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The archetype of the garden is a universal aesthetic category, which is inherent in literatures and cultures of many people belonging to different religions (Christianity, Islam). The application of this category to the analysis of the works of Tatar poets of the twentieth century makes it possible to consider both the specificity of functional and semantic embodiment of the archetype of the garden and to make a generalized conclusion about the tradition and innovation in the context of the dialogue of cultures. The novelty of the research is both in the material (the archetype of the garden in the works of Kh. Tufan, and I. Yuzeev is not the subject of considerable scientific interest nowadays) and in research methods relevant to the material. Having considered the peculiarity of the embodiment of the archetype of the garden in the works of modern Tatar poets who were deeply rooted in their native literature and culture, it is possible to identify the similarities and differences associated with the choice of artistic means, their world outlook and the relationship to the traditions of Oriental and Western cultures. For example, the symbolism of the images of the garden, apple tree, cultivatedand wild flowers and plants allows K. Tufan to express his innermost reflections on philosophical and moral problems. The image of the garden in the Tatar poetry of the twentieth century takes on some symbolic features. In I. Yuzeev`s poetry the image of the garden appears in the traditions of the ancient mythological view on the world as a single harmonious whole. The results of the research given in the article provide possibilities of studying other universals in the poetry of the authors under review and other contemporary poets.
