Volume 02 Issue 10-2022
5
International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
02
I
SSUE
10
Pages:
05-13
SJIF
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FACTOR
(2021:
5.
705
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(2022:
5.
705
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OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article talks about the concept of beauty realized in Uzbek classic artistic texts, and the linguistic and cultural tools
that make it come true. Also, standards that create details of beauty, their manifestation in poetic texts; The
verbalization of the ideal beauty in the imagination of the subject by means of various linguocultures, paremiological
units and divine symbols is analyzed on the example of the poems of Lutfiy, Atoyi, Sakkokiy, Gadoiy.
KEYWORDS
Concept, linguistic culture, beauty, standard, purity, tradition, divine symbols, semantic field, aesthetic assessment.
INTRODUCTION
Language acquires real reality in the process of
communication. As a result of its realization, linguistic
society’s
linguistic
-cultural
possibilities,
social
characteristics and pragmatic factors create mutual
harmony. In this process, the language is revealed with
all its national inner being. Since language is closely
related to culture, it develops within culture and
emerges as an expression of culture.
National spirituality and the language culture that
manifests it are expressed in the linguistic cognitive
activity of people. Take, for example, views of the sun
or the moon, “…certain cool
-weather European
Research Article
LINGUISTIC AND CULTURAL MEANS OF REALIZING THE CONCEPT OF
“BEAUTY” IN CLASSIC ARTISTIC TEXTS
Submission Date:
October 01, 2022,
Accepted Date:
October 05, 2022,
Published Date:
October 13, 2022
Crossref doi:
https://doi.org/10.37547/ijll/Volume02Issue10-02
Zulfiya Marufova
Doctor Of Philosophy In Philology (Phd) Senior Lecturer Uzbekistan State Institute Of Arts And Culture
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 02 Issue 10-2022
6
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
02
I
SSUE
10
Pages:
05-13
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
OCLC
–
1121105677
METADATA
IF
–
5.914
Publisher:
Oscar Publishing Services
Servi
peoples (Slavs and Germans) value the sun positively
as symbols of warmth, honor, and favor. In the culture
of Arab countries, the sun is equated with the
scorching temperature that puts them in a difficult
situation during the summer and is negatively
evaluated. So, the sun can be understood not only as a
natural phenomenon, but also as a product of culture”
[1. 102]. In China and Korea, a beautiful woman’s face is
compared to the moon. Also, O. Ahmedova stated that
if the moon “...in the mind of Russians is associated
with darkness, the hereafter, sometimes with life and
death (live “under the moon”, “in the sublunar world”
- everyone lives in the same conditions), the light of the
moon is different in the Slavic peoples, it is compared
to a dangerous and harmful phenomenon for pregnant
and unborn children. The Vietnamese have a
completely different attitude to the moon, like other
South Asian nations, that is, they live according to the
lunar calendar, and the specially celebrated Moon
Festival is a favorite holiday of children” [1. 103].
THE MAIN FINDINGS AND RESULTS
In the Uzbek linguistic culture, the sun and the moon
are not only a source of light, but also a symbol of a
beautiful face. To the moon with the signs of whiteness
and brightness on the face of the moon; it is compared
to the
sun with the quality of “dazzling beauty”.
Orazin yopqoch, ko‘zumdin sochilur har lahza yosh,
Bo‘ylakim, paydo bo‘lur yuldu,z nihon bo‘lg‘och quyosh
(Navoi “Orazin Yapqoch”);
Oy yuzungga ko‘z solg‘ali o‘zga kishi birla
Yo‘qtur nazarim, xoh inon, xoh inonma (Lufiy, “Sensan
sevarim”).
In addition, there is a tradition of expressing the
attractiveness of the eye with the image of the star of
Venus, which has its own artistic and theological
foundations. According to the legend, the heavenly
angels Horut and Morut once fell to Earth with the
wings of the sky, saw a girl named Zuhra and fell in
love. Horut and Morut tricked Zuhra into taking the girl
to heaven. This act of Horut and Morut does not please
God, they will be severely punished, and the girl Venus
will be taken from heaven among the angels. And
Horut and Morut, having endured the punishment, are
still hanging by their feet over the fire (well) of
Babylon. These events enrich the world of poetry and
lay the foundation for the creation of wonderful
images, descriptions [2].
Ey ko‘k xovarida ko‘zi Zuhra, yuzi oy,
Xoni jamoli husnunga shohi falak gadoy (Atoyi, “Ey ko‘k
xovarida”).
The pictures show that Venus is the brightest star and
stands out from other stars.
Images and details such as Babil, Ho
rut, Zuhra, “Chohi
Babil” (“Babil pit”) caused the origin of many artistic
and mythical interpretations in literature. For example,
whoever wants to study witchcraft should go to
Babylon. In classical literature, this time is compared to
the hollow of the
chin of beauties. “Babylonian” is also
called yak zanakh, zakan, ghabgab, zanakhdon, zahan,
bagaga, sagoq[2].
G‘amza ta
ʼ
limi bila band etti axir sehr etib
Sohiri Bobilin ul chohi zanaxdoning sening (Gadoyi, “Ey
ko‘ngul”).
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In the process of verbalization of abstract concepts
such as “beauty”, “love”, “loyalty” in ghazals, we also
see the manifestation of national culture, ethnic-
aesthetic values belonging to a certain period or time
immemorial. In the words of Sh. Safarov, “it is
inevitable that the content of the concept will reflect
the worldview of the language owners and other
national and cultural symbols” [3] In them, the
customs and values of the people to which the
speakers belong are absorbed into the poetic purpose.
The hospitality of the Uzbek people, putting the most
precious things in front of their guests is considered a
national and oriental value. This ethnic characteristic is
also reflected in the linguistic world of the people, and
proverbs such as “Guest is the decoration of the
house”, “Guest is greater than your father”, “Guest is
dear, host is delicious”, “Guest is a special god”, “The
place of the guest is above the eyes” appeared
encouraged it to be. In the following ghazal of Gadoi, it
is stated that “the imagination of Yor la’li (labi
) was a
guest in his heart and he tasted the guest soul, he was
ready to give what the guest in love wanted”.
Jon uchun la
ʼ
ling xayoli tushti ko
‘
nglum evina,
Tortayin jonimni chun, qildi ani mehmon tama
ʼ
(Gadoiy,
“
Xasta ko
‘
nglumga
”
).
So, the imagination o
f the dumb (“yor labi”) is a guest
for a lover, and food (“tama’si”) is the soul. According
to custom, the request of the guest must be fulfilled:
the lover is ready to give his life for the “guest”.
Atoyi’s
Ko‘z
-
yuzimni yoshim bila yuvay sizni ko‘rarda,
K
im, pok sanamga nazari pok keraktur (“Oshiq
kishiing”) in verse “looking at a pure thing with a pure
eye”, that is, we see a display of values such as purity,
respect, dignity. The mentioned idea goes back to the
wonderful national-
cultural custom of “not
looking at
someone without washing your face” existing in our
nation.
National characteristics related to the interpretation of
dreams can also be found in verses describing a lover.
For example:
Uyquchi baxtim qapo chinini doim tush ko‘rar,
Vahki, ta
ʼ
bir
ichra bordur tushta soch ko‘rgon balo
(Lutfiy, “Ey azaldin jonima”).
According to A. Ulugov, “in artistic works, in order to
comprehensively illuminate the life of a person, to fully
show his image, a certain place is given to the
description of the heroes
’ dreams. Both folklore
examples and written classics focus on the fact that a
person’s dreams are directly related to his inner
experiences, goals, and problems he faces” [4]. In
Lutfiy’s verse, since the lover’s mind is occupied with
the yor day and nigh
t, the yor’s black hair also enters
his dream. Dream interpretation is characteristic of the
linguistic culture of all nations. According to B.A.
Bazyma, black color means unhappiness, sadness,
mourning and death [5]. A lover expresses his
unhappiness thro
ugh the interpretation of “black” hair
in a dream. In the verse, the dreamy and sad themes of
the concept of “love” are shown.
In the following verse of Atoyi about the dream and its
interpretation, the word “magic” connects both
verses:
Ko‘zlaringni tush ko‘rib, so‘rsam muabbir der menga:
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“Bu tushing ta
ʼ
birini so
‘
r sohiri Kashmirdin!
”
(
“
To
musavvir bo
‘
ldi
”
).
Poets often refer to the image of the eye for a
seductive expression of the image of a lover. These
images emphasize the words witchcraft and sorcery.
“Jodu and sohir” words often come together with the
toponym of Kashmir in the form of expressions
“Kashmir jodusi”, “joduyi Kashmir”, “sohiri Kashmir”.
Just as the terms Kashmiri (magician, sorcerer,
sorcerer, trickster) mean witchcraft and sorcery, the
meanings of Kashmiri (from Kashmir) are hidden in
these words [2]. According to legends, the place called
Kashmir was founded by the Prophet Suleiman, and
the women of that land were famous for their dark
eyes and charming, bewitching nature. They were
revelers, good at dancing, and also did fortune-telling
and prophesying. These stories were absorbed into
Arabic and Persian-Tajik poetry and became a model of
the beauty of the eyes. In the above stanza, the
interpretation of the dream was asked from the
magician Kashmiri because of the association of
concepts between them.
Munajjim qoshu ko‘zung ko‘rgach aytur
Kim, ushbu o
y boshinda fitnalar bor (Lutfiy, “Sening
usruk ko‘zungga”).
Verse 1: “The astrologer looked into your eyes and said
that there will be conspiracies at the beginning of this
month”; In the 2nd content, the eyebrow has
commonalities with the moon through the symbol of
shape, and the eye through the characteristic symbol
of “conspiracy”, and it is emphasized that “there is a
conspiratorial eye in front of the crescent-shaped
eyebrow”.
The national value of “Forty days of salutations to the
land that tasted sa
lt for one day” is also expressed in
examples of old Uzbek literature. For example:
Shul halovatkim topibtur tuzluq ernindin bu jon,
Gar unutsam haqqini qilsun ko‘zumni ul oq (Gadoiy,
“To falak soldi meni”).
In the annotated dictionary of Navoi’s works, th
e
words “pleasant, correct, honest” are listed as the 2nd
meaning of the word salt [6]. So, in Gadoiy’s verses, the
lover swears, “My soul has rested on your lovely lips, if
I forget the truth of it, let it be white in my eyes.” Visible
white colors are associated with the color of salt.
“...every true work of art always has a moral problem
underlying it, and often the main characters in it show
qualities of moral beauty. Therefore, in aesthetics
there is a concept of moral beauty” [7]. The
combination of external beauty with moral beauty is
also absorbed into the poetic purpose. The expression
of moral value in the form of “You can tell who a
person is by his behavior” can be seen in the following
stanza:
Lof urur zulfung bila mushk aslida bordur xato,
Xar kishining aslini bilsa bulur axloqdin (Lutfiy,
“Dilbaro, sindurma ahdu...”).
Musk and hair enter the same semantic field with the
symbols of blackness and fragrance. In the opinion of
the poet, it is immoral for the musk to boast about the
qualities of the yor zulfi, not about its own qualities. So
the hair is darker and more fragrant than musk.
In the following verse, Lutfiy created a beautiful
expression by using the combination of standing with
open hand in its own and figurative sense:
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Kumush bilaklaringizni yeng ichra yoshurmang,
Kishining ilgi ochuq bo‘lsa, benazir bo‘lur (Lutfiy,
“Zamona ahli”).
Two different meanings can be understood from the
verse: 1) do not hide the white wrists inside, they look
beautiful when they are open; 2) give a compliment to
your lover, it will be appreciated if the person's hand is
open (generous). Human value is reflected in the
second meaning (tagmano). There are many examples
on this topic.
In Muslim countries, it is known to pray by placing the
head on the ground.
Qutlug‘ ayoging yerga tegibdur, oning uchun
El urga qo‘yub bosh, qilur barcha ibodat (Lutfiy,
“Zulfungni ko‘rub”).
God’s nature is flawless and perfect. The ground on
which his feet touched was purified to the point of
worship.
In the following example, a different approach to the
representation of the “purity” periphery of the
“beauty” concept can be seen:
Yer uzra etak sudrab o‘tubsiz oning uchun
Tufroq ila har yerda ravo bo‘ldi tahorat (Lutfiy, “Ey
g‘amza bila...”).
That is, “The soil of the land
that has crossed the foot
of the river will be purified and worthy of performing
ablution (tayammum).”
The benchmark is a materiality that evaluates the
characteristics and quality of objects, events and
objects. It allows you to more clearly imagine ideal
images formed in the mind within the framework of
aesthetic criteria and enjoy them. “The world is
figuratively measured by means of standards”[8]
In the creation of images in classic poetry, divine
symbols also play an incomparable role. U. Qabilov
pointed out that the symbols of prophecy in the poem
have a leading symbolic meaning, while details or
concepts fulfill the task of enriching the semiotics of
interpretations, As an example “to‘fon”, “uzoq umr”,
“kema” (Nuh), “ko‘ylak”, “idish”, “tush”, “quduq”
(Yusuf), “bayzo”, “aso” (Muso), “uzuk”, “shamol”,
“taxt” (Sulaymon), “xuffosh”, “igna”, “nafas” writes
that” (Christ) can be shown” [9].
Prophets Nuh alayhissalam, Yakub alayhissalam, Yusuf
alayhissalam, Solomon alayhissalam, Isa alayhissalam,
Musa alayhissalam, Bilal are often found in the
representation of images in literary literature.
There is a Surah “Yusuf” in the Holy Qur’an. Accord
ing
to reports, Yusuf is an extremely handsome, handsome
young man. “When God distributed the vision to
everyone, he gave ninety-nine percent to Eve, and the
remaining part was divided into ten parts, and he gave
nine parts to Yusuf and one part to the rest of the
people” [10]. In fiction, the image of Yusuf is one of the
most prolific image tools and is interpreted as a symbol
of beauty.
Solib borma meni,ey Yusufi husn,
Bu kun Ya
ʼ
qubtek baytul hazanda (Atoyi,
“
Jamoling
vasfini
”
).
Expressing Lover with the
compound “Yusufi husn” is
the product of a metaphorical process, and this
expression is combined on the basis of the beautiful,
handsome themes characteristic of both units. Ya’qub
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–
Yusuf’s father, was burned at the birthmark and
blinded from crying. The artistic interpretation of this
symbol contains the motifs of “emigration” and
“separation”. Often in poems, the symbols of Yusuf
and Yaqub appear side by side. The terms “firouq”,
“separation”, “grief”, “sorrow”, “longing”, “pain”
belonging to the lexical-semantic field of the concept
of “love” appear in the compound baytul hazan
(“house of sorrow”). For example:
Yusufdin jamoling yodgor,
Bo‘ldi hajringdin biaynih ko‘zlarim Ya
ʼ
qubvor (Atoyi,
“
Ey kamoli husn
”
).
The fact that beauty is “blinding” is convey
ed through
the image of Jacob. This was based on the theme of
“not seeing” connecting Jacob with the eye.
In another verse of Atoyi, through the image of Yusuf,
the value of beauty is equated with the value of a soul:
Tilasang jon visol uchun tutay jonimg
‘a yuz minnat,
Kishi
Yusufni
olmasmu
matoi
roigon
birla?
(“Tilarman”). In the combination of useless cloth
(matoi roigon), the meanings of “worthless” and “no
value” come to the fore. Thus, Yusuf is the expression
of the highest level of beauty, in front of which all
things, even the soul, become “unnecessary cloth”.
G‘olibokim, Yusufi Misriy tushunda ko‘rmadi,
Ul halovatlarki, la
ʼ
li shakkarafshonindadur (Lutfiy,
“
Halqa-halqa zulfikim
”
).
That is: “Egyptian Yusuf did not even dream of the
blessings received
from Lover’s lips.” The phrase of the
Uzbek people “Seven sleeps did not enter the dream”
served to express the strong level of subjective
assessment given to the lips through the theme of
“dream” in the verse.
The figures of Joseph and Jacob are relatively rare in
Sakkoki’s works.
Sakkokiyning o‘rnini o‘shal Yusufi sonin,
Ya
ʼ
qub bikin hajrida baytulhazan etti (
“
Ko
‘
z yuzni
yuzung
”
).
Byte content: “A beautiful man like Joseph turned the
div of Sakkoki into a house of sorrow like Jacob in the
desert.” In th
is place, it is emphasized that the beauty
in the image of Yusuf is the cause of the lover’s
condition.
Another fruitful means of expression in perfecting the
image of the land in classical poetry is the image of
Jesus Christ.
The purpose of the poet is formed through the themes
of life, resurrection, recovery, illness, pain, which are
included in the content of the symbolic image of Jesus
Christ (resurrecter, healer). That is, the yor revives the
image of Jesus Christ with his lively lips and breath. The
poet creates an artistic expression through events and
symbols known to the reader of his national-cultural
layer. At the same time, he manages to express the
beauty of the land and his level of love. Of course, in
order to understand such meanings in the ghazal, the
reader needs to have knowledge about the history of
religion and the life of the prophets.
By using the conjunctions “sick” and “heal” together,
Zacchaeus attributes the healing nature of Jesus to
Jesus and emphasizes the power of eye appeal:
Ey Masiho dam begim, bir dam bila bergil shifo,
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Sheva birla ko‘zlaring jonimni bemor ayladi. (Sakkoki,
“Gul yuzungni”)
That is, “Your eyes made me sick, now heal me with
your breath.” In addition to the healing of Jesus in
every word of Lover’s, the fact t
hat his beautiful
character heals the soul further exaggerates Lover’s
qualities:
Iso damining bor asari har nafasingda
Jon dardina ,ey xulqi davo, bizni unutma (Sakkoki,“Jon
hajr o‘tina”).
Images associated with the image of Jesus Christ serve
to verbalize beauty through the model of the Woman-
healer.
According to the Qur’an, Allah gave Solomon the
status of both prophethood and kingship. He
subjugated the wind, giants, humans, and made him
know the language of creatures. He was the owner of
countless properties and an army. The quoted
adjectives are directed to the poetic purpose of
expressing the qualities of a lover in classical poetry.
Yuz uzra go‘yiyo zulfing Sulaymon mulkini tutmish,
Ul Ahramanning ilkidin hazoron ohu vovayli (Sakkoki,
“Ko‘rub xurram yuzung”).
In the verse, a hundred is compared to the property
(wealth) of Solomon. Because on the “stage” of the
face there are “treasures” such as rubies and agate
(lips), pearls and pearls (teeth), and silver (face). Zulf is
likened to Ahraman, who surrounds him. This analogy
is based on the negative connotations inherent in the
black lexeme. According to the interpretation in the
“Avesta’ book, Ahraman is the god of the world of evil,
humans are subject to him.
In the Holy Qur’an, information is given that Nuh
alayhissalam lived for 950 years. Based on this fact, in
classical poetry, this symbol is used to express
“longevity”, as well as the height of the lover.
Bu pari paykar sanam go‘y
oki mahzi ruhdur,
La
ʼ
li Xizr obi hayoti, qaddi umri Nuhdur (Atoyi,
“
Bu pari
paykar sanam
”
).
U. Qabilov interprets the verse as follows: “In this verse
of Atoyi, the image of Khizr is depicted together with
Noah. More precisely, the life of Khizr obi and the life
of Noah serve to discover a poetic landscape. In fact,
the points that connect them historically are not
recognized. In this case, it is as if my beloved date itself
is a spirit. And Labi La’li is like the water of life of Khizr,
and it forms the life of Noah [11].
In addition, there are poems in classical texts that are
likened to the image of Khal Hazrat Bilal, which Atoyi
was the first among contemporary poets to use:
Qaro zulfung savodidin rumuzi kufr etib zohir,
Engingni Mustafo nuri, mengingni ham Bilol aylar
(Atoyi, “O‘shal soni
ʼ
ki...
”
).
We know that Hazrat Bilal was a black person of Arab
nationality who lived during the time of our Prophet
Muhammad, who went down in history as the first
muezzin. The comparison of “Meng” and “Bilal” is a
be
autiful analogy. “Kora Khal and Bilal were among the
first to be glorified by Atoyi in Turkish poetry.
According to the story, “The stars of Paradise will be
wrapped around themselves until the end of time.”
This adornment will come to an end in the hereafter,
but there will be a deficiency in the adornment of the
hurrah. At that time, Bilal’s blackness was distributed
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point by point to the heavens. With this, the beauty of
the heavenly hooves matures.” In the given example,
the image of Bilal is processed in the mind under the
sign of blackness, and the color of the human div is
transferred to the score: it moves from the concept of
man to the concept of color.
Ul nuqtakim, xat uza tushubtur aqiq uza,
Xizru Masih hamdami go‘iyo Bilol erur (Gadoiy, “Ollohu
akbar”).
In this stanza, the sequence of image objects in the first
verse (point - point, letter - feathers, aqiq - lip) is
explained by the sequence of divine symbols in the
second verse. That is, khol - Bilal (with the sign of
blackness), khat - Khizr (green grass), aqiq - Masih (lip,
healer). Meaning: the dot between the hairs above the
lip means that Bilal is the companion of Khizr and
Christ.
CONCLUSION
In short, all the symbols of saints and prophets,
historical figures and artistic heroes used in Eastern
classical poetry go beyond the scope of the concept
(Adam) to which they belong, and move to the scope
of the units that represent a sign and characteristic and
serve to form the concept of “beauty”.
In many cases, the evaluation of objects is subjective,
because in order to determine the value of a certain
object, to evaluate it, “a person needs to feel it
spiritually, that is, the nature of the evaluation
corresponds to the nature of a person. During
evaluation, a person is a target that reflects re
ality”
[12]. In classical poetry, certain symbols characteristic
of these symbols represent an aspect of beauty, and
they are approached through the concept of “love’
from a subjective point of view, that is, from the person
of the lover.
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