Abstract:

The horse cult is studied as a totem trace in many legends and narrative studies, and the horse thumbnail often carries a sign of divinity. As the hero's great horse possesses a variety of indicators (marks, symbols), it can be pointed out that he is a mediator and magical assistant. In most cases, the hero's horse has an extraordinary root: the turtle derived from Tulpar, often with its wings and special tones, has the ability to travel between the worlds,ins a mystical relationship with his master. According to the common consciousness of the Turks, the horse is Köroğlu's second hypostasis or brother. His connection with him comes from the Samantha Brotherhood and in some cases symbolizes intuitive information and helps the owner make the right decisions. The purpose of the study is to find the mythological indicators (symbols) of the Cratus of Köroğlu, based on the comparative analysis of different versions. In this context, it is also to demonstrate that the Köroğlu Destany has enough mythological elements in the Central Asian versions, and in Bulgaria, Istanbul, some Anatolian and Gagauz rivates, it is more by studying the vital qualities of the horse, an animal and the owner is a real friend.

Abstract:

The cult of the horse in many studies of myths and epics is seen as a totem trail where the image of the horse often carries signs of deification. In the present epic, the wonderful horse of the hero possesses a number of indicators allowing him to be defined as a mediator and a magic helper. In most cases, the hero's horse has an extraordinary origin: he comes from a tulpar, a sea stallion, often with wings and a special color, testifying to his ability to travel between the worlds, to maintain a mystical relationship with his owner. Koroglu’s horse in the collective consciousness of Turks is his second hypostasis or brother, associated with him by the Milky Brotherhood, and in some cases it symbolizes the intuitive knowledge and helps his owner to make the right decisions. On the basis of a comparative analysis of different versions of the epic, a saturation of mythological elements in the Middle Asian versions of the epic are ascertained, whereas in Bulgaria, Istanbul, Anatolian and Gagauz versions, a vital knowledge of the horse's features is fixed as a riding animal and a true friend of his owner.

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