A S H ’ A L I
27
KARIM ULULU THE POPULAR POET, THE OUTSTANDING
REPRESENTATIVE OF NAKHCHIVAN’S ASHYG SCENE
RZAYEVA BENOVSHE
Phd, Azerbaijan National Academy of Science
Abstract. The article discusses the importance of studying the cultural heritage of the ancient Nakhchivan
region, which made invaluable contributions to the oral and written wing of our literature, no matter how
much the literary and cultural environment is analyzed horizontally and vertically.
The author once again draws attention to the fact that the essence of his analysis, carried out on the
example of the national poet Ululu Karim, who lived and worked in Nakhchivan, is deeply rooted, and what
image he formed at the environmental level.
He emphasizes the vitality of the tradition, the mission of transmission and protection in the person of the
Great Karim, the content of which has been (perhaps even earlier) since the face of Dada Gorgud, this
environment, which is connected with the tradition of gopuz, saz.
The article tells about the creativity of Ululu Karim Zang, one of the most talented figures of Nakhchivan
ashugs, who was born in Zangazur district of Nakhchivan and settled in Shahbuz region of Nakhchivan.
The author explains that the poems of the national poet Ululu Karim have been published in several
collections and books, and his poems are related to the literary heritage of other poets and do not provide
information about his life and work.
The article talks about the work done by the research scientist Ali Shamil in this field, who for the first
time clarified the life and work of the Great Karim.
Here, along with the study of the life and work of the Great Karim, the issue of the true ashug of the artist
has not been forgotten, and its main direction has been identified.
The article notes that the literary heritage of the Great Karim has a great value as a person who
contributed to the development of Azerbaijani ashug art and the development of ashug poetry. The article
shows that the activities and poetry of the Great Karim are an example and source for the ashugs and folk
poets who came after him.
Keywords and expressions: Ululu Karim, folk poet, ashug environment, literary heritage, saz, artist,
narrator, researcher, scientist.
Аннотация. Мақолада адабиётимизнинг оғзаки ва ёзма томонларига ҳисса қўшган қадимий
Нахчиван минтақасининг маданий меросини ўрганиш қанчалик муҳим эканлиги, адабий ва маданий
муҳит горизантал ва вертикал равишда таҳлил қилинган. Муаллиф Нахчивинда истиқомат қилиб,
ижод қилган халқ шоири Улулу Карим мисолида олиб борилган таҳлилнинг моҳияти чуқур илдиз
отганига ҳамда атрофлича қандай образни шакллантирганига яна бир бор эътибор қаратган.
У анъананинг ҳаётийлигини, Буюк Карим шахсидаги узатиш ва ҳимоя қилиш миссиясини
таъкидлайди, мазмуни Дада Қўрқуднинг юзидан бери бўлган (эҳтимол ундан ҳам илгари), гопуз, урф-
одатлар билан боғлиқ бўлган муҳитни таҳлилга тортган. Мақолада Нахчиваннинг Зангазур тума-
нида туғилгани ва Нахчиваннинг Шаҳбуз вилоятида истиқомат қилгани нахчиваний тарафдор-
ларидан бири Улулу Карим Зангнинг ижоди ҳақида ҳикоя қилинади.
Муаллиф халқ шоири Улулу Каримнинг шеърлари бир нечта тўплам ва китобларда нашр
этилганлигини ва унинг шеърлари бошқа шоирларнинг адабий мероси билан боғлиқлигини, унинг
ҳаёти ва ижоди ҳақида маълумот берилмаганлигини тушунтиради. Мақолада Буюк Каримнинг
ҳаёти ва ижодини биринчи марта аниқлаб берган тадқиқотчи олим Али Шомилнинг ушбу соҳада
олиб борган ишлари ҳақида сўз боради. Бунда Буюк Каримнинг ҳаёти ва ижодини ўрганиш билан бир
қаторда, рассомнинг ҳақиқий “ашуғи” масаласи ҳам унутилмаганлиги унинг асосий йўналишини
аниқлаштириб берган.
S H A R Q M A S H ’ A L I
28
Мақолада таъкидланишича, Буюк Каримнинг адабий мероси озарбайжон аşıқ санъати ривожига
ва аşıқ шеъриятининг ривожланишига ҳисса қўшган шахс сифатида катта аҳамиятга эга.
Мақолада Буюк Каримнинг фаолияти ва шеърияти ундан келган ашуғлар ва халқ шоирлари учун
намуна ва манба эканлиги кўрсатилган.
Таянч сўз ва иборалар: Улулу Карим, халқ шоири, аşıқ муҳити, адабий мерос, саз, рассом,
ривоятчи, тадқиқотчи, олим.
Аннотация. Данная статья посвящена важности изучения литературно-культурной среды
древней Нахчыванской области, где родился и жил Улулу Карим - один из талантливых предста-
вителей азербайджанского ашугского искусства. Исследования автора осуществлены на основе
анализа его произведений, созданного им образов.
Произведения Великого Карима, посвященные жизни и творчеству современных ему литера-
торов, опубликованы в нескольких сборниках и книгах. Однако недостаточно сведений о жизни и
творческом пути самого народного поэта. В статье рассказывается о работе, проделанной ученым-
исследователем Али Шамилем, который одним из первых изучил жизнь и деятельность Улулу
Карима, исследовал его произведения.
Представляет большой интерес и личность поэта, которая послужила примером для его последователей.
Опорные слова и выражения: Улулу Карим, народный поэт, ашугская среда, литературное
наследие, исследователь, ученый.
Introduction:
Nakhchivan, one of the hottest centers of Azerbaijan's literary and cultural
environment, has historically formed a serious image as the cradle of art and culture. The purposeful
work done in the Autonomous Republic at the present stage is based on the high level of vitality of
this tradition. The literary and cultural environment of Nakhchivan, which has made invaluable
contributions to the oral and written wing of our literature, still needs to be analyzed, no matter how
much it needs to be analyzed horizontally and vertically.
Folklore is an incomparable treasure of the people. Their timely collection from memory should
be considered as the most rewarding work. Thanks to him, we can get in-depth information about
the richness of our masters, our national and spiritual wealth, the path of our people.
1
Our analysis on the example of the national poet Ululu Karim, who lived and worked in
Nakhchivan, once again draws attention to the fact that the essence is connected to sufficient depths,
and what image it forms at the level of the environment.
The content of this environment, which is connected with the traditions of Gopuz, since the time
of Dada Gorgud (perhaps even earlier), clarifies the vitality of the tradition in the person of the Great
Karim, the mission of transmission and protection.
Ululu Karim is one of the most talented figures of Nakhchivan ashugs who grew up in the hands
of folk poets. As a result of this talent, his rich creativity has been memorized in the ashug audience
and among the people for many years. Ululu Karim, who wrote his name in the history of the art of
ashug with various poetic examples, was immortalized in the memory as one of the most worthy
representatives of the previous tradition. The stories and legends told about him among the people
were the basis for his image as a kind of personality.
Interest in the life and work of this artist, who memorized languages in the style of legend, has
recently become more prominent in folklore. It is true that certain examples of his poems have been
published in separate collections, and opinions have been expressed about them. These necessary steps,
starting with S. Mumtaz, made it an important issue for folklore studies in the following decades.
1
Azərbaycan aşıqları, 1983, I cild, Bakı: Elm, 1983, s.312
S H A R Q M A S H ’ A L I
29
Purpose and objectives:
The article discusses the importance of studying the cultural heritage of
the ancient Nakhchivan region, which made invaluable contributions to the oral and written wing of
our literature, no matter how much the literary and cultural environment is analyzed horizontally
and vertically.
The author once again draws attention to the fact that the essence of his analysis, carried out on
the example of the national poet Ululu Karim, who lived and worked in Nakhchivan, is deeply
rooted, and what image he formed at the environmental level.
Results and reviews:
Ashig Suleyman, Ordubadli Karim, Ali Khankhanimoglu, Gulali Mammad,
Ashig Najafali, Ashig Mammadjafar, Ashig Abbas, Chobankarali Ashig Jafar, Ashig Fatulla, Ashig
Nabat, Sadarakli Ashig Yusif, Ashig Islam, Ashig Veli, Ashig Asadulla, Ashig Hidayat, Ashig Farru
The ashug environment of Nakhchivan, rooted in the rich artistic tradition of the poet Surkhay, Serraf
Gasim, Mammad Amrahoglu, Cherkez Fatalioglu and dozens of others, is inaccessible to masters such
as Dallak Murad and Ululu Karim. Systematic approaches to his environment, life and cycle are needed.
Y.Safarov, a researcher of the ashug environment in Nakhchivan, emphasizes with special sensitivity
the conclusion about this folk poet that “although he does not perform ashugs, he plays the saz well”.
Our research on the work of this folk poet has shown that his unparalleled performance at an open-
air music party amazed those around him. Thus, it is clear from the information we received that this
folk artist had the ability to play the saz, although he did not perform ashug. Fans of saz, who were at a
meeting with him in Erzurum, spread the word about this after returning to Nakhchivan. Speech, art
connoisseurs, master ashugs recited their poems at various meetings and gave information about those
who walked around. They even emphasized that although the national artist Ululu Karim did not play
the saz and hold a meeting, he was deeply acquainted with the spectacles of ashugism. His knowledge
of art and his ability to master the airwaves were the basis for his development as a master in this style.
The poetic examples that are still circulating in the repertoire of master artists are a clear example of this.
Various narrations about the life of the Great Karim, different emotions and stories circulating
among the people, conclusions about the environment and connections of judgments around his
name and pseudonym, as well as the fact that his poems are sometimes named after individual artists,
etc. He made it necessary for folklore studies to bring everything together. To clarify all this, we
began to take a close interest in the life and work of the Great Karim in the mid-90s of the last
century, ie the twentieth century. We have taken the path of bringing together written and oral facts,
and at the same time we have come together that there is an endless love of art and music in the
hearts of our people.
We have a variety of examples of poetry of the Great Karim (gerayli, goshma, ustadname, tajnis,
gifilband, etc.) and rich creative nature, which draws attention to his popularity as a folk poet.
Y. Safarov, one of the researchers of Nakhchivan ashug environment, writes: “It is believed that
Ululu Karim was born in 80-85 of the XVIII century in Ululu village of Zangazur region. According
to historical legends, he lived in the Shabuz region in his old age.
One of the most common of these considerations is the question of its longevity. Our long-term
research in the Shahbuz region has shown that this master lived in the late eighteenth and early
twentieth centuries and died at the age of about 120-125. The folk poet noted this in his poems
written in his old age.
1
The life and work of Dallak Murad, who is known as a master from the repertoire of ashugs, has
not been studied enough. While collecting samples of Ululu Karim's literary heritage in the area
1
Səfərov, Y. Naxçıvan aşıqları, el şairləri. Naxçıvan:Əcəmi, 2011, s.114.
S H A R Q M A S H ’ A L I
30
where he lived, it became clear from the information provided by the speakers that the father of this
folk poet was Dallak Murad. Thus, the issue of Ululu Karim's birth in the hearth of such a famous
folk artist as Dallak Murad clarifies a number of issues that remain obscure. The information that
Dallak Murad took refuge in the village of Yukhari Gishlag in the Shahbuz district of Nakhchivan
and then in the village of Gizil Gishlag in his old age and died there soon is very impressive.
Dallak Murad, a folk artist, and his son Ululu Karim are both masters of words and art who stand
on this level as a folk poet. There is a great need today to bring together the facts and
autobiographical information about their lives. Because these masters are the spiritual pillars,
thoughts and ideas of the ethnos and are rooted in a great and sacred mission.
During their time, artisans tried to fill the gap in the spiritual worlds of the working people with
their rich creativity. Ululu Karim, as well as Dallak Murad's works were the pearls of art that people
in need of the art of music learned with great love in their spare time. Because they were taxing
artists who expressed the inner world of the people, the rubab of their hearts. Therefore, they were
valued and exalted as lovers of the Truth. The source of the sayings about the Great Karim is also
connected with this idea, the people's endless love for masters.
In the poetry of Ululu Karim, place names are often found. In his poems, Ululu Karim, who
settled in the Shahbuz region, described the mysterious nature and beauty of this corner of his
homeland in a style typical of his art.
The poems of the Great Karim are as fresh and charming as nature itself. In his poems, he listed in a
kind of verse how he lived with the emphasis on nature. One of the most interesting poems of the master,
written on the motif of nature description, is “Mountains”. Both the originality of the couplet and the
development of a different point of view are connected with the creative originality of the Great Karim.
He describes the mountains in his arms as if embracing them with the love of a mother.
1
It is no coincidence that the Great Karim was in love with the Truth. In the contact with the narrators,
in the works of the folk poet, and in the legends about him that have come down to the present day, the
idea that the Great Karim is in love with the Truth is the main line. Throughout history, the people of
Azerbaijan have always treated art and artists with great respect and love. They lived with the idea that
“Ashug is the mother of the people”. The love of truth is the peak of its greatness. He always treated the
lover of truth with great respect and attention in the village. In the introduction to the epics “Kitabi-Dada
Gorgud”, these issues found their classic expression. “Oguz was a very knowledgeable person. Whatever
he said, he would tell different stories about the unseen. The Almighty would inspire his heart. “Gurbani,
Tahir Mirza, Ashig Garib, Abbas Tufarganli, Khasta Gasim and others. There are masters who have
gained fame as lovers of the Truth. Ululugyuu Karim is also one of the people of words and art with high
spiritual richness and innate talent. These qualities are due, on the one hand, to his high morals, culture,
and extreme politeness, and, on the other hand, to the formation of a high image as a man of wisdom
and enlightenment. His foresight, quick-wittedness, and ability to speak spontaneously gave him great
confidence and sympathy in the environment”.
2
The rich creativity and innate talent of the Great Karim form the idea that he also mastered the
sciences of his time. The language, stylistic possibilities, and stories told in his poems clarify his
knowledge of Arabic and Persian.
He is known as an experienced gardener, as well as an ancestral craftsman. In some statements,
his work as a gardener, the popularity of apricot and grape orchards everywhere, the methods and
1
Rzayeva, B. (2014). Naxçıvan aşıq sənəti tarixindən El aşığı Ululu Kərim. Naxçıvan: Qeyrət, 2014, s.30.
2
Cəfərli, M. Haqqa tapınan aşiqlər.Azərbaycan Folklor antologiyası, Bakı: Sabah, 1994, s. 30.
S H A R Q M A S H ’ A L I
31
rules of tree cultivation, and so on took place. All this gives a serious idea of his living conditions,
livelihood, hard work, commitment to the people’s way of life.
As for the publication of Ululu Karim's poems, one of the first to give information about him
was the great textologist Salman Mumtaz. In his book “Poets of the People” (the book consists of
two volumes), published in the Arabic alphabet in 1927-1928, he published information about the
Great Karim and examples of his literary heritage. However, the compiler did not provide any
information on who collected and wrote these poems. The work of Ululu Karim, one of the master
artists of the Nakhchivan ashug environment, has been in the memory from time to time, in the
repertoire of the people of the environment.
H. Alizadeh’s collections and compilations also contain examples from the works of the Great
Karim. In the first volume of the book “Azerbaijani Ashugs”, published in 1929, he wrote the poem
“Gardens of the Valley” by Ululu Karim. The alphabet was changed in Azerbaijan in 1929, it was
changed from the Arabic alphabet to the Latin alphabet. Salman Mumtaz republished the two
volumes in 1934-1935 with various additions and changes. Here, too, the folklorist showed special
sensitivity to the work of Ululu Karim. However, this publication mixes the poems of Ululu Karim
with the poems of Mujrum Karim. The poems “Seven”, “Widow”, “Gardens of the Valley”
belonging to the great Karim are named after Mujrum Karim. Another reason is the closeness of the
names of Ululu Karim and Mujrim Karim. Both are well-known folk poets of their time. He is one
of the people who wrote poetic examples in the style of folk poetry. It should be added that such
cases caused by narrator's mistakes can manifest themselves in folklore studies. Ululu Karim lived
mainly from the end of the 18th century to the beginning of the 20th century, while Mujrum Karim
lived in the 19th century.
1
A. Akhundov notes that Ululu Karim wrote appendices, masterpieces and locks, referring to the
poetic forms of oral folk art. The research scientist emphasizes that his poems gave impetus to the
formation of Azerbaijani ashug poems in the following periods, as well as the creation of new types
of epos genre. There is also information about the use of El Ashug’s poems as a masterpiece in our
epics in the following periods.
2
Interestingly, the shortcomings of the Great Karim are also found in later books. This book is the
work of Nakhchivan scientist (compiled by A. Bagirov) called “From the treasure of wisdom of
Nakhchivan”. In that book, Ululu Karim's “Who happened” package is named after his grandson
Karimgulu. It became clear from the information we received during our long-term research that
Karimgulu was not engaged in art, but continued pimping, which is the art of his ancestors. However,
Karimgulu was asked to recite poems by his grandfather Ululu Karim at parties. We wrote the story
of Ululu Karim about the creation (saying) of the famous “Who happened” package in 1996 on the
basis of information provided by a large number of speakers in the Shahbuz region.
Conclusion: Researcher-journalist Ali Shamil gave more accurate and detailed information about the
life and work of this folk artist. After getting acquainted with the book “Hyacinth” compiled by Professor
A.Jafarzadeh, he presented the folklore materials collected from Nakhchivan, Georgia (collected and
recorded by Ashig Amrah) to the folklorist. During the conversation, he also commented on the issue of
confusing Mujrum Karim with Ululu Karim. In 1985, Shamil published an article in the Sharg Gapisi
newspaper published in Nakhchivan entitled “Finding the Great Karimi”.
3
1
Mümtaz, S. El Şairləri. I cild Bakı: Azərnəşr, 1935, s.23.
2
Axundov, Ə. Telli saz ustadları. Bakı: Azərnəşr, 1964, s.43-44.
3
Şamil, Ə. Ululu Kərim haralıdır? “Qabaqcıl” qəzeti, 22 mart 1986-cı il, s. 35.
S H A R Q M A S H ’ A L I
32
On the basis of his further researches, the fine researcher published “Where is Ululu Karim?” In
1986 in “Shahguz” newspaper “Gabagcil”. He clarified the issue of the Great Karim with his articles.
According to the information received from the locals in the area where Ali Shamil lived at the
time of the poet, Ululu Karim's headstone was found by Mirza Alakbar in the cemetery of Gizil
Gishlag village and given to the Nakhchivan Ethnography Museum. Thus, the place of the Great
Karim's death has been confirmed as a fact. A. In his articles, Shamil emphasizes that he collected
the poems related to the Great Karim from different ashugs (A. Shamil writes that he clarified this
after asking thirty ashugs here) and presented them to the general public after making clarifications.
In the comparisons, he also clarified that some of the poems named after Vardanli Mujrum Karim
belong to the Great Karim.
1
In the 1st volume of the book “Azerbaijani ashugs and folk poets” (1983) Ululu Karim’s poems
“Widow”, “Olmaz” were incorrectly given as the poems of Mujrum Karim. There are cases when
the master’s poems are compared with Ordubadli Karim. For example, folklorist Y.Safarov in the
book of Nakhchivan ashugs and folk poets named the parcel of Ululu Karim “Seven” in the name
of Ordubadli Karim. All this is aimed at eliminating the existing mistakes and creating a whole
picture of the Great Karim. Recent processes in Azerbaijani folklore, sensitivity to the study of
regional folklore, research have been the basis for the elimination of such errors. The analysis related
to the Great Karim also clarifies the irreversibility of this process and regulates the activity of
folklore studies at the level of national thought.
All this is aimed at eliminating the existing mistakes and creating a whole picture of the Great Karim.
According to the masters, the Great Karim had three epics (“Garib’s of a Stranger”, “Garib
Reza”, “Ganny Abbas”). Among the stories and legends circulating among the people, the friendly
relations of the Great Karim with the ashugs also have an important place. For example, the master's
closeness and friendship with Ashig Najaf is a typical example of this. Ashig Najaf was originally
from Daralayaz district and later moved to Nakhchivan. Ululu Karim told him the tales of “Garib
Reza” and “Ganny Abbas” Both epics are widely used in the repertoire of Ashig Najaf.
It is clear from the words of the older generation that part of the poet's work was written by three
mullahs at his request. Unfortunately, at a time of illiteracy, these articles were not read and evaluated.
Despite all this, we have received more than 50 poems of this folk poet to date. Of these, 6 bayats,
5 garays, 33 attachments, 3 locks, 3 sofas, one identity card were registered. The poems of Ululu
Karim give a full picture of his high talent.
1
Rzayeva, B. Ululu Kərim həyat və yaradıcılığı. Monaqrafiya Bakı: Elm və Təhsil, 2020, s. 19.
