European International Journal of Philological Sciences
9
https://eipublication.com/index.php/eijps
TYPE
Original Research
PAGE NO.
9-11
DOI
OPEN ACCESS
SUBMITED
20 May 2025
ACCEPTED
18 June 2025
PUBLISHED
18 July 2025
VOLUME
Vol.05 Issue 07 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Depiction of Historical
Characters in The Stories
of Xurshid Davron
Abdurazzaqova Shoira
Doctoral student specializing in 10.00.02
–
Uzbek Literature at Andijan
State University, Uzbekistan
Abdullayeva Dildoraxon Zumratbekovna
Doctor of Philological Sciences, Professor, Uzbekistan
Abstract
: This article explores the artistic and aesthetic
principles used by Xurshid Davron in creating historical
images. Stories such as “Qirq qadam”, “Registon”,
“Ko‘hna qo‘rg‘on ostidagi xazina”, and “So‘nggi elchi”
are interpreted through philosophical and symbolic
approaches, where history becomes a spiritual and
aesthetic reflection rather than mere facts.
Keywords:
Xurshid
Davron,
historical
image,
philosophical approach, aesthetic perception, Uzbek
literature.
Introduction:
In the new era of Uzbek literature, the
principle of historicism has emerged as a significant
aesthetic criterion. Especially from the second half of
the 20th century onward, as the processes of national
self-awareness and the restoration of historical memory
intensified, the artistic depiction of historical figures
became one of the central directions in literary
development. In this context, the creative work of
Khurshid Davron stands out as a unique exemplary
phenomenon; in his stories, the author distinguishes
himself through his unique approach to interpreting
historical reality based on artistic thinking.
The main feature of Khurshid Davron’s stories lies in his
portrayal of historical events and figures not through
actual
historical
facts,
but
through
artistic
contemplation, philosophical reflection, and spiritual-
aesthetic understanding. The writer views history as a
source of renewal and a path to understanding the fate
of humanity. In stories such as “Forty Steps,” “Registan,”
and “The Treasure Beneath the Ancient Fortress,”
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European International Journal of Philological Sciences
historical images are not just reflections of the past
—
they emerge as symbols that are understood in the
context of the present and serve as lessons for
contemporary individuals.
In his narratives, Khurshid Davron often expresses
historical events through symbols and allegories. This
fundamentally distinguishes him from the traditional
historical story genre. For example, in the story “Forty
Steps,” the motif of historical memory is brought to the
forefront. As the protagonist transitions from one state
to another, he connects with the footsteps of
ancestors, and historical truth is revealed through
artistic and aesthetic analysis. Here, the historical
image is not portrayed as a real historical figure but as
an embodiment of the spirit of the people. The
composition of the story is also constructed in
accordance with the principle of historicism:
connections between different forms of time and
layers of the plot are used to reconstruct historical
memory.
At this point, it is important to note that a key factor in
creating a historical image is the harmony between
historical thinking and aesthetic worldview. Khurshid
Davron is among those writers who have achieved this
harmony. In creating historical images, he does not
strictly adhere to historical facts but instead
reimagines history through his own philosophy. This
approach brings him closer to the romantic historical
school. For the author, what matters is not the factual
accuracy of events, but the aesthetic emotions evoked
in the reader.
The creation of historical images in his stories is based
on two main approaches: first, reinterpreting historical
facts and sources through the lens of modern thinking;
and second, forming an artistic-philosophical
generalization of a historical figure or event. “The
Treasure Beneath the Ancient Fortress” is a vivid
example of this. In this story, the historical process is
viewed through the cultural layers buried beneath the
ruins of an ancient city
—
not from an archaeological
standpoint, but rather as a form of spiritual and artistic
memory.
One of the main aesthetic features of historical images
in
Khurshid Davron’s stories is their spiritual depth.
History is not merely a sequence of events
—
it is a
collection of memories, dreams, and regrets that live
within the human heart. In the story “Registan,” this
spiritual reflection is especially pronounced. Although
the protagonist belongs to the present time, he deeply
feels the historical events that unfolded in Registan
Square and senses a strong connection with the past.
Through this spiritual connection, the historical image
is brought to life in a modern understanding.
The issue of language and style also plays an important
role in the creation of historical imagery. In Khurshid
Davron’s stories, archaic words, historical
-religious
terms, and poetic imagery are widely used. This allows
the author to depict images in a vivid, expressive
manner, rich in historical content. At the same time,
these stories contribute to the preservation and
development of the historical layers of the Uzbek
literary language.
The writer creates historical images not only as
representations of the past, but also as ideals that serve
as examples for the present and future. In this regard,
his historical stories carry moral-aesthetic significance
and instill in the reader ideas of national identity,
reverence for historical memory, and respect for
ancestral heritage.
Khurshid Davron is a modern Uzbek writer who pays
special attention to the creation of historical imagery in
his work. In his stories, essays, and poetic works,
historical events are often interpreted through a
spiritual-philosophical lens. The writer does not view
history merely as a collection of facts, but rather as a
reality reflected in the deep layers of human thought. In
particular, in stories such as “The Last Envoy,” “The Man
with Three Falcons,” and “Samarkand’s Vision,”
historical images are elevated to the level of symbolic,
philosophical, and artistic expression [2].
In “The Last Envoy,” the image of the envoy reflects not
only the reality of a historical period, but also conveys
the ideas of devotion, patriotism, and the sanctity of
historical memory. The envoy is interpreted as the
bearer of historical memory and the protector of
national dignity. The depth of the image is manifested
not only in external actions but also in inner emotional
experiences.
In creating historical imagery, Khurshid Davron employs
the following aesthetic techniques:
Symbolic depiction
–
historical figures are presented not
directly, but within a symbolic context (e.g., the envoy
represents a transitional historical period).
Spiritual-philosophical approach
–
universal ideas are
conveyed through the inner world of historical
characters.
Dialogic style
–
an artistic dialogue is established
between history and the present.
These aspects distinguish Khurshid Davron’s work from
that of historical novel masters such as Pirimkul Qodirov
and Mirkarim Osim. While Qodirov creates character
through expansive descriptions of historical detail,
Davron conveys historical imagery through internal
emotions and concise yet profound narratives [3].
Furthermore, the historical images in Khurshid Davron’s
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European International Journal of Philological Sciences
stories “converse” with the modern reader. This
approach aligns with M.M. Bakhtin’s theory of
dialogism, serving to express the artistic interaction
between history and the present [4]. Here, history is
not treated as a museum exhibit, but as a dynamic,
evolving, and time-reflecting artistic phenomenon.
CONCLUSION
In conclusion, the historical imagery in Khurshid
Davron’s stories represents a new stage in the principle
of historicism in Uzbek literature. Through these
images, an aesthetic approach to history and modern
criteria of understanding are introduced. The writer’s
mastery in crafting historical images is manifested in
the harmony of artistic thinking, poetic expression, and
philosophical perspective. These qualities turn his
stories into texts of not only artistic value, but also
significant examples of historical-aesthetic thought.
REFERENCES
Davron, Xurshid. Qirq qadam.
–
Toshkent: Yangi asr
avlodi, 2007.
Davron, Xurshid. So‘nggi elchi. –
Toshkent: G‘afur
G‘ulom nomidagi NMIU, 2008.
Davron, Xurshid. Samarqand xayoli.
–
Toshkent: Sharq,
2010.
Qodirov, Pirimqul. Yulduzli tunlar.
–
Toshkent: G‘afur
G‘ulom nomidagi NMIU, 1982.
Osim, Mirkarim. Sarob.
–
Toshkent: Adabiyot va san’at,
1987.
Baxtin, M.M. Dialogicheskaya fantaziya.
–
Moskva:
Progress, 1986.
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Toshkent: Fan, 1978.
Ismatov, B. O‘zbek tarixiy nasri: nazariy tahlil. –
Toshkent: O‘qituvchi, 1995.
Po‘latov, Sh. Adabiyotda tarixiy obraz
masalalari.
–
Toshkent: Ilm, 2002.
