European International Journal of Pedagogics
44
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TYPE
Original Research
PAGE NO.
44-48
DOI
OPEN ACCESS
SUBMITED
03 January 2025
ACCEPTED
05 February 2025
PUBLISHED
11 March 2025
VOLUME
Vol.05 Issue03 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The heritage of sufi
olloyor: the religious-
educational and ethical
significance of the work of
“sabot ul
-ojizin
Doniyorova Mohinur Tolliboy qizi
Doctoral student of Jizzkh state pedagogical university, Uzbekistan
Abstract:
This article analyzes the genre of prayer in the
work "Sabot ul-Ojizin" by Sufi Olloyar. The content of
the work, its religious and moral-educational ideas,
specific features of prayers are widely covered. In the
article, the introduction of munojots as a genre into
Turkish literature, their importance from the point of
view of mystical, philosophical and spiritual education is
scientifically revealed. The author analyzes such
features as internal dialogue, appeal to God, spiritual
education and moral values, internal and external
conflicts, sincere feelings, and shows the place of Sufi
Olloyar in the literary heritage. The article also
emphasizes Shavkat Mirziyoyev's thoughts on the
restoration of historical written sources and lithographs,
and emphasizes the need to study this heritage on a
scientific basis.
Keywords:
Sufi Olloyor, "Sabot ul-Ojizin", prayer,
Sufism, religious and educational ideas, moral values,
spiritual education, literary heritage, written sources,
lithographs.
Introduction:
When the Uzbek people chose the path of
independent development, it became essential to study
and analyze written and printed manuscripts, as well as
the invaluable heritage of their predecessors and
history. In this period, when Uzbekistan is gaining
recognition worldwide for its educational and spiritual
wealth, as well as its extraordinary past and ancestors,
it is crucial to focus on these aspects. President Shavkat
Mirziyoyev, in his work "We will build our great future
with our brave and noble people," shared the following
thoughts regarding the restoration of historical written
sources and prints:
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European International Journal of Pedagogics
"The unique cultural heritage created by our ancestors,
handwritten works, and prints are priceless treasures
for today’s generation. It
is our sacred duty to preserve
this heritage, study it scientifically, and pass it on to
future generations" [1;148]. The President also
emphasized that studying such works plays a key role
in understanding our people's history, culture, and
religious values.
One such spiritual landmark is the work “Sabot ul
-
ojizin” by Sufi Olloyor, which was studied in madrassas
in the Mawarannahr region up until the 20th century.
After reaching a certain level of literacy, students
would study the work “Sabot ul
-ojizin,
” which became
famous under the name "Sufi Olloyor." This work is
written in a simple style, with a Turkish tone, and its
meaning is incomparable. It was regarded as an
essential religious source in its time.
For this reason, the life and work of Sufi Olloyor were
studied during his lifetime, and dictionaries and
commentaries were created for his Turkish and Persian
works. Notably, the Tatar writer Tojiddin Yolchiqul
wrote a commentary on “Sabot ul
-
ojizin,” whi
ch later
became known as “Risolayi aziza.”
The work "Sabot ul-ojizin" by Sufi Olloyor is a religious
text that contains a wide array of important
information that every devout believer must
understand. It discusses the definition and attributes
of Allah, the creation of the Prophets, the importance
of belief in them, descriptions of paradise and hell, the
bridge of Sirat, the concept of death, and the
acceptance of fate. Comprising 1680 verses, this work
is made up of 81 separate poetic pieces, each
addressing different topics. These topics can be
classified into several categories: teachings related to
the science of faith, stories, supplications, and advice.
The text begins with praises of Allah, followed by
descriptions of the qualities of Prophet Muhammad
(PBUH), the recognition of Allah, His uniqueness and
attributes, and His divine qualities. It then proceeds to
discuss belief, the angels, belief in the Prophets, and
many other important aspects. These descriptions are
also complemented by stories and supplications.
Through these stories, Sufi Olloyor intends to offer
advice to the reader, providing evidence for his
guidance by sharing tales, demonstrating moral
lessons through the characters of the stories.
The term "munajat" in Arabic refers to supplication or
seeking help from Allah. The word can be understood
as expressing a hidden conversation, pleading, or
supplicating to Allah. It conveys a sense of humility,
desperation, and seeking refuge, and is a genre that
emerged from the influence of Persian-Tajik literature
on Turkish literature. However, the early elements of
this genre were also present in Turkish literature,
making it easier for Turkish writers to adopt it.
In the literature, "munajat" represents the act of
lamenting to Allah, seeking His mercy, and
acknowledging one’s sins. It reflects the humility,
weakness, and neediness of human beings in relation to
Allah. This genre is rooted in Sufism and religious moral
and spiritual values, and its purpose is to express a poet
or writer’s devo
tion to Allah while also offering the
reader spiritual comfort and teaching patience and
piety. The "munajat" genre not only expresses personal
suffering but can also voice the collective concerns,
hopes, and fears of a community. It holds significant
importance in the spiritual growth of individuals and
their self-realization.
Before the 13th century, the genre of "munajat" had not
been firmly established in Turkish literature. However,
the elements of "munajat" can be found in the prefaces
of works by prominent authors such as Yusuf Khass
Hajib and Ahmad Yugnaqi. For instance, in the "Kutadgu
Bilig," there are 40 verses on the topic of "munajat,"
which are part of five chapters of the book.
In Turkish literature, the "munajat" genre has played a
significant role in educating people about religious
spirituality, encouraging them to reflect on their
situation and seek repentance and humility before
Allah.
So‘fi Olloyor, in his works, extensively used the genre of
"munajat" (supplication), and his entire creative legacy
is imbued with Islamic enlightenment. So‘fi Olloyor was
highly skilled in depicting Sharia law and Sufi teachings
in simple Uzbek language. He often included a chapter
of "munajat" following some of his main chapters, which
are closely related to the subject discussed. For
example, after the chapter dedicated to answering the
angel’s question "Who is your Lord?" in the grave, he
places a "munajat" chapter, expressing a call to Allah for
help and guidance in facing the questions of the
afterlife.
Iloho, bandaman, bechoradurman,
Havoyi nafs ila ovoradurman.
Lahadga kirsa bu yolg’uz g’arib bosh
O’gursa yuz hama qavmu qarindosh.
Tahayyur bo’lsa jon g’ami asarishta
Yetushsa so’rg’ali ikki farishta
San oson etmasang andoq savoli
Nechuk kechgay g’arib bandangni holi.
Desa “Men robbuka” iki abdudargoh,
Tilimg’a jori qilg’il “Rabbim Alloh” [10;27]
The use of the munajat genre in the work "Sabot ul-
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European International Journal of Pedagogics
ojizin" deeply enhances the spiritual and philosophical
content of the text. In these munajats, the author, like
all believers, expresses his duty and responsibility
before Allah, his inner emotions, and his repentance.
Furthermore, the author uses munajats throughout
the work to remind the readers of the importance of
believing in Allah, repenting, and always being engaged
in prayer. For example, in the munajat presented, the
author
emphasizes
the
need
for
constant
remembrance of Allah and highlights the essential role
of repentance in the believer’s life, encouraging a
continual state of prayer and reflection.
Iloho, bandaman, bechoradurman,
Havoyi nafs ila ovoradurman.
Erur man barcha nuqsonimg‘a iqror,
Musulmon o‘g‘li qilmas ishlarim bor[10;23],
In the verses such as these, the author illustrates
through personal example that every person has an
inner ego (nafs) and must engage in repentance. He
points out that such flaws are not specific to Muslims
alone. The munajats begin with the word "Iloho,"
reflecting a deep invocation of God. Like in other works
of the same genre, in Sabot ul-ojizin, the munajats
depict the individual's sense of responsibility before
the Creator, their humility, and their emotional
struggles in a poetic and artistic manner. These
munajats offer a reflection on the need for self-
purification and repentance as part of the believer's
spiritual journey.
Ihoho, lutf qil, munda va anda,
Mani banda etib, berkit bu banda.
Agar chandi ki go‘rsiz o‘lsa inson,
So‘rolur, albatt
a, beshakku nuqson[10;25]
Through the verses, the poet expresses his plea to
Allah, acknowledging his helplessness and sinfulness,
and asking for help. He prays for Allah's mercy in both
this world and the afterlife, asking Allah to make him
His obedient servant and to hide his flaws, thus
accepting himself as Allah's devoted servant. The poet
emphasizes that no matter how beautiful or perfect a
person may seem, everyone has imperfections. In
other words, it is very difficult to find a fully perfect
person in this world, as every person has faults. This
munajat suggests that every person should humbly
recognize their flaws and weaknesses, acknowledge
them, and ask Allah for forgiveness.
The Sabot ul-ojizin ends with the munajat chapter. In
the Ruboiyyoti turki bo tariqi munojot chapter, the
munajats are written in the form of rubaiyat
(quatrains), where the poet addresses Allah as
"Kholiqo" (Creator) and admits his endless sins, hoping
for the Creator's mercy. So‘fi Olloyor's munajats are
directly in harmony with verses from the Qur'an.
Each munajat in Sabot ul-ojizin carries profound
significance in the life of any person. Each verse in the
munajats has its own unique meaning and essence.
Specifically, the unique characteristics of the munajats
in Sabot ul-ojizin are as follows:
1.
Inner Dialogue: The work features an inner
dialogue, where the poet asks himself questions,
expressing his emotions and doubts. So‘fi Olloyor clearly
and sincerely conveys his emotional experiences,
bringing the reader closer to his inner world.
Iloho, bandani sohib nadam qil,
Siroti shar uzra sobit qadam qil.
Agar chandiki behaddur gunohim,
Salomat qil xatarlardin, ilohim[10;29],
In the verses, the internal dialogue is portrayed, where
the author acknowledges his endless sins and, with
hope for Allah's mercy, prays for repentance and
forgiveness, relying on His compassion. In each verse, he
admits his guilt, asks for forgiveness from Allah, and
implores Him to keep him steadfast on the Sirat bridge.
2.
Appeal to Allah: In the munajat
, the author’s
appeal to Allah reflects his true purpose in life. In this
process, the author expresses his hopes, fears, and
desires to Allah. Through the munajat, the reader can
observe the author's relationship with Allah and his
spiritual search. Every munajat in the work contains an
appeal to Allah, making it central to the expression of
the poet's deep connection and personal struggle with
the divine.
Iloho, e’tiqodi pok birlan
Mani og‘ishta qilg‘il, xok
birlan.
Dilim sodiq tilimg‘a bo‘ldi qoyil,
Bu so‘zdin qilmag‘il, bir zarra moyil[10;33]
Through the verses, the appeal to Allah becomes one of
the most profound munajat in the work, where So'fi
Olloyor asks Allah for faith, belief, and loyalty, as well as
for the unity of his heart and tongue, and for preserving
the truthfulness in his speech.
3.
Spiritual Education and Moral Values: Through
the munajat genre, So'fi Olloyor conveys thoughts
focused on spiritual education and the development of
moral views. This allows the reader to reflect on
important life factors, humanity, and ethical behavior.
The munajat becomes a foundation for contemplating
the key principles that guide human existence, as well
as the ethical values that define righteous conduct.
Xoliqo, qildim gunohi behisob,
Tongala san so‘rsang, ne bergayman javob?
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Man ocharman jurmu isyon chehrasin,
San yoparsan avfu rahmatdin hijob.
[10;114]
In the verses, the author reflects his spiritual torment,
acknowledging his numerous sins and pondering how
he would respond on the Day of Judgment when asked
about his deeds. He considers how he cannot hide his
sins or the rebellions he committed unknowingly, and
contemplates the consequences if Allah were to
withhold His forgiveness, imagining the state he would
be left in if he were not forgiven.
4.
Internal and External Contradictions: The
munajat
delves
deeply
into
both
internal
contradictions
—
within
the
self
—
and
external
contradictions
—
those related to the surrounding
environment. The author portrays the struggle of
understanding and accepting oneself. This process
encompasses internal conflicts, external pressures,
and the difficulties of finding one’s true self.
Xoliqo, qoyilman o‘z nuqsonimg’a,
Ko‘b jafo qildim o‘zimning jonima.
Zoti pokingdan inoyat bo‘lmasa,
Hech ishonchim yo‘q amal qilgonima[10;114]
Through the verses, the author expresses that the
person is addressing Allah while openly acknowledging
his shortcomings. The word “qoyilman” is used to
convey awe and admiration, here indicating that the
person fully realizes and accepts his weaknesses and
flaws. By doing so, he admits the harm he has caused
to himself, acknowledging that he has tarnished his
own life with sins and tormented his soul. If it weren’t
for Allah’s grace and mercy, the person realizes that he
would not be able to redeem himself.
The phrase “zoti poking” emphasizes the purity,
power, and grace of Allah. In this, the person expresses
his helplessness and understanding that he cannot
attain salvation without Allah’s aid. He places no trust
in his own deeds, acknowledging that only sincerity
and Allah’s mercy can ensure the acceptance of his
prayers and good actions. Mere outward observance
of rituals and deeds is not enough; Allah’s pleasure and
grace are essential.
So‘fi Olloyor compares internal (botiniy) contradictions
and external (zohiriy) contradictions. He expresses his
inner weakness and trust in Allah’s power when
seeking help and assistance. The internal contradiction
here reflects the person’s recognition of his own faults
and his desire for forgiveness, whereas externally,
through religious acts and appearances, one may
appear devout and righteous, but internally, these acts
may be performed with insincerity or hypocrisy. So‘fi
Olloyor criticizes this discrepancy between outward
piety and inward shortcomings, with this conflict
highlighted in the verses above.
5.
Sincere Emotions and Inner Struggles: One of
the key features of the munajat genre is the expression
of sincere emotions and inner struggles. In the text, the
author uses munajat to openly express his feelings, joys,
sorrows, and inner torments. This brings the reader
closer to the author's emotions, encouraging them to
feel and empathize with the struggles being conveyed.
Xoliqo, qildim gunohi behisob,
Tongla san so‘rsang, ne bergaym
an javob?
Man ocharman jurmu isyon chehrasin,
San
yoparsan
afvu
rahmatdin
hijob[10;114]
In the verses, the author deeply and subtly expresses his
inner emotions and feelings, sincerely reflecting on his
guilt and hope for Allah's mercy. In each line, the author
acknowledges his sins and calls upon Allah for
forgiveness. The phrase “guhohi behisob” highlights the
boundless nature of his faults, emphasizing that they are
too numerous to count or fully comprehend. With such
inner turmoil, the author feels deeply his helplessness
and weakness, openly acknowledging his faults and
striving for repentance before Allah. In particular, he
expresses shame for his sins, referring to them as
“jurma” (errors) and
“isyon” (rebellion), and emphasizes
the need to confront his faults with inner honesty.
Through the term “hijob”, he alludes to the divine veil
of Allah, which shields and covers the sins of His
servants, representing Allah’s mercy and forgiveness.
6.
Historical and Cultural Context: The Sabot ul-
ojizin work is deeply embedded in its historical and
cultural context, making it essential to highlight the
distinctiveness of the munajat genre within this
framework. This genre holds a significant place in Turkic
literature, where the author uses it to reflect the
spiritual and cultural heritage of his people. Through
munajat, the author conveys not only his own personal
plea for forgiveness but also captures the broader
spiritual struggles and cultural expressions of his
community.
Tilokim bu, ayo Subbohu Quddus,
Qulingni qilmag’il rasvoyu mayus.
Xudavondo, yongildim, turfa yozdim,
Shayotin makri birlan yo‘ldin ozdim[10;34]
Through the verses, one can deeply understand the
social, religious, and cultural situation in the Bukhara
and Turkestan regions during the 17th-18th centuries.
During the time of Olloyor, Islam held a significant place
in the Bukhara and Turkestan territories, and scientific
and religious activities flourished primarily through the
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efforts of sheikhs and Sufis. Phrases like "Subbohu
Quddus" were commonly used to glorify Allah and
were widespread among scholars and mystics of the
time. During this period, cultural life was largely
shaped by religious beliefs and divine practices, with
So
‘fi Olloyor being a representative of this cultural
environment, making supplications to Allah and
focusing on repentance and asking for forgiveness. In
the era he lived, the Bukhara Emirate was one of the
key Islamic centers, where mosques, religious, and
scientific schools were active. These institutions played
a central role in promoting religious education and
ethical values among the people. The theological
themes So‘fi Olloyor explored in his work stem from
the religious atmosphere of the time.
7. Impact on the Reader: The use of the munajat genre
in the work leaves a unique impact on the reader.
Through this genre, the reader witnesses the author's
inner aspirations and sincere emotions, which allows
them to relate to their own life and spiritual state. This
connection creates an emotional bridge between the
author and the reader, making the themes of
repentance and spiritual growth more profound and
relatable to the reader’s personal experiences and
struggles.
Iloho, lutfqil, man mubtaog‘a
Tushubdu
rman biyoboni balog‘a.
Yotibman yuztuban issig‘da suvsob,
Kishi yo‘qdur tomizg‘ay qatrayi ob[10;49]
In the verses, the author expresses his sincere plea for
help from Allah. In this munajat, the hardships of
human life and the trials that one faces in life are
described, with the supplicant turning to Allah, seeking
help and salvation. The author portrays the weakness
of humans in the face of life’s challenges, emphasizing
that only through Allah's mercy can salvation be
achieved. For this reason, the author humbly prays for
mercy, help, and support from Allah.
CONCLUSION
In conclusion, it can be said that the extensive use of
the munajat genre in the work "Sabot ul-ojizin"
enriches the spiritual depth and emotional content of
the text. This genre provides the reader not only with
aesthetic pleasure but also with spiritual growth and
self-awareness. Moreover, it strengthens the reader's
faith and belief.
Additionally, the munajat in the work serves as a tool
for bringing the individual closer to Allah, self-
recognition, spiritual purification, and the choice of the
right path. Such an approach plays a vital role in
improving one’s spiritual state and helps in alleviating
stress and inner conflicts.
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