European International Journal of Philological Sciences
12
https://eipublication.com/index.php/eijps
TYPE
Original Research
PAGE NO.
12-14
DOI
OPEN ACCESS
SUBMITED
12 April 2025
ACCEPTED
08 May 2025
PUBLISHED
10 June 2025
VOLUME
Vol.05 Issue 06 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Portrait in Literature and
The History of Its Creation
Abdunabiev Sunnat Botirovich
Oriental” University, Lecturer, Department of Oriental Languages
,
Tashkent, Republic of Uzbekistan, Uzbekistan
Sotiboldiev Sirojiddin
“Oriental” University, Senior Lecturer, Department of Oriental Languages,
Tashkent, Republic of Uzbekistan, Uzbekistan
Abstract
: The analysis of works of art has attracted the
attention of scientists since ancient times. The
construction of the plot, the development of events, the
clarity and depth of the charactersʻ state of mind, the
creation of character - all these are complex problems
associated with language skills. Even drawing a portrait,
which at first glance seems a very "easy" task, requires
great talent. As a result, the image of the hero of the
work becomes not just a "portrait", but a living person.
In addition, a work of art should have an internal music
of the word - a melody, portraits of heroes, landscapes,
scenes evoke the readerʻs idea of that people, that
people. This article provides detailed information on the
analysis of the portrait and its term in works of art.
Keywords:
Works of art, nationality, realistic factors,
ideological content, genres.
Introduction:
According to the literature analysis,
several scientists have defined the term portrait in
science in dictionaries. For example, in a narrow sense,
a portrait (French Rortrait) is defined as an artistic
depiction of a person in a painting, sculpture,
photograph or other form [6, 15], an image of a literary
hero [4, 122]. In a broad sense, a portrait is an image of
the hero's appearance in a literary work: his face, figure,
clothing, behavior. With the help of a psychological
portrait, which is often found in literature, the writer
tries to hide the inner world and character of the hero
through his appearance [7, 45].
In the dictionary of literary criticism, a portrait is defined
as follows:
European International Journal of Philological Sciences
13
https://eipublication.com/index.php/eijps
European International Journal of Philological Sciences
A portrait (French portraire - to depict) is a character's
appearance described in words (appearance, figure,
clothes, facial expressions, pose and div movements,
manners), one of the means of creating a complete
image of a person that comes to life in the reader's
imagination and reveals his character. A portrait is a
form of description that is a compositional element of
an epic work.
Also, as mentioned in this dictionary, a portrait is
conventionally divided into two: static and dynamic
portraits. It is called static because in this type of
portrait the character's appearance is drawn in more
detail, in detail, while the plot event is removed. Static
portraits are usually given when the character first gets
into the reality of the work. A dynamic portrait is not
detailed, but refers to some details inherent in the
character's appearance, which are given when
describing events and dialogues, that is, during the
course of the action. Such portrait details (facial
expression, div posture and movement, gestures)
are most often used as cues and serve to express the
character's current state of mind.
The importance of creating a literary portrait is not
limited to helping to concretize the external
appearance of an image, to emdiv a living, active
hero before the reader. A skillfully created portrait
image reflects the character's age, social class,
profession, occupation, cultural level, character,
manners, psyche and even the era to which he belongs.
In fiction, the image of a person, his inner mental
states, thoughts, tragic, sad, happy lifestyles came to
the fore. The concept of personality gradually
deepened and enriched, the desire for a
comprehensive approach to a person's personality, for
an honest display of his spiritual world with its
strengths and weaknesses increased. The revival of
realistic factors created an opportunity for stylistic and
formal research, which allowed the world of word
expression to acquire a colorful form.
Also in the novel, which is considered a huge genre of
prose, personal and stylistic research is more clearly
visible. "Two leading stylistic trends, lyrical-romantic
and consistently realistic, which began to manifest
themselves in the first steps of our new realistic prose,
reached a certain degree of relevance, the possibilities
of both styles opened up wider" [5, 125].
In each work, the appearance of a person, his figure,
clothes, manner of behavior, attitude to events,
behavior are expressed in a unique way in accordance
with the actions of the hero. This is a portrait of a work
of art.
"The nature and functions of a portrait in a work of art
are
diverse. However,
the most
important
characteristic of a portrait is that it is rather a
psychological portrait.
A psychological portrait helps the writer to reveal the
spiritual world of a character through his appearance."
So, the appearance, figure, clothes, behavior, actions,
that is, the portrait of a literary hero can be given in
different ways, depending on the style, skill and purpose
of the writer. Not all heroes are given a full portrait in a
work of art. Sometimes a person's appearance and
behavior are described in great detail, sometimes this
can be given by describing an important detail related
to either the appearance or behavior of the character.
After all, a portrait is one of the important conditions for
creating an image.
Since the writer reflects reality in his work through
images, the objects depicted in this work, the people
involved are also called images.
In Uzbek literary criticism, a number of articles and
treatises on the art of creating a portrait have been
created, in which the specific features, principles and
stylistic issues of creating a portrait are discussed.
Realist writers describe the appearance in detail,
accurately reflecting the changes that occurred in it in
connection with the era and way of life. For example,
Abdullah Kodiri, Oybek, etc. In the 19th century, a type
of portrait called an internal or psychological-spiritual
portrait became widespread, which revealed the
character of the character - a set of features and
emotional experiences (Abdullah Kahhor, Odil
Yakubov). A literary portrait is a separate genre of an
essay on the life and work of an outstanding personality,
that is, a writer, artist, public figure. H. Yakubov
"Ideology and Mastery in the Lyrics of Oybek" [2, 54] M.
Koshzhonov "Life and Mastery" [3, 150] M. Sultanova
"The Style of Abdullah Kahhor" [7, 89] A.A. In articles
such as “Creativity and Research” by Aliyev [1, 105], the
issues of portraiture and style of the hero are explored
in the most complete way.
The style of creating portraits by Abdullah Qahhor is
absolutely unique. He widely uses the technique of
comparing
characters
and
repeating
family
resemblances. When Abdullah Qahhor draws portraits
of his characters, he creates them by making them look
like something or someone.
Speaking about the language of a work of art, Abdullah
Qodiri wrote: "Let the word be a form, and the thought
a brick cast into it, and when it matures from the form
of many, it will become the basis for a new life." Through
the word, the writer reveals something new to readers,
thoughts, teaches people to understand, see, feel. The
idea put forward by the writer and expressed in the
work is reflected through visual means.
European International Journal of Philological Sciences
14
https://eipublication.com/index.php/eijps
European International Journal of Philological Sciences
CONCLUSION
In fiction, portrait painting gives a positive impetus to
raising the level of social activity of members of society
with its impressive images in these matters. After all,
the portrait image in the novel plays an important role
in understanding and comprehending the state of the
spiritual world of the central character and the changes
in it. In creating his artistic image, the writer uses
events from colorful scenes of life, depicting scenes
from the life of a specific historical figure.
REFERENCES
Aliyev A.A. Creativity and research. - Tashkent,
"Literature and Art". 1973. - 187 p.
Yakubov H. Ideology and skill in Oybek's lyrics. -
Tashkent, "Uzfanakademnashr". 1963. - 130 p.
Koshjanov
M.
Life
and
skill.
-
Tashkent,
"Uzadabiynashar". 1962. -202 p.
Ojegov S.I., Shvedova N.Yu., Tolkovyy slovar russkogo
yazyka, Moscow, "A TEMP". 2010. - 874 p.
Rasulov A. Art is a new thing. - Tashkent, "Sharq", 2007.
-336 p.
Slovar inostrannyx slov. - Moscow, "Russky yazyk".
1988. - 624 p.
Dictionary
of
literary
terms.
-
Moscow,
"Prosveshchenie". 1974. - 509 p.
Sultonova M. Abdulla Qahhor style. - Tashkent, "Fan".
1967. - 108 p.
Isamutdinov
A.,
Abdunabiev
S.
ОЙБЕКНИНГ
“НАВОИЙ” РОМАНИДАГИ БАДИИЙ ТАСВИР ВА
ИФОДА
ВОСИТАЛАРИНИНГ
ТАРЖИМАДА
БЕРИЛИШИ //Академические исследования в
современной науке. –
2024.
–
Т. 3. –
№. 18. –
С. 127
-
135.
Botirovich A. S. TARJIMASHUNOSLIKDA USLUB
MUAMMOSINING
O
‘RGANILGANLIGI
//Ta’lim
fidoyilari.
–
2022.
–
Т. 18. –
№. 5. –
С. 359
-362.
