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LINGUOCULTURAL CHARACTERISTICS OF THE FLOWER
CONCEPT
Elmirzaeva Zarina Obidin qizi
Master Student of Asian University Technologies;
Karshi,Kashkadarya;
tel:+998 90 477 86 26
e-mail: sharofovnurislom6@gmail.com
https://doi.org/10.5281/zenodo.15707184
ARTICLE INFO
ABSTRACT
Qabul qilindi: 10-Iyun 2025 yil
Ma’qullandi: 14-Iyun 2025 yil
Nashr qilindi: 20-Iyun 2025 yil
This article analyzes the concept of the flower from the
perspective of linguocultural studies. It explores how the
image of the flower is expressed in the languages of
different nations, its role in national mentality and
cultural values, and its symbolic and poetic meanings.
During the research, phraseological expressions,
metaphors, and folklore samples related to flowers in
various languages are examined to identify the universal
and national characteristics of the concept. The findings
highlight the interconnection between language and
culture and demonstrate the importance of conceptual
analysis within the field of linguocultural studies.
KEYWORDS
flower concept, linguocultural
studies,
phraseologism,
metaphor, national mentality,
symbol, language and culture
connection.
In this article, the aim is to discuss the linguocultural characteristics of the flower
concept. Before addressing the main objective, we will briefly explore the meanings of the
terms
concept
and
linguoculturology
.
First of all, what does the term
concept
mean, and what is its essence? To this day, there
is no absolute or universally accepted answer to these questions, and even the possibility of
finding a complete solution remains in doubt. It is worth paying attention to the specific
reasons for such uncertainty. Primarily, the concept is inherently highly abstract—it does not
possess a material form but manifests as a mental structure that emerges in the process of
human cognitive activity.
At the same time, the term
concept
is often used alongside closely related units such as
“notion,” “meaning,” and “content.” This necessitates the clarification of their interrelation and
the identification of their differences. Regarding the concept, linguist Sh. Safarov provides an
explanation in the chapter “Concept and Meaning” of his monograph
Semantics
:
“At present, the problem of the concept is at the center of attention for many
researchers. The wide usage of this term in fields such as cognitive science, semasiology,
linguoculturology, psycholinguistics, and pragmalinguistics is directly connected to the
convergence of linguistics with psychology, philosophy, and sociology, as well as the growth of
interdisciplinary studies.”
It is known that the term
concept
is derived from the Latin word
conseptus
, the
participial form of the verb
concipere
(“to gather, to catch, to conceive, to initiate”). This word
has been preserved in all Romance languages (e.g., French
concept
, Italian
concetto
, Spanish
concepto
, Portuguese
conceito
) and entered English from French as
concept
(with the verb
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conceive
meaning “to understand” or “to imagine”). Over time, it gained terminological status
and found its place in the scientific vocabulary of many languages, including Russian and
Uzbek [1, pp. 259–285].
In general, the concept of “concept” is interpreted as one of the fundamental units of
cognitive linguistics. Based on the cognitive approach, this concept is closely tied to human
thinking, perception, and logical imagination, and it serves to study the structure of the
knowledge system manifested through language. Therefore, a large portion of studies within
linguoculturology is naturally devoted to the analysis of the concept phenomenon. This is
because a concept is one of the most significant carriers of cultural code, collective
consciousness, and national mentality.
Linguoculturology—or in other words, linguistic cultural studies—is a field that
explores the relationship between language and culture, formed on the basis of cultural
approach principles. This field examines language not only as a communicative tool but also
as a primary codifier and preserver of national culture. The aims and objectives of
linguoculturology distinguish it from other disciplines, particularly ethnolinguistics. While
ethnolinguistics focuses on diachronic (historical) analysis, exploring the cultural experience
and worldview of a nation in a historical context, linguoculturology primarily relies on
synchronic (present-day) analysis, examining how national linguistic consciousness is
currently manifested.
Linguoculturology delves deeply into many significant concepts such as the “linguistic
picture of the world,” linguistic perception of the world, linguistic personality, concept, realia,
lacunae, and exotic vocabulary. Special attention is given in research to the uniqueness of each
language’s worldview, the process of perceiving reality through national linguistic
consciousness, the categorization of concepts, and the national characteristics of their
expression. As a result, language is studied not only as a means of communication but also as a
complex semantic and cultural system that expresses the collective thinking of a nation.
In another formulation, linguoculturology operates on the triad “language – culture –
person.” This field emphasizes the central role of language in foundational concepts such as
national consciousness, national thought, national culture, national spirituality, national
mentality, and national character. Indeed, without language, the preservation and
development of these concepts in a stable and enduring form would be difficult. Thus,
linguoculturology has developed as a discipline aimed at the deep analysis of the integrity and
continuity of national culture and its system of encoded knowledge through language.
The vocabulary of the Uzbek language contains hundreds, even thousands of words that
not only serve to name objects and phenomena but also vividly express the worldview,
culture, and spirituality of the people. Each nation’s unique way of life, customs, religious and
aesthetic views are directly reflected in its language. Therefore, each lexical unit—especially
those with a national-cultural load—reveals the historical and cultural experience of the
people and the developmental stages of national thought.
To illustrate these theoretical ideas with a concrete example, we continue our analysis
with the concept of “flower” (
gul
), which is widely used in the Uzbek language. This unit
stands out in folk oral tradition, literature, daily speech, and rituals due to its rich semantic
and cultural layers. On this basis, the flower concept serves as a lens through which we can
analyze the aesthetic taste, value system, and emotional world of the Uzbek people.
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Today, synchronic studies in linguistics focus on analyzing words expressing the concept
of “flower” from a linguocultural perspective, considering the speaker’s worldview, lifestyle,
and cultural relations. Meanwhile, anthropocentric research emphasizes the connection of
linguistic units to social relationships and their socially significant attributes. In synchronic
linguoculturology, the national-cultural relations reflected in the speech of a particular people
or nation, as well as the cultural semes representing social realities, are analyzed [2, p.152].
According to researcher O. Khojamurodova,
“The word
flower
occupies a unique expressive role in the life of every nation or people.
Specifically, in Uzbek cultural life, this linguistic and cultural unit holds a distinctive place and
plays an important role in social life. This is because the flower concept has been part of our
cultural life for centuries and is recorded in our culture as a component shaped by national
worldview. Depending on context and intent, the word
flower
appears as a versatile unit in
everyday speech, folklore, proverbs, literary works, and artistic expressions. Its semantic
features can be observed in folk wisdom, proverbs, masterpieces of literature, and popular
phrases. Additionally, unique Uzbek views, values, and cultural identity associated with the
flower are vividly depicted.” [3, pp. 32–35]
Indeed, each lexical unit related to flowers embodies not only linguistic markers but also
the national and cultural perspectives of its speakers. From this point of view, it is appropriate
to continue our discussion with an analysis of the linguistic nature of the
flower
concept,
which holds a firm place in the Uzbek language and plays a significant role in the socio-
cultural life of the Uzbek people.
It is worth noting that in the Turkic languages, the lexeme
chechak
(flower) has been
found in various phonetic forms in early written sources—particularly in monuments from
the 11th to 13th centuries. However, starting from the 14th century, the Persian-derived
word
gul
gradually replaced
chechak
and entered widespread use. This situation reflects the
natural evolution of the lexical layer in the development of the language, as well as the
influence of cultural contacts on the lexical system.
It should also be emphasized that the word
flower
not only refers to a real botanical
object but also conveys symbolic, aesthetic, emotional, and religious meanings within the
spiritual-cultural worldview of each people. The depiction of flowers in Uzbek traditions,
rituals, literary and oral folk creativity carries a rich semantic layer and is recognized as an
expression of national thought and aesthetic ideals.
Bibliography:
1.
Safarov, Sh. Semantics. – Tashkent: Uzbekistan National Encyclopedia State Scientific
Publishing House, 2013. – pp. 259–285.
2.
Khudaybergenova, D.S. The Anthropocentric Interpretation of Artistic Texts in the Uzbek
Language (Doctoral Dissertation in Philological Sciences). – Tashkent, 2015. – 240 pages;
3.
Tosheva, D. Linguocultural Features of Proverbs with Zoomorphic Components (Doctor of
Philosophy in Philology Dissertation). – Tashkent, 2017. – 152 pages.
4.
Murzinova, I.A. “Emblematic Nature of Figurative Characteristics of the Linguocultural
Type ‘British Queen’ in the Linguistic Consciousness of British Native Speakers.” // TSPU
Bulletin, 2013, No. 10. – pp. 32–35.
5.
Khojamurodova, O. Lexicon of Floriculture in the Uzbek Language (PhD Dissertation in
Philology). – Karshi, 2024. – p. 43.
