(real name Muhammetgali Abdrakhimov; 1892–1943) – Tat. writer, literary critic. Genus. in a merchant's family. He began publishing in 1912. He wrote stories, comedies, sonnets, and lyric poetry. romances, fairy tales for children. Translated. Author of articles on Tat history. art, works on the history of the Turko-Tat. liters.

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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, dating in most cases to the 16th century, among which there are a number of stones dating from the late 15th and early 17th centuries.

In view of the fact that I am preparing a separate article with detailed description of all the monuments I found, this time I will focus only on two rare stones from the beginning of the 17th century.

The seventeenth century was marked in the history of the Tatars by the decline of the economic and, consequently, 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 secular agrarian-military aristocracy, suffered a final defeat from 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 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, reduced in political rights, retaining landholdings only in provinces remote from the main river arteries and, therefore, from the grain market, were doomed to eke out a rather miserable existence. The adaptation of this class to the new conditions of the trade-capitalist system developing in the country began somewhat later.

Therefore, a very small number of grave monuments dating back to the 17th century have survived to us. Expensive standing monuments Only economically powerful sections of the population could erect them, and all epigraphic monuments of this era, of course, were placed 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 Sviyazhsk, 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. Other monuments of the 17th century in the literature, known to me, not registered. All the more interesting are the two monuments described here, the last traces of the once flourishing culture of this Tatar feudal class, receding into the realm of history.

These stones are located in the village cemetery Old Uzum, Novo-Kishitsky volost, Arsky canton among four other stones dating back to the 16th century. This is not the first time I have published their texts. Referring to a letter from the Tatar historiographer Merdzhani, who examined the Uzyum stones, Velyaminov-Zernov placed the texts of these monuments at the end of Volume I of “Research on the Kasimov Kings and Princes”, and in Merdzhani’s entry the text of one of them is not given in full.

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

In external form, these monuments differ somewhat from the usual type of stones of the 16th century. The first stone is carved from white limestone and draws attention with its width in relation to its height. It probably fell down at some point and was planted in the ground a second time, so I had to dig up half of the last line of inscriptions from underground. The height of the above-ground part along the middle line is 107 cm, width 62 cm. A rather large piece on the left side of the stone broke off obliquely from top to bottom and was lost. But, since the stone is much wider than the area of ​​the inscriptions (80x32 cm), this flaw 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 semi-circular outline, but shows the design 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 is given a slightly horseshoe-shaped shape tapering downward, slightly reminiscent of Tatar tombstones 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 one. The height of the stone is 116 cm, width 50 cm (See Fig. 2).

On the front front side of each monument, facing east according to custom, 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 there is a carved border 7 cm wide, consisting of an arabesque pattern. The inscriptions are crowned with an almost triangular area with jagged edges, filled with elaborate oriental script. This upper ornament, almost identical on both monuments, repeats the typical ornamentation of Tatar monuments of the 16th century. It was probably copied by the artist from older monuments located nearby. The technique and design on our stones do not at all show signs of decadence.

The main motif of the side arabesques is noticeably different from similar decorations on stones of the 16th century. On the latter, the border is usually narrower (5 cm) and made up of monotonously repeating floral motif with smooth curls, while on our stones wider border strips (7 cm) are decorated with elaborate floral ornament, alternating with cross-shaped rosettes. Such a motif, as far as I know, does not appear on stones of the 16th century. If we compare it with the simpler and more austere motifs of the previous century, then, perhaps, here we can state some sophistication of tastes.

Now about the inscriptions. The inscriptions were made by a fairly good calligrapher in the late Thuluth style. Both monuments, without a doubt, came from the hands of the same master. The first three lines on both stones, both in text and in the calligraphic arrangement of individual words and their combinations, are completely identical. A significant drawback of the layout of the inscriptions should be considered the crowding of the text in the lower lines. The artist somehow did not calculate the area of ​​the inscriptions and the length of the text. As you get closer to the bottom, the lines become increasingly narrower, the number of words placed in the same area increases, and in proportion to this the letter becomes smaller. In the lower frames, the text is clearly placed in the form of two parallel lines; the letter crumples, losing its calligraphic clarity and correctness of style.

The text on the front side of stone No. 1 is as follows:

Translation: “The Most High God said: And no one knows in what land he will die. And the glorious and Most High said: Everyone must taste death. The prophet said, may peace be upon him: The world is the field (on which the seeds are cultivated) of the last life. Dates: After a thousand years, in the eighteenth year, in the blessed month of Zil-Hijja, may God have mercy on Mamaia, the son of Shudyak. Amen, (o) ruler of the worlds!"

On back side The slab in the oblong embedded quadrangle contains the following convex inscription, quite elegantly executed in the “Thuluth” style:

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

Carved on the side is a traditional Arabic couplet, very often found on the side edges of ancient Tatar epitaphs:

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

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

By analogy with other epitaphs, on the left destroyed side of the monument one should assume the usual Turkish translation of the same couplet:

The second stone has the following inscription on the front side:

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

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

Several words in the penultimate double line of the main inscription are corroded by time and are difficult to parse. Marjani read this passage as follows: . I absolutely cannot agree with this reading. There is no word (son) here, especially since Ulmes is a well-known Tatar female name.

I’m reading this dubious place: what does it have to do with the last word there is no doubt in me. Consequently, this is a word that defines the deceased woman’s relationship to Mu’min-Khuja. What does it mean?

Gali spent her childhood in a mansion on Ekaterininskaya Street (78 Tukaya Street), which belonged to his father, the second guild merchant Mukhametshakir Bikchenteevich Abdrakhimov (1854 - 1917). The entrepreneur, who was born in the village of Bolshiye Meteski, Laishevsky district and only settled in the provincial center at the end of the 19th century, was considered one of the most active and successful merchants, sparing neither effort nor money to strengthen his influence among his fellow believers. He married the daughter of a wealthy Kazan merchant - Bibigaisha Iskhakovna Aituganova (1869 - 1899), who was a close relative of the famous Kazan dynasties - the Bigaevs, Usmanovs, Galikeevs, Gubaidullins. The merchant's social position was strengthened after his election as a member of the city duma, where he proved himself to be a competent and energetic figure who came up with various initiatives and proposals. Mukhametshakir Abdrakhimov, caring about the fate of his well-established manufacturing business, tried to give his eldest son a good education. After the initial course at the Muhammadiyah madrasah, Gali Rahim 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. Free time he spent time reading books, secretly dreaming of devoting his life to literature.

While still at the commercial school, Gali wrote a fascinating, modern geography textbook for madrassas, which was published in 1909. This first pen experience young man almost immediately noticed by the recognized masters of Tatar culture. Galiaskar Kamal, who dedicated a special review to the book, spoke enthusiastically 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 a certain fame as children's writer, publishing in the magazine “Ak Yul” stories based on plots and images of folk tales.

M. Magdeev, the first serious researcher of the work of G. Rakhim, especially emphasized his desire for an aesthetic reflection of the natural harmony of man and nature, a somewhat detached attitude towards vital issues social problems. During these same years, Gali paid serious attention to the genre literary criticism, appears in print with large theoretical works devoted to the history of national folklore.

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

After the revolution, the name of Gali Rakhim appeared among the most venerable masters of words. However, even in this hot time, he kept to himself, deliberately avoided noisy rallies and meetings, and tried not to get involved in the uncompromising disputes and disputes that were so popular at that time. It seemed that the writer, passionate only artistic creativity, I just didn’t notice any bloody clashes on the streets hometown, nor the endless change of power, nor the impending devastation and famine. 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 Rahim could afford to collaborate in the “counter-revolutionary” newspaper “Kurultai” and make careless statements about the lack of logic and reason in the revolution. His plays and prose works of that period were distinguished by their defiant apoliticality.

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

Of course, in a rapidly ideologizing cultural environment such prospects creative searches did not have. Therefore, the writer completely switched to historical and philological research. Together with your cousin, famous scientist Gaziz Gubaidullin, writes fundamental works on the history of Tatar literature, conducts research in the field of linguistics, folkloristics, archeology, devotes great attention issues of the formation of the Tatar musical art. He is also known as a translator of masterpieces of world literature into the Tatar language.

Great personal and creative friendship connected Gali Rahim with the first Tatar composer Sultan of Gabashi. Peers of the same age, left without mothers at an early age, who grew up in wealthy families and received a European education, they lived with the same dreams and aspirations, equally burning with the dream of the cultural progress of their people. Their most famous work is the famous romance “Cuckoo”. The words to it were Gali Rakhim’s poetic dedication to his beloved, one of the most beautiful girls Tatar settlement Gaisha 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 series musical numbers to the play “Janvar” by G. Rakhim.

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 Eget”. However, after the creation of the libretto, it became clear that for ideological reasons the appearance of such an opera was impossible. Thus, the aesthetic preferences of a talented writer again seemed dangerous to someone, and he again found himself out of work.

The modest, quiet, silent associate professor of the Pedagogical Institute Gali Rahim, with his ostentatious and therefore not very sincere loyalty to the new system, constantly aroused interest among the relevant authorities. He was persecuted already in the early thirties, during the first wave of mass repressions. Alien social background, interest in medieval Tatar culture, simply independence of thoughts and judgments inevitably led him to a prison cell.

Gali Rahim, like almost all of his relatives, friends and associates, was doomed. Even his accidental release did not save him from another arrest and death in one of Stalin’s camps. So the cruel regime mercilessly dealt with one of the most talented heirs of the Tatar spiritual revival late XIX- beginning of the 20th century.

Rahim Gali (real name Muhammetgali Abdrakhimov; 1892–1943) – Tat. writer, literary critic. Genus. in a merchant's family. He began publishing in 1912. He wrote stories, comedies, sonnets, and lyric poetry. romances, fairy tales for children. Translated. Author of articles on Tat history. art, works on the history of the Turko-Tat. liters.

encyclopedic Dictionary pseudonyms. S. Kolosova. 2009.

• Rahim
• Rahim Ibrahim

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