International Journal Of Literature And Languages
41
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue05 2025
PAGE NO.
41-43
10.37547/ijll/Volume05Issue05-12
The Renewal of Artistic Poetic Thought In 16th Century
Tazkiras: The Works of Mutribiy Samarqandiy And
Hasanxoja Nisoriy
Axmedova Kamola Ziyodulla qizi
PhD student, Alisher Navoiy Tashkent State University of Uzbek Language and Literature, Tashkent, Uzbekistan
Received:
14 March 2025;
Accepted:
10 April 2025;
Published:
12 May 2025
Abstract:
The article analyzes the processes of artistic and poetic thought renewal in 16th century Uzbek literature
through the lens of tazkiranavism. Using the examples of Mutribiy Samarqandiy and Hasanxoja Nisoriy, the
features of complex expression of the poet's image, the clarification of aesthetic criteria, the strengthening of a
critical approach, and the appearance of psychological elements in poetic thought are examined. The article also
highlights how tazkiras combine aesthetic and social thinking, as well as the poets' active participation in the social
processes of their time.
Keywords:
Tazkira, artistic thinking, poetic renewal, Mutribiy Samarqandiy, Hasanxoja Nisoriy, poet image,
aesthetic criteria.
Introduction:
The 16th century represents a significant
stage
of
development
in
Uzbek
literature,
characterized by notable advancements in both form
and content. During this period, tazkira writing evolved
beyond the mere documentation of poets’ biographies.
It began to serve as an essential literary source for
exploring the poets’ creat
ive-aesthetic views,
identifying their poetic criteria, and understanding the
intellectual currents of the time. The tazkiras authored
by Mutribiy Samarqandi and Hasanxoja Nisoriy vividly
reflect the processes of transformation taking place in
literary consciousness. Their works not only preserve
historical and cultural memory but also provide deep
insights into the emergence of a new poetic worldview,
where ethical, social, and artistic dimensions converge.
These authors do not limit themselves to aesthetic
appraisal alone but examine poets’ personalities and
creative contributions through moral and societal
lenses, thereby contributing to the evolution of literary
discourse in the region.
The Poetic Standing of Mutribiy Samarqandi and
Hasanxoja Nisoriy in Literary Thought
Mutribiy Samarqandi and Hasanxoja Nisoriy, in their
respective works, present the image of poets not only
from an aesthetic perspective but also through ethical
and
social
dimensions,
thereby
contributing
significantly to the formation of a new mode of poetic
thinking in literature. As one of them asserts: “Indeed,
by one’s very nature, it is an unbecoming and
inappropriate act; and expecting anything from
someone who shows no shame in such conduct is even
more inappropriate.” This article
explores the distinct
features of artistic thinking reflected in the tazkiras of
these two authors and evaluates their impact on
contemporary poetic processes.
A Novel Interpretation of the Poet’s Image in Mutribiy
Samarqandi’s Tazkira
Mutribiy Samarqandi’
s Tazkirat ush-Shuara is
distinguished by its critical spirit, realist orientation,
and a commitment to fair assessment of poets. He
approaches the poet’s creativity not solely from
aesthetic standards, but also through social and moral
lenses, which allows for a comprehensive portrayal of
the poet’s image. In addition to portraying poets as
artists, Mutribiy presents them as socially responsible
individuals. This approach laid the foundation for the
emergence of a new type of poetic consciousness
based on the harmony between personality and
creativity.
Mutribiy portrays many poets not only as masters of art
International Journal Of Literature And Languages
42
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
but also as intellectuals with a strong sense of social
responsibility, who addressed the significant issues of
their time. Furthermore, through the lives and creative
paths of poets, he illuminates their personal formation
and the social roles they assumed. The poets’ creative
motives and poetic identities reflect broader shifts in
literary renewal and innovation.
Hasankhoja Nisoriy stands out for his integration of
detail and critical insight in aesthetic thinking. In his
tazkira “Muzakkir al
-
Ashab”, Nisoriy pays special
attention to the collection, classification, comparison,
and analysis of information about poets. His work
reveals a harmonious combination of detail, analytical
thought, and artistic expression in constructing poet
images. This indicates the emergence of deep
psychological approaches in poetic thinking. Nisoriy
emphasizes not only the creative output of poets but
also their inner worlds, reflecting the complexity and
depth of poetic thought. Through his analysis of poetry,
Nisoriy uncovers the poets’ aesthetic views, inner
states, and attitudes toward their time. This approach
solidifies the role of psychological analysis in poetic
discourse.
Nisoriy’s critical approach to poets also contributes to
the formation of new poetic standards in literature.
Rather than offering only praise, he highlights
weaknesses in poets’ styles and creativity, revealing the
development of critical thought within the tazkira. In
both Mutribiy and Nisoriy’s tazkiras, the following
directions of poetic renewal can be observed:
1. Complex representation of the poet’s image –
personality, creativity, morality, and social status are
portrayed in an integrated manner.
2. Critical perspective
–
poets are not only praised but
their stylistic shortcomings and weaknesses are also
addressed.
3. Clarity of aesthetic criteria
–
poetry is evaluated in
terms of ideas, artistic quality, style, and emotional
effect.
4. Elements of psychological analysis
–
efforts are made
to understand the inner world of poets.
These features demonstrate the renewal of poetic
thinking in 16th-century tazkira writing. In this genre,
poetic thought is expressed not only through the
content of poetr
y but also through the poet’s portrait
and literary environment. The tazkiras of Mutribiy and
Nisoriy illustrate the harmony between social and
aesthetic thought. Poets are depicted as individuals
actively involved in the sociopolitical processes of their
time, using literature to express views on social issues.
This suggests that poetic thinking became enriched not
only aesthetically but also socially. Literary and
aesthetic evaluations of poets are accompanied by
consideration of their social positions. Literature began
to integrate its aesthetic essence with social objectives,
leading to a multifaceted formation of poetic thinking.
In conclusion, the tazkiras of Mutribiy Samarqandi and
Hasankhoja Nisoriy are significant historical and literary
monuments that represent the renewal of artistic-
poetic thinking in 16th-century Uzbek literature. Their
works not only reflect the creativity of poets of their
time but also significantly influenced the formation of
the aesthetic and socio-spiritual image of literature.
Mutribiy’s innovative interpretation of the poet’s
image
—
evaluating it from aesthetic, social, and ethical
perspectives
—
contributed greatly to the development
of new poetic thinking. He depicted the poet not only
as an artist but also as a socially responsible figure. This
led to the formation of new poetic approaches based
on the principle of harmony between the individual and
creativity.
Hasankhoja Nisoriy, through his “Muzakkiri Ahbob”,
demonstrated the integration of detail, analysis, and
artistic expression in creating poetic portraits, as well
as the development of psychological approaches. His
perspective allowed for a deeper understanding of the
poet’s inner world, aesthetic views, and relationship
with their era.
The renewal of poetic thinking
in Mutribiy and Nisoriy’s
tazkiras is expressed through several major directions:
the complex portrayal of the poet, critical analysis,
defined aesthetic criteria, psychological elements, and
the poets’ active participation in sociocultural
processes. These qualities reflect the formation of new
aesthetic directions in 16th-century literature.
These tazkiras serve as valuable sources not only for
studying the social and cultural context of their time
but also for tracing the evolution of literary thought.
Furthermore, the poetic approaches introduced by
Mutribiy and Nisoriy mark a transition to a new stage in
the development of literary-aesthetic thinking in Uzbek
literary scholarship.
In conclusion, Uzbek tazkira writing illustrates that
poets were not limited to composing verses alone, but
also took on a sense of social responsibility, using their
literary works as a means to reflect the transformations
occurring in society. This demonstrates that literature
in that period was not confined to aesthetic functions;
it also fulfilled ethical and social roles. The tazkiras of
Mutribiy and Nisoriy clearly show that literary
biography writing evolved into a significant medium for
expressing the complexity of poetic thinking, as well as
for articulating thoughtful responses to the historical
and social challenges of the time. Through detailed
portrayals of poets’ creative individuality and their
International Journal Of Literature And Languages
43
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
social positions, these works contributed to a more
nuanced understanding of the literary landscape.
Furthermore, the innovative poetic approaches
introduced by Mutribiy and Nisoriy marked a new stage
in Uzbek literary thought, integrating aesthetic,
psychological, and social elements into a multifaceted
vision of literature. Thus, their tazkiras serve as
valuable sources not only for studying the artistic and
cultural context of the 16th century but also for tracing
the intellectual evolution of poetic thinking in Uzbek
literature.
REFERENCES
Mutribiy Samarqandiy. (2001). “Tazkirat ush
-
shuaro”
Tashkent: Fan Publishing House.
Hasanxoja Nisoriy. (1993). “Muzakkiri ahbob”
Tashkent: G‘afur G‘ulom Publishing House.
Qosimov, B. (2005). “Uzbek Tazkiranavislari” Tashkent:
Fan.
G‘aniyev, A. (2002). “History of Uzbek Literary Studies”
Tashkent: O‘qituvchi.
Ismoilova, N.
(2010). “Tazkira and Poetic Thought”.
Tashkent: Akademnashr.
Karimov, E. (2003). “The Evolution of the Poet’s Image.”
Tashkent: Uzbekistan.
Rasulov, A. (2001). “Eastern Literary Heritage and
Modern Poetics.”Tashkent: Sharq.
Ashuraliyev, A. (1998)
. “Evolution of Literary
-Aesthetic
Thought” Bukhara: Bukhara State University.
Usmonov, M. (1990). “Traditions of Tazkiranavislari”
Tashkent: Fan.
Shukur, H. (2015). “Poetic Thought and Literary
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