Özet:

In every culture a symbol is the bearer of certain public-social, ideological consciousness. The different meanings of the existing symbolic systems in the memory within the different times and the thought are also related to these moments. In artistic thinking, when the identical symbols are loaded with public-social, ideological content they transform, and the image is deprived of thesketchy character and is enriched with new content. The images such as lover, sweetheart, rose, nightingale, spring, the moon, the sun and so on included in the dictionary of medieval irfany naturalist poetry in the 20th century Turkish and Azerbaijani poetry, mostly in the works of romantics become a new idea-content carrier from the view point of statehood and ideology.In the medieval Sufi-tasavvuf poem, a perfect man who gained the value of the images of lovers, the strive of the lover to join to the divine love, the unity of the souls of lover and the value of his disappearance in it in the 20th century poetry having a new symbolic meaning in the face of lover, beloved, a beauty, a coquette gains a new criterion and measure in the passage from the philosophy of divine love to the social tasavvuf in the motive for the traditional love. From this point of view, symbolic lovers characters, which are met in classical poetry, are separated from the Sufi-tasavvuf system at the end of the 19th century- beginning of the twentieth century and socialize. Beginning from the end of the 19th century and early 20th century in the artistic creativity of the Azerbaijani and Turkish romantics the traditional lover’s character was replaced with a new beloved and homeland image in this trend. This trend became a special direction in the creativity of the Turkish and Azerbaijani poets such as Namik Kemal, Abdulhaq Hamid, Tofig Fikret, Muhammad Hadi, Hussein Javid, Abbas Sahhat, JafarJabbarli, Abdulla Shaig, Ahmad Javad, Almas Yıldırım, Hacikarim Sanili, Badri Seyidzadeh and others. In the article, in the Turkish and Azerbaijani poetry, the problems of identical model and image change in transition from tasavvuf to neo-Sufism are widely studied and summarized  

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