https://ijmri.de/index.php/jmsi
volume 4, issue 3, 2025
18
AESTHETIC VISIONS OF THE FEMININE IN ABDULLA ORIPOV’S POETIC
WORLD
Inog‘omjonova Robiya Rustamjon kizi
Third year student at Tashkent state transport university
ANNOTATION:
This article presents a literary analysis of the feminine image in the poetry of
Abdulla Oripov. It explores how the image of feminine is portrayed in various forms within his
works and how these representations reflect national values as well as moral and spiritual
concepts. Special attention is given to the poet’s aesthetic taste, poetic mastery, and his attitude
toward society in the creation of the female image. The article also analyzes how the poet’s
perspective on women evolved across different periods of his work, and how concepts such as
motherhood, love, devotion, and selflessness are intertwined with his poetic expressions.
KEYWORDS:
Woman, poetic interpretation, national spirit, image of mother, mythological
views.
INTRODUCTION.
Life without women is unimaginable, as literature without the image of a
woman. There are scarcely works of literature that do not feature female characters. This is
because literature, by its very nature, is devoted to women—it is an art that seeks to understand
their inner world, to grasp their emotions, and to uncover the true essence of this sacred creation
known as woman. As the writer Abdulla Qahhor once remarked, “Among birds, it is the male
that sings,” implying that creativity is primarily a male endeavor. This, in turn, suggests that the
main source of inspiration for male creators is often the woman. For this reason, the image of the
woman is among the most frequently encountered and central themes in literature. Indeed, in
most literary works, the female figure occupies a central position. After all, life itself is built
upon the relationship between man and woman. Every reality or idea manifests within the
framework of their interaction. Literature, as a delicate art that delves into the human soul and
inner experiences, inevitably connects all its themes—be it love, devotion, or patriotism—to the
image of a woman. Even philosophical works aimed at understanding life, upon deeper analysis,
reveal an underlying desire to understand womanhood.
Literature encompasses many other themes such as devotion to parents, the beauty of nature,
humanity, honesty, love for children, and hatred for evil. These have been richly explored in the
literary heritage of various nations for thousands of years. However, most of these themes are
either directly or indirectly linked to the image of a woman.
By the 15th and 16th centuries, the image of the woman in literature had risen to the status of the
central character. During this period, female characters became more refined and began to play
an essential role in expressing the artistic ideas of the author. This is evident in the works and
historical writings of Alisher Navoi, particularly in his Khamsa (Quintet) of epic poems. In the
first poem of the Khamsa, Hayrat ul-abror (“The Wondrous Deeds of the Righteous”), many of
the twenty stories feature female characters. In the subsequent poems, these female figures rise to
the level of protagonists. Within the grand tradition of Khamsa-writing that became a hallmark
of classical Eastern literature, the image of the woman is firmly established among the main
characters.
METHODOLOGY.
In modern Uzbek literature, the poetic expression of the theme of women
finds some of its most vivid examples in the works of Abdulla Oripov, People’s Poet of
Uzbekistan. In depicting the female image, the poet draws upon both national spirit and universal
https://ijmri.de/index.php/jmsi
volume 4, issue 3, 2025
19
human values as his primary guiding principles. He avoids excessive exaggeration or lavish
praise in his portrayals. Instead, he employs symbols and metaphors to craft beautiful and diverse
representations of women. In his works, he depicts women with distinct traits and characteristics
as follows:
– hardworking and enduring (the pale-faced sister in Yuzma-yuz, Saodat),
– intellectually gifted (the mother in Alisher’s Mother),
– kind and caring (the cleaning lady in The Heavenly Guest, The Seven Sages and the Cleaning
Lady, the mother in Mother Dear),
– socially active and professionally dedicated (in poems such as Miss Secretary, To the Athlete
Girls of Guvalak, The Nurse),
– a loving daughter to her parents (My Daughters),
– a grieving mother (The Uzbek Mother),
– a symbol of loyalty and resilience (Woman),
– and an ungrateful wife (The Tale of Adi-Badi, The Legend).
The concept of the woman as a revered figure—the cult of womanhood—in Abdulla Oripov’s
poetry is manifested through these various images.
a) Ona timsoli. “Onajon”, “Onamga”, “Ona”, “Ona degan nom”, “Onamni sog‘inib”, “Maktub” ,
“Onamga xat”, “Onamni eslab” she’rlari;
b) Xotin-qizlar obrazi- “Ayol”, “Qizlarim”, “Kamilla”, “O‘zbek ayoli”, “Singil”, “Kelinoyi”,
“Habash qiz”;
c) Momo va kampir obrazlari-“Ranjkom”, “Hangoma”, “Momo”, “Oila kundaligi”, “Oila”.
ANALYSIS AND RESULTS.
The Image of the Mother.
In literature, the image of the mother is interpreted as one of the most exalted and sacred symbols.
While every mother is a woman, not every woman becomes a mother. The figure of the mother
represents compassion, devotion, and sanctity. Therefore, in Abdulla Oripov’s poetry, the image
of the mother carries deep spiritual meaning and is glorified with the utmost reverence. In his
poem Mother, part of the Haj Daftari (The Pilgrimage Notebook) series, the mother is elevated to
a divine status. Through powerful poetic devices, the poem portrays the sanctity of a mother’s
prayer, the blessings that come from her, and the holiness of her hands—hands worthy of being
circumambulated like sacred relics.
Similarly, in the poem The Uzbek Mother, the mother is compared to the holiest of places—such
as the Kaaba and the al-Aqsa Mosque (Bayt al-Muqaddas). The poet’s love for his homeland
merges harmoniously with his sincere feelings for his mother, creating a poetic connection
between the two symbols of mother and homeland. These images are so deeply intertwined that
they become inseparable, forming one of the central themes of Abdulla Oripov’s div of work.
His poem Paradise is based on a hadith (prophetic saying) and embodies deep respect, heartfelt
longing, and sacred love for the mother through artistic expression. The image of the mother
holds a special role in Abdulla Oripov’s poetry. He presents this symbol not only as a spiritual
ideal but also as a representation of elevated aesthetic values.
The Image of Woman.
In portraying women, Abdulla Oripov does not limit himself to praise and admiration. In his
work, he also presents the image of the wife or woman with a more critical lens, reflecting
certain negative traits. The poem The Tale of Adi-Badi, built on the artistic device of antithesis,
serves as a literary proof of this approach. In it, the tragic lives of a husband and wife who never
respect each other’s thoughts and only value their own opinions are depicted. In another poem,
The Legend, the motif of the “goldfish” is revived, reflecting similar critical undertones.
Xullas, barcha orzusiga erishdi xotin,
El ichida “boyvuchcha” deb chiqardi otin. [Oripov.2021.194]
A woman who had lived in comfort for a long time becomes ungrateful and discontented when
her husband can no longer fully provide:
“The husband stood helpless, his head bowed low,
https://ijmri.de/index.php/jmsi
volume 4, issue 3, 2025
20
The wife would say: “I’ve known no joy since I married you.”
Such expressions of ingratitude and lack of contentment are portrayed in the poet’s work as a
product of critical reflection, which, in turn, enhances the artistic value of the poem.
DISCUSSION.
Abdulla Oripov’s poetry stands out for its philosophical depth, artistic
richness, and imagery rooted in national identity. In his works, the image of woman—
particularly that of the mother—is portrayed with profound spiritual and aesthetic significance.
By harmonizing literary traditions with modern thought, the poet presents the image of woman
not only as an emotional figure but also as a symbol of high moral values. He depicts women as
the spiritual foundation of society, embodiments of compassion and self-sacrifice. This is
especially evident in the portrayal of mothers—as symbols of the homeland, metaphors for the
Kaaba, and sacred paths leading to paradise. Oripov’s approach to the image of woman is not
merely poetic but also philosophical and moral, demonstrating the elevated social and aesthetic
role of women in literature. His works in this regard hold an important place in the history of
Uzbek poetry and contribute significantly to modern literary understanding of the female figure.
CONCLUSION.
In conclusion, it is worth emphasizing that each poetic work by Abdulla
Oripov leaves a lasting impression on the reader due to its profound meaning, poetic mastery,
and connection to real life. His poetry holds not only literary value but also educational and
moral significance. Thus, every poem is worthy of study, as it nurtures values such as humanity,
patriotism, and respect for maternal love in the hearts of today’s youth. Through his poetry,
Abdulla Oripov expressed the pains and joys, hopes and aspirations, values and beliefs of the
Uzbek people. In particular, his approach to the artistic portrayal of women and mothers, and his
elevation of their status, reveal that he established a unique school within literature. His creative
legacy continues to serve as a great source of inspiration for today’s literary process and
emerging writers.
REFERENCES USED:
1.
1.International Scientific Journal No. 11 (100), Part 2 "News of Education: Research in
the XXI Century" June, 2023 WOMEN'S ILLUSTRATION IN LITERATURE
2.
2.INNOVATIVE DEVELOPMENTS AND RESEARCH IN EDUCATION International
scientific-online conference 142 PAGE ABDULLA ORIPOV'S CREATION AND ITS
IMPORTANT ASPECTS
3.
3.A.Oripov.Mitti Yulduz.Tashkent.1965
4.
4.Oripov A.Selected Works. Second Volume.– Tashkent:Literature and Art, 2000. -P.
189
5.
5.Results of the Research. N9 Republican Traditional Scientific-Theoretical Conference
on the Theme
