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TYPE
Original Research
PAGE NO.
31-35
DOI
OPEN ACCESS
SUBMITED
21 January 2025
ACCEPTED
25 February 2025
PUBLISHED
23 March 2025
VOLUME
Vol.05 Issue 03 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
Doctoral student at JSPU, 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:
After the Uzbek people chose an
independent path of development, the study and
analysis of written and lithographed manuscripts
became one of the most crucial factors in an era when
the nation was gaining worldwide recognition through
its educational and spiritual heritage, its incomparable
past, and its ancestors. In particular, President Shavkat
Mirziyoyev, in his work "We Will Build Our Great Future
with Our Brave and Noble People," expressed the
following view on the restoration of historical written
sources and lithographs:
"The unique cultural heritage, manuscript works, and
lithographs created by our ancestors are an invaluable
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European International Journal of Philological Sciences
treasure for today's generation. Preserving this
heritage, studying it scientifically, and passing it on to
future generations is our sacred duty" [1;148].
The President also emphasized that researching such
works plays a vital role in helping our people
understand their history, culture, and religious values.
One such spiritual monument is Sabot ul-ojizin, a work
by So‘fi Olloyor, which was studied a
s a special
textbook in madrasas across the Mawarannahr region
until the 20th century. After reaching a certain level of
literacy, students studied Sabot ul-ojizin, which was
popularly known as So‘fi Olloyor. This work,
characterized by a simple expressive style, a Turkic
tone, and profound meaning, was highly regarded in its
time as a comprehensive religious source.
For this reason, the life and creative legacy of So‘fi
Olloyor were studied even during his lifetime, and
special dictionaries and commentaries were compiled
for his works in both Turkic and Persian. In particular,
a commentary on Sabot ul-ojizin was later written by
the Tatar writer Tojiddin Yolchiqul, and this work
became known as Risolayi aziza.
Sabot ul-ojizin is a religious work that provides
extensive information on fundamental aspects of faith,
including descriptions of Allah's attributes, the
creation of prophets, belief in them, explanations of
paradise and hell, the description of the Sirat Bridge,
the concept of death, and acceptance of fate
—
topics
essential for every faithful Muslim. Comprising 1,680
verses, the work consists of 81 poems on various
subjects, which can be conditionally classified as
expositions on Islamic theology, stories, supplications,
and moral advice [11;14].
The book begins with praises to Allah and then details
the attributes of the Prophet Muhammad (peace be
upon him), explanations of recognizing Allah, His
uniqueness, and His attributes. This is followed by
sections on faith, descriptions of angels, belief in
prophets, and many other theological expositions,
interwoven
with
corresponding
stories
and
supplications. Through these stories, So‘fi Olloyor aims
to offer guidance to the reader and humanity as a
whole, using allegories as evidence for his moral
teachings. In other words, he intends to provide
lessons through the experiences of the characters in
his narratives.
The work also contains dedicated supplications
(munājāt). The term munājāt is explained in various
dictionaries and encyclopedias as follows: in Arabic, it
means seeking salvation, having a secret conversation
[2]; expressing one's heart to God, lamenting [8];
pleading, supplicating [5]; asking for salvation, making
entreaties [4]; whispering, conversing secretly or
privately with someone [7], among other meanings
[3;9].
Munājāt is considered a distinct literary genre,
introduced into Turkic literature under the influence of
Persian-Tajik literature. However, its initial elements
were already present in Turkic literature, which
facilitated its acceptance by Turkic poets and writers
[3;15]. This genre is associated with lamenting to God,
seeking His mercy, and expressing repentance for sins.
It reflects a person's humility, weakness, and
dependence on Allah. The essence of munājāt is deeply
connected with Sufism and religious-moral teachings. It
serves to express a poet's or writer's devotion to God
while also offering spiritual solace and patience to
readers.
Beyond individual sorrows, munājāt can also convey the
collective concerns, hopes, and fears of a community. It
plays an essential role in a person's spiritual
development and self-awareness. Before the 13th
century, the inclusion of munājāt in Turkic literature had
not yet been firmly established. However, elements of
munājāt can be found in the in
troductions of works by
Yusuf Khass Hajib and Ahmad Yugnaki. For instance,
Qutadg‘u Bilig contains 40 verses dedicated to munājāt,
which are part of five chapters within the work [3;15].
In Turkic literature, the munājāt genre has served an
educational
purpose
by
fostering
religious
consciousness,
encouraging
self-reflection,
and
promoting repentance. So‘fi Olloyor, who extensively
used munājāt in his works, infused his entire literary
output with Islamic enlightenment. He skillfully
depicted Islamic jurisprudence (sharia) and Sufi
teachings in simple and accessible Uzbek words. In some
sections of his works, he introduced munājāt chapters
in direct connection with preceding topics. For example,
following the section about the question asked by a lone
angel in the grave
—
"Who is your Lord?"
—
he placed a
chapter of munājāt specifically dedicated to this theme
[3;20].
Iloho, bandaman, bechoradurman,
Havoyi nafs ila ovoradurman.
Lahadga k
irsa 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-ojizin
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significantly deepens its spiritual and philosophical
content. In munajats, the author, like all believers,
expresses his duties and responsibilities before Allah,
his
inner experiences,
and
his
repentance.
Furthermore, throughout the work, the author
reminds the reader through munajats of the
importance of faith in God, repentance, and keeping
our tongues constantly engaged in prayer. In
particular, the munajat mentions...
Iloho, bandaman, bechoradurman,
Havoyi nafs ila ovoradurman.
Erur man barcha nuqsonimg‘a iqror,
Musulmon o‘g‘li qilmas ishlarim bor[10;23],
...such verses, where the author uses himself as an
example to emphasize that every person has a nafs
(carnal self) and must repent, indicating that such flaws
are not characteristic of true Muslims.
Munajats begin with the word "Iloho" (O God). As in
other works of this genre, the munajats in Sabot ul-
ojizin artistically interpret the servant’s responsibility
before the Creator, their supplications, and inner
experiences [11;14].
Ihoho, lutf qil, munda va anda,
Mani banda etib, berkit bu banda.
Agar chandi ki go‘rsiz o‘lsa inson,
So‘rolur, albatta, beshakku nuqson[10;25]
...Through these verses, the poet expresses his
supplication to Allah, seeking His help, acknowledging
his own weakness and sinfulness. He implores Allah to
show him grace in both this world and the Hereafter,
to accept him as His servant, to grant him honor in the
eyes of others, and to conceal his faults. In doing so, he
recognizes himself as an obedient servant of Allah and
asks for His boundless mercy.
No matter how beautiful or perfect a person may
appear, flaws can always be found in every human
being. In other words, finding a truly flawless and
perfect person in this world is nearly impossible. The
poet particularly emphasizes that everyone has
shortcomings. In this munajat, it is highlighted that
every individual should humbly acknowledge their
mist
akes, recognize their weaknesses, and seek Allah’s
forgiveness and mercy.
So’fi Olloyor’s Sabot ul
-ojizin concludes with a munajat
chapter. The section titled "Ruboiyyoti turki bo tariqi
munojot" contains munajats written in rubai (quatrain)
form, where the poet addresses Allah as "Xoliqo" (O
Creator), admitting his countless sins while hoping for
divine mercy. So’fi Olloyor’s munajats closely align with
the verses of the Qur’an [3;20].
Each munajat in Sabot ul-ojizin holds special significance
in human life. The meaning and essence of every
couplet
in
these
munajats
possess
unique
characteristics. The distinct features of the munajats in
Sabot ul-ojizin are as follows:
1.
Inner dialogue. The work employs an internal
dialogue format, where the poet poses questions to
himself and expresses his emotions and doubts. So’fi
Olloyor conveys his spiritual experiences with sincerity
and pure emotions, drawing 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],
...The verses take the form of an inner dialogue, where
the author acknowledges his boundless sinfulness and,
while hoping for Allah’s mercy, seeks repentance and
forgiveness, placing his trust in divine compassion. In
each couplet, he confesses his sins, implores Allah for
forgiveness, and pleads for steadfastness on the Sirat
Bridge.
2.
Supplication to Allah. In the munajat, the author
expresses his direct supplication to Allah and reflects on
his true purpose in life. Throughout this process, he
reveals his hopes, fears, and aspirations before Allah
[6;15]. Through the munajat, the reader can observe the
author's spiritual connection with Allah and his inner
quest. Every munajat in the work contains a direct
address to Allah.
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]
...These verses represent one of the most profound
munajats in the work, where So‘fi Olloyor supplicates to
Allah for faith, conviction, and sincerity, as well as for
harmony between his heart and tongue, and the
preservation of honesty in his speech.
3.
Spiritual upbringing and moral values. Through
the munajat genre, So‘fi Olloyor conveys thoughts
aimed at nurturing an individual's spiritual development
and fostering moral perspectives. This, in turn, provides
the reader with a foundation for reflecting on key
aspects of life, humanity, and ethical behavior.
Xoliqo, qildim gunohi behisob,
Tongala san so‘rsang, ne bergayman javob?
Man ocharman jurmu isyon chehrasin,
San yoparsan avfu rahmatdin hijob. [10;114]
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...In these verses, the author reflects on his numerous
sins and contemplates how he would respond if
questioned on the Day of Judgment, recognizing that
he cannot conceal his sins or the transgressions he
committed unknowingly. His spiritual turmoil is vividly
expressed as he ponders the consequences if Allah
withholds His forgiveness and does not grant him
mercy.
4.
Inner and outer conflicts. The munajat deeply
explores both external (apparent) and internal
(hidden) contradictions. The author illustrates the
struggle of self-awareness and self-acceptance,
depicting the internal battles, external pressures, and
difficulties one faces in the journey to understanding
oneself.
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 these verses, the author expresses how a
person, when addressing Allah, openly acknowledges
their flaws. The word “qoyilman” conveys both
amazement and recognition, signifying that the
individual has fully realized their weaknesses and
shortcomings. By doing so, the person admits to having
inflicted great injustice and suffering upon themselves.
The phrase “jonima” symbolically reflects the harm a
person brings upon themselves, signifying the damage
caused by sin and the torment inflicted upon one's own
soul. The poet acknowledges that without Allah’s grace
and mercy, a person cannot attain salvation on their
own. The phrase “Zoti poking” emphasizes Allah’s
purity, omnipotence, and benevolence, highlighting
human weakness and the necessity of divine
assistance.
A person cannot fully rely on their own deeds, meaning
that prayers and good actions alone are insufficient
without genuine sincerity and Allah’s acceptance. So‘fi
Olloyor contrasts inner (spiritual) and outer (apparent)
contradictions. While a person may outwardly perform
religious rituals and appear pious, their inner sincerity
may not always align, as some actions may be carried
out hypocritically rather than with true devotion. The
poet critiques this discrepancy between outward piety
and inner shortcomings, a conflict that is vividly
reflected in these verses.
5.
Sincere emotions and inner experiences. A
distinctive feature of the munajat genre is its
expression of deep sincerity and inner emotions.
Through munajats, the author conveys his joys,
sorrows, and inner turmoil openly, allowing the reader
to connect with his emotions and experience them on
a personal level.
Xoliqo, qildim gunohi behisob,
Tongla san so‘rsang, ne bergayman javob?
Man ocharman jurmu isyon chehrasin,
San yoparsan afvu rahmatdin hijob[10;114]
...In these verses, the author expresses his inner
emotions and experiences with remarkable depth and
subtlety, maintaining a tone of sincere humility. Every
line reflects both his acknowledgment of sinfulness and
his hope for Allah’s mercy
and compassion. In particular,
each verse contains a direct supplication to Allah, where
the poet openly admits his sins.
The phrase "guhohi behisob" (countless witnesses)
signifies that his sins are too numerous to be counted,
emphasizing their boundless nature. Through these
inner reflections, the poet profoundly senses his own
weakness and vulnerability, openly admitting his faults
and expressing deep remorse and repentance before
Allah.
Specifically, he expresses shame for his sins, using the
words "jurma" and "isyon" (faults and rebellion) to
indicate that he does not conceal his transgressions. He
highlights the importance of inner honesty, the need for
individuals to confront their sins rather than evade
them. The term "hijob" (veil) symbolizes Allah’
s
protective covering, referring to His mercy that conceals
and forgives the sins of His servants.
6.
Historical and cultural context. Sabot ul-ojizin is
deeply rooted in its historical and cultural environment,
making it essential to acknowledge the significance of
the munajat genre. This genre holds an important place
in Turkic literature, as the author utilizes it to reflect the
spiritual and cultural heritage of his people.
Tilokim bu, ayo Subbohu Quddus,
Qulingni qilmag’il rasvoyu mayus.
Xudavondo, yongildim, turfa yozdim,
Shayotin makri birlan yo‘ldin ozdim[10;34]
...Through these verses, one can gain a deep
understanding of the social, religious, and cultural
landscape of the 17th
–
18th century Bukhara and
Turkestan regions. During So‘fi Olloyor’s lifetime, Islam
played a dominant role in these territories, with
scientific and religious activities flourishing under the
guidance of sheikhs and Sufi scholars.
Expressions such as "Subbohu Quddus", used to glorify
Allah, were widely employed by scholars and Sufis of
that era. Cultural life was primarily shaped by religious
beliefs and spiritual practices, and as a representative of
this environment, So‘fi Olloyor centered his work on
supplication, repentance, and devotion to Allah.
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During his time, Bukhara Emirate was a major Islamic
center, home to mosques, religious schools, and
centers of scholarship, which played a crucial role in
promoting religious education and moral values
among the people. So‘fi Olloyor’s focus on divine
themes directly reflects the religious atmosphere of his
era.
7.
Impact on the reader. The use of the munajat
genre in the work creates a profound emotional effect
on the reader. This genre allows readers to witness the
author’s inner struggles and sincere emotions,
enabling them to relate his reflections to their own
lives and spiritual experiences.
Iloho, lutfqil, man mubtaog‘a
Tushubdurman biyoboni balog‘a.
Yotibman yuztuban issig‘da suvsob,
Kishi yo‘qdur tomizg‘ay qatrayi ob[10;49]
...In these verses, the author expresses his sincere
supplication to Allah, seeking divine help and mercy.
This munajat vividly portrays the struggles of human
life, depicting a devoted servant turning to Allah for
support and salvation amid life's trials. The poet
illustrates human frailty and helplessness in the face of
hardships, emphasizing that only Allah’s grace can
provide true relief. For this reason, the author
fervently prays for divine compassion, assistance, and
strength.
CONCLUSION
In summary, the extensive use of the munajat genre in
Sabot ul-ojizin significantly enhances the spiritual
depth and philosophical meaning of the work. This
genre not only provides the reader with aesthetic
pleasure but also serves as a means of spiritual growth
and self-awareness. Moreover, it strengthens the
reader’s faith and devotion.
Additionally, the munajats in the work serve as a
pathway for individuals to draw closer to Allah, engage
in self-reflection, purify their souls, and choose the
right path. This, in turn, plays a crucial role in improving
one's spiritual well-being and overcoming stress and
internal conflicts.
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