Journal of Social Sciences and Humanities Research Fundamentals
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TYPE
Original Research
PAGE NO.
20-22
DOI
OPEN ACCESS
SUBMITED
05 December 2024
ACCEPTED
07 January 2025
PUBLISHED
09 February 2025
VOLUME
Vol.05 Issue02 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Artistic Details in Historical
Dramas of The
Independence Period
Gulomjon Atadjanov
Institute of Uzbek Language, Literature and Folklore basic doctoral
student, Academy of Sciences of the Republic of Uzbekistan
Abstract:
This article examines the artistic details in the
plots of historical dramas created during the years of
independence. The meanings of artistic details in the
work are also discussed.
Keywords:
Historical drama, image, historical truth,
artistic detail, drama plot, woven image, dramaturgical
skills.
Introduction:
In dramatic works, the artistic detail is
inextricably linked to dialogues. The detail helps to
emotionally reveal the idea of the work, the images, and
also increases the aesthetic impact. At first glance, in
historical dramas, the artistic detail seems insignificant.
However, life's truth is hidden beneath it. B. Sheraliyev,
in his candidate dissertation "Dramatic Foundations of
Stagecraft," expresses the following thoughts about the
artistic detail: "The detail plays an important role in a
work of art because it is an important tool for a
playwright to effectively and vividly express a great life
truth, to reveal the idea of the work. In a dramatic work,
the detail is often represented by simple things,
objects." Artistic detail is also widely used in historical
dramas being written today. In particular, the two-act
puppet play "Jaloliddin Manguberdi" by the laureate of
the International Fuzuli Prize, Tura Mirza, features such
artistic details as the throne, military weapons, sword,
letter, map of the earth, robe, and gold. The playwright
appropriately uses such details in historical drama. From
the details of the throne, we can see the intensification
of the relationship between the characters, the
consistent intensification of the drama. History shows
that no ruler has voluntarily abdicated the throne.
Muhammad Khwarazmshah also remained on the
throne until his death and appointed Jalal ad-Din
Manguberdi as heir to the throne. However, Turkan
Khatun placed her other grandson, O'zloqshoh, on the
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Journal of Social Sciences and Humanities Research Fundamentals
throne. Muhammad Khorezmshah imprisoned the
dervish for saying "Everyone is a woodcutter, the
crown and throne are temporary." After forty days, he
wanted to give him a gold-embroidered robe and a
thousand gold coins for telling the truth. However,
after the dervish's flattering next poem, he renounces
this idea. The work also includes a map of the earth. It
is used at one point in the drama, that is, at the
beginning, and a knot appears. Among the gifts from
Genghis Khan, the first envoy presented a map of the
Earth, carved from gold, diamonds, and Chinese glass
by Chinese artisans. On this map, many parts of Turan
passed to the Mongols. Seeing this, the Khwarazmshah
involuntarily dropped the map and shattered to pieces.
From the detail of the land map in the work, one can
conclude that the state in your hands will be mine in
the future. This detail causes conflict between the
characters, resulting in an escalation of the conflict in
the work.
Nazar Eshonkul also effectively uses artistic detail in
the historical drama "Jaloliddin Mangubedi." Since the
works are historical, it is natural for them to have
military weapons. Without such military weapons, it is
difficult to imagine historical dramas. Artistic details
such as throne, letter, drum, crown, trumpet, ring,
sword, ring seal, precious stone, belt, dombra, tog'ro,
and mesh were used in the historical drama. One of
the artistic details in the work is a storm. Each sound of
the drum signified the sun and moon, day and night,
life and death, intensity, celebration, decrees and
resolutions, as well as victory and triumph. In the
drama, the bow, that is, the detail of the bow and
arrow, is used. This is not for nothing. Jalal ad-Din's
son, no matter how hard he tried, could not shoot an
arrow. Seeing this, Jalal ad-Din taught his son archery.
When you shoot an arrow from a bow, let your enemy
stand before you. Look straight at your enemy. Then he
advises him to shoot an arrow. His son, who had shot
an arrow, hit him and was very happy. At the end of
the drama, Genghis Khan, who captured Jalal ad-Din's
son Qutbiddin, fears his son's direct gaze. Arguing with
him, he replied that his father had taught him to look
the enemy in the eye. He was amazed by the six-year-
old boy's bravery, his ability to confront his enemies as
equals, and look him straight in the eye. Shooting a
bow creates pride in a child. Qutbiddin, looking directly
at the enemy, dies. Through the detail of the bow, the
image of a young boy from Khorezm with an
unbreakable will and pride is embodied. When
Muhammad Khwarazmshah gave the crown and
throne to his son Jalaluddin Manguberdi, he untied his
grandfather El Arslan's sword and ring seal. These
details indicate that the dynasty continues.
Abdulla Aripov also effectively used artistic details in
the poetic drama "Sohibqiron," consisting of five scenes.
A razor, a bow, a letter, a tent, a chessboard, a mosque,
a mausoleum, an embroidered robe, and other details
are used in the work. In all these artistic details, there is
a certain symbol. At the beginning of the drama, there
will be a conversation about the barber and Amir Timur.
This conversation is precisely about the razor. He asserts
that even conquerors bow to the barber.
Temur
:
Sartaroshga bosh egar, ha, jahongirlar ham,
Boshqalarga egilishdan asrasin xudo!
Biroq senga oddiygina bir gapni aytay:
Sohibining xohishiga boʻysunadi tigʻ.
Zarur boʻlsa, kesgaydir u yomon yarani,
Jaholatda uzar lekin tilla boshni ham.
Marhamating uchun esa tashakkur senga.
Har qandayin bandaga ham kerakdir sirdosh,
Senga koʻngil ochsam boʻlar….
From this, one can understand that every person should
be a master of their profession. This razor obeys its
owner. He expresses the opinion that no matter how
sharp he is, in ignorance he is ready to tear even a
golden head. That's why Sohibqiron confides in the
barber. We will also see their conversation at the end of
the drama. That is, during a campaign against China in
the harsh winter, Sahibkiran Amir Temur had his hair cut
to raise the spirits of his warriors. It is this detail, that is,
the letter, that sharpens the conflict of the work,
becomes an important artistic tool in achieving its
culmination point, making the plot sharp and
interesting. An impetus for the start of the battle. The
letter contained insulting words. Bayezid summoned
Timur to battle. History tells us that this battle ended in
Bayezid's defeat. Shatraj means intellect, wisdom.
Sahibkiran, while fighting with the Sultan of Rum
Bayazid, deliberately summoned his grandson Ala-ad-
din from Samarkand. On one side there is a battle, and
on the other side there is a chess game between Amir
Temur and Aloviddin. Both in battle and chess,
Sahibkiran emerges victorious. One of the artistic details
used in the work is a gold-embroidered robe, which
means peace. Instead of gifts from foreign
ambassadors, they were dressed in gold-embroidered
robes. In Odil Yakubov's historical drama "Testament
to Generations," there are also artistic details. He used
artistic details such as musical instruments, historical
costumes, military weapons, letters, a white yurt, a
carpet, and candles. The musical instruments at the
beginning of the historical drama, that is, the rumble of
drums and the sounds of trumpets, signified the
preparation for battle. The extinguishing of the candles
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at the end of the drama symbolizes the death of
Sahibkiran.
One of the works written about Amir Temur in recent
years is Usman Azim's "Amir Temur. Season of Justice"
is a historical drama. In this drama, there are artistic
details, such as nay, dobil. It is difficult to imagine the
work without these details. These details were not
forcibly included in the work. It was included in the
historical drama based on a well-thought-out plan. In
the play, the melody of the flute played by the
imprisoned Abduqodir naychi touches hearts and
relaxes people. The shig'avul (Hakim Sulduz), who
buried his son like three giants, is also on the verge of
tears. The melody of this flute soothes the soul of every
person. In the work, the nay means sadness,
separation, pity, and, on the other hand, at the end of
the drama, it expresses the meaning of happiness and
destiny. In the historical drama, martial music, the
thunder of horses, their neighing, the melody of the
flute, and the gong of the jibil participated as
important artistic details that perfected the character
and grandeur of Amir Timur. In particular, the dobil
bongi and the nay melody are embodied as both
contrasting and accompanying musical details. In
particular, there is such an explanation in the drama:
"Amir Shahmalik retreats with bows and leaves the
stage. Suddenly, the sound of a dowel rings out. Fear
spreads around. This bell will thunder at every
moment, terrifying the world." The sound of this
musical instrument signified fear, justice, and
punishment. In conclusion, it can be said that in the
above-mentioned historical dramas, the role of artistic
details in the work is incomparable. Artistic details
were reliable, contributed greatly to increasing the
drama of characters and the development of the plot,
and conveyed a certain meaning.
REFERENCES
T. Mirzo “Jaloliddin Manguberdi” ikki pardali
qoʻgʻirchoq pyesa. (Qoʻlyozma) 18 b.
N. Eshonqul “Jaloliddin Mangubedi” tarixiy drama.
(Qoʻlyozma). Toshkent: 2019. 39 b.
A. Oripov “Sohibqiron” sheʼriy drama. PIR nas
hriyoti,
Toshkent: 2022. 112 b.
U. Azim Amir Temur. Adolat fasli. Tarixiy drama //
Teatr. 2018, № 2, 3. 15 b.
