About two Tatar tombstones of the 17th century. See what "Rahim Gali" is in other dictionaries

(real name Mukhammetgali Abdrakhimov; 1892-1943) - Tat. writer, literary critic. Genus. in the family of a merchant. He began to publish in 1912. He wrote stories, comedies, sonnets, lyric poetry. romances, fairy tales for children. Translated. Author of articles on the history of Tat. art, works on the history of the Turko-Tat. lit-ry.

Watch value Raheem Gali in other dictionaries

Gali- a city (since 1932) in Georgia, Abkhazia. Railroad station. 15.7 thousand residents (1991). Tea factories, essential oil plant. Theater, Museum of Local Lore.

Kul Gali- (Kol Gali) (c. 1183 - between 1236 and 1240) - Tatar poet. The poem "Kyssa and Yusuf" (1212, published 1839) affirmed the ideals of good and justice as the highest meaning of human existence; was........
Big encyclopedic dictionary

Azimov, Rakhim Azizboevich- Former representative in the Federation Council of the Federal Assembly of the Russian Federation from the executive bodies of state power of the Komi Republic (2002-2003); born on August 16, 1964 .........

Akhverdov, Abdul-rahim-bey- is a modern Turkic writer. Genus. in 1870 - in the city of Shusha, where he received his secondary education. At one time he was a member of the State Duma from Gandzhin (formerly Elizavetpolskaya) ........
Big biographical encyclopedia

Valiullin, Gali Fayzrakhmanovich- General Director of the National Museum of the Republic of Belarus; born on September 25, 1951, p. Starosubkhangulovo, Burzyan region of the BASSR; graduated from the Saratov Higher Military Engineering ........
Big biographical encyclopedia

Ganiev, Gali Gazizovich- Head of the oil and gas production department "Bavlyneft" of JSC "Tatneft"; born on October 1, 1947; Graduated from Kazan Institute of Chemical Technology in 1971, Ufa ........
Big biographical encyclopedia

Muhammad-rahim- (d. 1758) - founder of the Mangyt dynasty in Bukhara. In 1747-48 it became a fact. ruler of the Bukhara Khanate, killing the last representative of the Ashtarkhanid dynasty. In 1753 he took the title ........
Soviet Historical Encyclopedia

Mazitov, Gali Akhmetovich- (born 09/14/1912) - navigator, Hero of the Soviet Union, guard lieutenant colonel. Member of the Great Patriotic War since June 1941. He fought in the 3rd Guards. addd, was a senior navigator ........
Big biographical encyclopedia

Sakhauv, Gali Gadievich- General Director of "Bashplempredpriyatiya" RB; born on February 26, 1950, p. Kirghiz-Miyaki of the Miyakinsky region of the BASSR; graduated from the Bashkir Agricultural Institute, ........
Big biographical encyclopedia

Khaitov, Rakhim Musaevich- Corresponding Member of the Russian Academy of Medical Sciences (1991), Director of the Institute of Immunology; born on January 6, 1944; direction of scientific activity: biomedical technology, immunology.
Big biographical encyclopedia

Gali spent her childhood in a mansion on Yekaterininskaya Street (Tukay Street, 78), which belonged to his father, the second guild, merchant Mukhametshakir Bikchenteyevich Abdrakhimov (1854 - 1917). The entrepreneur, who was born in the village of Bolshie Meteski, Laishevsky Uyezd, and settled in the provincial center only at the end of the 19th century, was considered one of the most active and successful merchants, who spared no effort or money to strengthen his influence among fellow believers. He married the daughter of a wealthy Kazan merchant - Bibigaysha Iskhakovna Aituganova (1869 - 1899), who was a close relative of the famous Kazan dynasties - the Bigayevs, Usmanovs, Galikeevs, Gubaidullins. The social position of the merchant was strengthened also after his election as a vowel of the city duma, where he showed himself to be a competent and energetic figure who came up with various initiatives and proposals. Mukhametshakir Abdrakhimov, taking care of the fate of his well-established manufacturing business, tried to give his eldest son a good education. After the initial course at the Muhammadiya madrasah, Gali Rakhim in 1903, at the insistence of his father, entered the Kazan Commercial School, where he studied until 1913. However, the capable, dreamy young man was not at all interested in the career of an entrepreneur. He spent his free time reading books, secretly dreaming of devoting his life to literature.

While still within the walls of a commercial school, Gali wrote a fascinating, modern geography textbook for madrasah, which was published in 1909. This first experience of the young man's pen was almost immediately noticed by the recognized masters of Tatar culture. Galiaskar Kamal, who devoted a special review to the book, spoke with enthusiasm about the talent and artistic taste of the author and predicted a great future for him. The support and blessing of the outstanding playwright inspired Gali, who at that time had already begun to try his hand at prose, drama and poetry. Before the revolution, he managed to gain some fame as a children's writer, publishing stories based on plots and images of folk tales in the Ak Yul magazine.

M. Magdeev, the first serious researcher of G. Rakhim's work, especially emphasized his striving for aesthetic reflection of the natural harmony of man and nature, a somewhat detached attitude to burning social problems. In the same years, Gali paid serious attention to the genre of literary criticism, appeared in print with large theoretical works devoted to the history of national folklore.

However, despite the obvious successes of his son, Mukhametshakir Abdrakhimov did not want to hear anything about his specialization in the scientific and creative field. The zealous owner still saw his firstborn at the head of a thriving family business. Therefore, after graduating from a commercial school, Gali Rakhim leaves for Moscow to study at a commercial institute. However, the talented writer was given an economic education with great difficulty, and after the death of his father in 1917, he immediately left the institute he did not like and returned to Kazan.

After the revolution, the name of Gali Rakhim sounded among the most venerable masters of the word. However, even in this hot time, he kept aloof, deliberately avoided noisy rallies and meetings, tried not to get involved in the then so popular uncompromising disputes and disputes. It seemed that the writer, carried away only by artistic creativity, simply did not notice either bloody clashes on the streets of his native city, or the endless change of power, or the impending devastation and hunger. But this is only at first glance. Deeply experiencing the collapse of the old world, condemning the deliberate incitement of class hostility in society, Gali Rakhim could afford cooperation in the “counter-revolutionary” newspaper “Kurultai” and careless statements about the lack of logic and reason in the revolution. His plays and prose of that period were distinguished by their defiant apoliticality.

A real scandal in the "red" criticism was caused by the appearance in 1921 of the story "Idel", which G. Rakhim completely devoted to the reflections of the old regime Tatar intellectual in the troubled pre-revolutionary era. For true connoisseurs of real literature, it aroused a barely hidden delight, as it reminded the best works of the young F. Amirkhan with their refined style, subtle psychologism and powerful intellectual energy. Gali Rakhim, who boldly declared his loyalty to classical traditions, became, probably, the last singer of individual human freedom in the Tatar prose of the Soviet period.

Of course, in a rapidly ideologized cultural environment, there were no prospects for such creative searches. Therefore, the writer completely switched to historical and philological research. Together with his cousin, the famous scientist Gaziz Gubaidullin, he writes fundamental works on the history of Tatar literature, is engaged in research in the field of linguistics, folklore studies, archeology, and pays great attention to the issues of the formation of Tatar musical art. He is also known as a translator of the masterpieces of world literature into the Tatar language.

Gali Rakhim had a great personal and creative friendship with the first Tatar composer Sultan Gabashi. Their peers, who were left without mothers early, who grew up in wealthy families and received a European education, they lived with only dreams and aspirations, were equally burning with the dream of the cultural progress of their people. Their most famous work is the famous romance "The Cuckoo". The words to him were Gali Rakhim's poetic dedication to his beloved, one of the most beautiful girls in the Tatar settlement, Gayshe Apanaeva. She became the first performer of the romance at a literary and musical evening organized by the Muslim youth of the city. In 1919, S. Gabashi wrote a number of musical numbers for the play by G. Rakhim “Dzhanvar”.

In the mid-twenties, after the resounding success of the first Tatar opera Sania, Gali and Sultan decided to write a new work based on the oriental legend Buz Yeget. However, after the creation of the libretto, it became clear that, for ideological reasons, the appearance of such an opera was impossible. So, the aesthetic predilections of a talented writer again seemed dangerous to someone, and he again found himself out of work.

The modest, quiet, silent assistant professor of the Pedagogical Institute, Gali Rakhim, with his ostentatious and therefore not very sincere loyalty to the new order, constantly aroused the interest of the relevant authorities. He was persecuted already in the early thirties, in the first wave of mass repression. Alien social origin, interest in medieval Tatar culture, just independence of thoughts and judgments inevitably led him to a prison cell.

Gali Rakhim, like almost all of his relatives, friends and associates, was doomed. Even an accidental release did not save him from another arrest and death in one of the Stalinist camps. So the cruel regime mercilessly dealt with one of the most talented heirs of the Tatar spiritual revival of the late 19th - early 20th centuries.

In the summer of 1927 and 1928, I had to examine a significant number of ancient Tatar tombstones within the Arsk canton of the TSSR. In total, I have registered, described and partly photographed up to 50 monuments, in most cases dating back to the 16th century, among which there are a number of stones dating from the late 15th and early 17th centuries.

Since I am preparing a separate article with a detailed description of all the monuments I have found, this time I will focus on only two rare stones of the early 17th century.

The seventeenth century was marked in the history of the Tatars by the decline of the economic and, therefore, cultural life of the ruling classes. In the second half of the 16th century, after the conquest of the Kazan Khanate, the former ruling classes of Tatar society, represented by the clergy and the secular agrarian-military aristocracy, suffered a final defeat on the part of the advancing Moscow merchant capitalism. Their large latifundia were confiscated; in quantitative terms, the landed aristocracy suffered a terrible decline during the permanent uprisings that followed after the capture of Kazan; finally, a huge part of the feudal landowners were baptized in order to preserve their economic position, thus giving rise to many Russian noble families. The remnants of the Tatar agrarian aristocracy, curtailed in political rights, retaining land ownership only in the provinces remote from the main river arteries and, therefore, from the grain market, were doomed to drag out a rather miserable existence. The adaptation of this class to the new conditions of the developing capitalist trade system in the country began somewhat later.

Therefore, a very small number of burial monuments dating from the 17th century have survived to us. Expensive monuments could be erected only by economically powerful strata of the population, and all epigraphic monuments of this era, of course, were erected on the graves of representatives of the upper classes of society, mainly owners of estates in rural areas, princes and murzas.

The famous Tatar scientist of the last century Kayum Nasyri examined the ancient Tatar monuments of the Sviyazhsky, Tsivilsky and Cheboksary districts of the former Kazan province in the 70s. Among the many stones he described, we find only one, poorly preserved, monument of the 17th century from the Tatar village of Yamashevo, Cheboksary district, dated 1698. There are no other monuments of the 17th century in the literature known to me. All the more interesting are the two monuments described here, the last traces of the once flourishing culture of this Tatar feudal class, which was withdrawing into the history of history.

These stones are in the village cemetery Old Uzum, Novo-Kishitskaya volost, Arsk canton among four other stones dating back to the 16th century. This is not the first time I have published their texts. Referring to the letter of the Tatar scientist-historiographer Merjani, who examined the Uzum stones, Velyaminov-Zernov placed the texts of these monuments at the end of the first volume of "Research on the Kasimov kings and princes", and the text of one of them is not fully cited in Merjani's record.

One of the stones of interest to us (No. 1) is dated to the month of Zul-Hijjah 1018 of the hydjra, which corresponds to February-March 1610; the other (No. 2) is dated by the month of Muharram 1020, ie, March-April 1611. Thus, there is a difference between them only by 1 year. Both monuments are richly ornamented and, in all likelihood, were carved by the hand of the same master.

In their external form, these monuments are somewhat different from the usual type of stones of the 16th century. The first stone is carved from white limestone and stands out for its width relative to its height. It probably fell once and was planted a second time in the ground, so I had to dig up half of the last line of the inscriptions from the ground. The height of the above-ground part along the midline is 107 cm, width is 62 cm. A rather large piece on the left side of the stone broke off obliquely from top to bottom and got lost. But, since the stone is much wider than the area of ​​the inscriptions (80x32 cm), this defect did not damage the text, touching only the lower part of the ornamented border near them. The upper part of the stone does not have the usual semicircular shape, but is a drawing of a very wide flattened eastern arch with concave edges and a smoothly pointed top. (See Figure 1).

The second gray limestone monument has a completely different appearance. It has been given a slightly horseshoe-shaped, narrowed downward shape, slightly reminiscent of the Tatar headstones of the 19th century. The upper part is semicircular, slightly flattened and ending in a blunt point. In general, it has a more slender shape compared to the first. The height of the stone is 116 cm, the width is 50 cm (see Fig. 2).

On the front face of each monument, which is traditionally facing the east, 6 lines of relief inscriptions are carved. The inscriptions are framed by a convex frame 1 cm wide; the lines are separated from each other by the same stripes. On both sides of the inscriptions, a 7 cm wide border is carved, consisting of an ornament in the form of arabesques. The inscriptions are crowned with an almost triangular square with jagged edges, filled with pretentious oriental script. This upper ornament, which is almost identical on both sites, repeats the typical ornamentation of the Tatar monuments of the 16th century. Probably, it was copied by the artist from the older monuments located right there. The technique of execution and the drawing on our stones by no means show signs of decay.

The side arabesques, in their main motive, are noticeably different from similar decorations on the stones of the 16th century. On the latter, the border is usually narrower (5 cm) and is composed of a monotonous repeating floral motif with smooth curls, while on our stones wider border ribbons (7 cm) are decorated with elaborate floral ornaments alternating with cruciform rosettes. Such a motif, as far as I know, is not found on the stones of the 16th century. If we compare it with the simpler and more strict motives of the previous century, then, perhaps, here we can state a certain sophistication of tastes.

Now about the inscriptions. The inscriptions are made by a fairly good calligrapher in the late Thuluth style. Both monuments, no doubt, came from the hands of the same master. The first three lines on both stones, both in the text and in the calligraphic arrangement of individual words and their combinations, are completely identical. Crowded text in the bottom lines should be considered a significant disadvantage of the label layout. The artist somehow did not calculate the area of ​​the inscriptions and the length of the text. As we get closer to the bottom, the lines get narrower and narrower, the number of words placed on the same square increases, and the letter becomes smaller in proportion to this. In the lower frames, the text is placed definitely in the form of two parallel lines; the letter crumples, losing its calligraphic clarity and correctness of style.

The text on the face of stone # 1 is as follows:

Translation: "The God Almighty said: And no one knows in what land he will die. And the most glorious and Most High said: Everyone must taste death. The prophet said, let there be peace over him: The world is the field (on which the seeds are planted) of the last life. Dates: after a thousand years in the eighteenth year, in the blessed month of Zil-hijj, God have mercy on Mamai's son Shudyak. Amen, (oh) the lord of the worlds! "

On the reverse side of the slab, in an oblong incised quadrangle, there is the following convex inscription, quite elegantly executed in the Thuluth style:

"This slab was erected by his younger brother Chin-Bulat." (See Figure 3).

A traditional Arabic couplet is carved on the side, which is very often found on the side edges of old Tatar epitaphs:

"I see the world as a wreck par excellence;
He does not remain alone for a long time. "

The technique of the last inscription is rather sloppy and does not fully meet the requirements of the calligraphic style. (See figure 4).

By analogy with other epitaphs, the usual Turkish translation of the same couplet should be assumed on the left destroyed edge of the monument:

The second stone has the following inscription on the obverse:

Translation: "The Almighty God said: And no one knows what land he will die in. And the most glorious and Almighty said: Everyone must taste death. Dates: after a thousand years, in the twentieth year, it was yuchun Mu" min-Khuji Ulmes, may God Almighty have mercy " ...

On the side faces are the same verses as on the first stone. There are no inscriptions on the reverse side.

A few words in the penultimate double line of the main inscription are eaten away by time and difficult to parse. Merjani read this passage like this: ... It is absolutely impossible to agree with this reading. The word (son) is not here, especially since Ulmes is a well-known Tatar female name.

I read this dubious passage: moreover, the last word in me does not cause any doubts. Consequently, this is a word that defines the relationship of the deceased to Mu "min-Khudja. What does it mean?"

Raheem Gali (real name Mukhammetgali Abdrakhimov; 1892-1943) - Tat. writer, literary critic. Genus. in the family of a merchant. He began to publish in 1912. He wrote stories, comedies, sonnets, lyric poetry. romances, fairy tales for children. Translated. Author of articles on the history of Tat. art, works on the history of the Turko-Tat. lit-ry.

Encyclopedic Dictionary of Aliases... S. Kolosov. 2009.

• Raheem
• Raheem Ibrahim

See what "Rahim Gali" is in other dictionaries:

Africa Cup of Nations 2010- port. Copa das Nações Africanas de 2010 ... Wikipedia

MOBU Secondary School named after F. Karim of the village of Aitovo- MOBU secondary school named after F. Karim, school of the village of Aitovo (Bizhbulyaksky district of Bashkortostan). Director Shafikov Ilmir Rashitovich. Historical background Aitovskaya zemstvo school was founded in 1912. Aitovo has traditionally been a cultural center. Before ... ... Wikipedia

Transitional National Council of the Libyan Republic- Arab. المجلس الوطني الانتقالي Coat of arms ... Wikipedia

Mahmoudi, Baghdadi- Baghdadi Ali al Mahmoudi Arab. البغدادي علي المحمودي ... Wikipedia

Rajauri- City of Rajauri राजौरी Country IndiaIndia ... Wikipedia

List of Arabic names- This page is an informational list. See also main article: Arabic name Below is a list of Arabic names and names of Arabic origin. Contents ... Wikipedia

List of deputies of the Supreme Soviet of the USSR of the 6th convocation- # A B C D E F G H I J K L M N O P R S T U V W X Y Z Wikipedia

Africa Cup of Nations 2010 (line-ups)- Main article: Africa Cup of Nations 2010 The article is devoted to the squads of the national teams that take part in the Africa Cup of Nations 2010. Contents 1 Group A 1.1 Algeria 1.2 Angola ... Wikipedia

Stalin Prize winners for outstanding inventions and fundamental improvements in production methods- Stalin Prize for outstanding inventions and fundamental improvements in production methods, a form of rewarding citizens of the USSR for significant merits in the technical development of the Soviet industry, the development of new technologies, modernization ... ... Wikipedia

Mustafa Muhammad Abd al-Jalil- Arab. مصطفى عبد الجليل ... Wikipedia