International Journal Of Literature And Languages
106
https://theusajournals.com/index.php/ijll
VOLUME
Vol.05 Issue07 2025
PAGE NO.
106-108
10.37547/ijll/Volume05Issue07-28
An Example of Signal Art or Collaborative Creation in
Navai's Work
Jumaniyazova Dinara Shukhratovna
Teacher at School No. 6, Khiva district, Khorezm region, Uzbekistan
Received:
31 May 2025;
Accepted:
29 June 2025;
Published:
31 July 2025
Abstract:
Navoi made significant contributions to all genres of poetry in the literature of the Sharq. He brought a
new spirit, meaning, and content to them. His innovations in the field of ghazal writing are of great importance.
It is known that in the period before Navoi, the leading theme that was prominent in Uzbek ghazal writing was
the theme of love. In general, the definitions given to ghazals in the scientific literature of that period talk about
the fact that this genre was mainly on a romantic theme and that they depicted the relationship between the
lover and the beloved. In addition, the images of the rind and the arif gradually began to appear in Uzbek ghazal
writing. Persian-Tajik ghazal writing had achieved considerable success in this regard, and the images of three
main lyrical heroes - the lover, the rind, and the arif - were prominent in it. It is precisely these qualities that
permeated the work of Babur that is a separate topic.
Keywords:
Juz, Andin mystic views, verses of the Holy Quran, praise, wasf, commentary.
Introduction:
In world literary studies, the study of the
work of Alisher Navoi has a history of more than five
hundred years, during which thousands of scientific
works were created in the countries of the East and
West, and the role of the scientific and creative
heritage of the great poet and thinker in the history of
world culture was highly appreciated. It was
substantiated that the writer's unique poetic and epic
works, as well as his historical and prose works, are
great monuments of world culture and literature.
During the years of independence, Alisher Navoi's
beautiful lyrics in two languages (Turkic and Persian-
Tajik), his works promoting high humanistic ideas, were
studied quite deeply, in detail, and perfectly in Uzbek
literary studies, but the study of the poet's prose works
was not carried out sufficiently consistently. Indeed, "it
is necessary to show respect and reverence to the
memory of our ancestor Alisher Navoi, to study his
sacred heritage, and to pass it on intact to our young
generation" [1.113]. Therefore, the study of the artistic
aspects of the texts of Alisher Navoi's works and the
specific features of the poet's prose style based on
modern scientific principles is one of the urgent tasks
facing our science.
Literature review
The article thoroughly examines the theory of artistic
creation in world and Uzbek literary studies, the
interpretation of religious-educational, national and
universal problems, in particular, monographic studies
and scientific articles dedicated to Navoi's work. Also,
references were made to the literature indicated in the
comparative typological analysis of Navoi's work.
Thanks to independence, a new direction has emerged
in the study of Navoi's work. New interpretations of the
poet's works were created. His poems and prose works
are being repeatedly researched. Scientific research
and articles dedicated to the depiction of mystical
truths in Navoi's work have been published. In recent
years, research and articles by N.Komilov, I.Haqqulov,
A.Abduqodirov, E.Ochilov, N.Ramazonov, S.Olim,
K.Mullaxo'jaeva have presented many new information
and opinions on this issue.
METHODOLOGY
The study of religious and educational ideas in the
poetic and prose works of Alisher Navoi in harmony
with the philosophical and Sufi views of Zahiriddin
Muhammad Babur and his time, as well as the
interpretation of references to verses and surahs of the
Holy Quran in the poet's work, was studied. Also, the
scientific and theoretical views of such literary scholars
International Journal Of Literature And Languages
107
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International Journal Of Literature And Languages (ISSN: 2771-2834)
as Oybek, Shaykhzoda, Izzat Sultan, P. Shamsiev, Yo.
Iskhakov,
A.
Khaitmetov,
S.
Ganieva,
M.
Mirzaahmedova, A. Khaitmetov, Kh. Yakubov, I.
Hakkulov, S. Olimov, D. Yusupova, N. Bozorova serve as
a scientific and methodological basis for the research.
RESULTS
Since the creation of the garden of literature, its roots
go back many thousands of years. Its strong roots, as
they took root, became more refined and gained the
love and attention of the people. Even after centuries,
the study of Navoi and Babur's works has not lost its
fundamental meaning and essence. Specifically, when
discussing the great thinker and genius of poetry,
Hazrat Mir Alisher Navoiy, it is impossible not to look at
his scholarly and literary views, which have been a
spiritual and educational legacy in the history of our
people.
We know that Alisher Navoi served as the prime
minister in Herat, in the court of Husayn Bayqara. Much
of the poet's work has been broken in the development
of the court literary environment and its ascent to great
heights. At that time, lyrical works related to Sufi
concepts and religious terminology were created in the
court literary environment. True, similar rare works
were created in our classical literature before, but we
can see that it reached great heights during Navoi's
time, particularly in Navoi's work.
As evidence of our opinion, references to verses and
suras of the Holy Quran, the Hadith Sharif, written in a
Sufi spirit, praising Allah and the prophets, constitute
the core point of Navoi's work. In particular, the poet's
works "Khazoyin ul-maoniy," "Mahbubul-qulub,"
"Khamsa,"
"Majolis
un-nafois,"
"Khamsat
ul-
mutahayyirin," "Munshoot" and others confirm our
opinion.
Let's pay attention to Navoi's following rubaiyat:
Andin berikim, q
oshimda yorim yo‘qtur,
Hijronida juz nolai zorim yo‘qtur.
Dasht urza quyun kabi qarorim yo‘qtur,
Sargashtaligimda ixtiyorim yo‘qtur.( Gharaib us
-sighar,
Ghazal 43, p. 731.)
What does the poet want to say? If we look at the use
of the word "andin," it means "from a long time." It was
as if she wanted to tell him that she hadn't been with
him for a long time, that she had spent her whole life
alone. But the verses convey not only this meaning, but,
on the contrary, the image of Allah in place of the
beloved, beautiful hints that Allah is one and only, and
loneliness suits only Allah. (Surah Al-Ikhlas, verse 112,
Allah is One)
The "juz" in the rubai is also filled with great meaning.
However, this word not only means part, share but also
expresses the meaning of "one-thirtieth part of the
Holy Quran." Thus, the poet here refers to the book of
Allah, the Holy Quran. In the following lines, the poet
also wants to say that he has no will in separation from
his beloved, wandering like a whirlwind in deserts and
steppes to reach her. The poet's general ideas and
concepts around the main theme, accordingly, speak
about the influence of love on the human heart, love
and mortality, the charm and danger of the path of
tariqat are poetically interpreted. Therefore, the verses
of the rubai are united not by a direct chain connection,
but by the commonality of rhyme, radif, theme, and
tone. Praise, description, commentary, and mystical
meanings are brought into the same stream.
In general, in Navoi, divine love is connected to various
situations, and in each ghazal it is sung with a special
freshness, new expressions, and stylistic style.
Therefore, his ghazals are not exact repetitions of each
other, but each one gives the reader special pleasure as
a new work. The spiritual state in each station and
address of Sufism, the difficulties of discovering these
addresses, the striving for the presence of the Great
God, longing and yearning, intoxication from the
blessing of spirituality, the thirst for the vision of a
friend whose heart is immersed in enlightenment, the
anguish in moments of deprivation of him are
repeatedly interpreted in each ghazal through various
colors and tones, images and arts.
It is known that Navoi's works, their ideas and essence,
had a great influence on the work of Zahiriddin
Muhammad Babur. In particular, in Babur's lyrics, we
can find many rubai in harmony with Navoi's rubai.
Ko‘pdin berikim yor
-
u diyorim yo‘qtur,
Bir lahza-
yu bir nafas qarorim yo‘qtur.
Keldim bu sori o‘z ix
tiyorim birla,
Lekin
borurimda
ixtiyoim
yo‘qtur.
(Zahiriddin
Muhammad Babur, Rubai 31, p. 53.)
The word "ko'pdin" in this rubai is synonymous with the
word "andin" in Navoi's rubai. In the rubaiyat, Babur
indicates that he has no beloved, that he is far from his
beloved Homeland. More precisely, if mystical views
prevail in Navoi's rubaiyat, then vitality and secularism
prevail in Babur's rubaiyat.
Both rubais seem similar in tone, rhyme, and partially
in content. However, if in Babur's poetry the depiction
of life's truth is stronger, in Navoi, as mentioned above,
the praise of Allah is stronger.
It would not be a mistake to say that Babur wrote the
above verses, seeing Navoi as a person of his ideal,
inspired by his skill.
CONCLUSION
International Journal Of Literature And Languages
108
https://theusajournals.com/index.php/ijll
International Journal Of Literature And Languages (ISSN: 2771-2834)
One of the important issues is the study of Navoi's
poetry based on modern principles, the study of Sufi
views and allusions in the poet's work. It is noteworthy
that the literary heritage of Navoi and Babur today
serves as an important educational tool for our youth.
REFERENCES
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