ARTISTIC AND AESTHETIC INTERPRETATIONS OF POETRY ISSUES IN THE CREATIVITY OF ALISHER NAVOI

136

ResearchBib IF - 11.01, ISSN: 3030-3753, Volume 2 Issue 7

ARTISTIC AND AESTHETIC INTERPRETATIONS OF POETRY ISSUES IN THE

CREATIVITY OF ALISHER NAVOI

Saidova Rayhon Bekmurodovna

Doctor of Philosophy in Philology, docent.

https://doi.org/10.5281/zenodo.15817468

Annotation.

In this article, the work of the great poet will be analyzed, since it is not

possible to note any other creative experience in Turkish-Uzbek literature that deeply interpreted
the issues of poetry and poetry like Alisher Navoi's creativity. In all his works, such as "Majolis
un-nafois", "Khamsa", "Tarikhi anbiyo ve hukamo", "Tarikhi mulki Ajam", "Mahbub ul-qulub",
"Mezan ul-avzon", "Khazain ul-maoni" and others, the article describes his approach to poetry
from the point of view of a thinker, a literary critic and a literary critic. Alisher Navoi's work
gives special importance to the people of the word, in particular, in the work "Mahbub ul-qulub"
the views of the great poet on the manifestations of literature and art gave rise to the most
important interpretations, the thoughts of Alisher Navoi are not the views of an ordinary theorist
or historian, but a great thinker who guided the cultural and literary life of an entire period,
determined the duty of the art of words. The fact that there are cultural patron views is
highlighted as the goal of a small scientific study.

Keywords:

Alisher Navoi, poetry, poetry, fiction, lyrics, literature, discussion, "Mahbub

ul-qulub".

It is known that in Eastern literature the views of poetry and poetry and questions of

poetics have always been the focus of attention of creators. Jump to search In particular, artistic
and aesthetic views on poetry and poetry continued throughout the literary process, in the
composition of works of various types. In particular, what is poetry in many works such as
"Yatimat ud-dahr", Avfi'i "Lubob ul-albob", Ibn Qutayb's "Kitap ush-shir vash-shuaro", Aruzi
Samarkandi's "Majmuan navadir" ("A poet of the essence of science and the potential of the
poet"), Lutfalibek Azar's "Otashkadayi Azar"? Who is the poet? are regarded as sources that
answer their questions. In Uzbek literature, it is impossible to note the experience of Alisher
Navoi, who deeply interpreted the issues of poetry and poetry. In all his works, Alisher Navoi
approaches the issue from the point of view of a thinker, literary scholar and artistic artist in all
his works, such as "Majolis un-nafois", "Khamsa", "Tarikhi anbiyo and hukamo", "Tarikhi mulki
Ajam", "Mahbub ul-qulub", "Mezan ul-avzon", "Khazain ul-maoni" and others. Alisher Navoi is
deeply aware of the importance of literature and art as an important social phenomenon, so he
pays special attention to the praise and description of the people of art in his treatises, pamphlets
and poems. In particular, the marks given to poetry in Mahbub ul-qulub indicate that the poet
adhered to his consistent approach throughout his creative life. In Chapter 16 of Mahbub ul-
Qulub, Alisher Nawai mentions "the beautiful

birds of the nazm gulistan

", which is a general

analysis of the nature of people belonging to this category, categorizes poetry according to its
content and

says, "Give weight to the Nazm silk for the Maonites

". From Wikipedia, the free

encyclopedia

Nazmim ichra g‘arib maʼnilar

G‘urabo xaylidin nishonadurur.

Anda har bayt necha maʼni ila

Bayt emaskim, g‘aribxonadur.

1

1

Alisher Navoiy. Mukammal asar

lar to‘plami. O‘n to‘rtinchi tom. Mahbub ul

-qulub. Munshaot,Vaqfiya . -

T.: “Fan”

137

ResearchBib IF - 11.01, ISSN: 3030-3753, Volume 2 Issue 7

At one point, Alisher Navoi divides poets into "excellent" (excellent, high), "adno"

(lower, bottom), "avsat" (average). The true truth is that in all respects the highest of the poets is
the highest of all, the lowest of all, and the middle hills are neither higher nor lower.

Aʼlolaridur nedinki dersen aʼlo,

Adnolari ham barcha danidan adno.
Avsatlarikim hech nimaga yaramas,

Bilkim, nafas urmamoq alardin avlo

2

,

The poet explains in his poem "The Amazing Us-Sig'ar" that "He (the Creator) created

the universe, decorated the universe with his pen (the first pen was created), raised the people of
mankind to a higher level than those created by word, speech and language, glorified the people
of the word (poets) with poetry, glorified the people of the word (poets) with poetry."

Ulkim, chu jahon xilqatin og‘oz etti,

Sunʼi kilkini naqshpardoz etti.

Inson xaylin nutq ila mumtoz etti,
Nutq ahlini nazm ila sarafroz etti

3

.

Alisher Navoi gives a deep artistic interpretation of poetry and poetry in special chapters

of the "Khamsa" poems, especially in such places as the definition of words, the quality of the
pen, the confession of teachers. For example, in "Sab'ai Planet," he says:

Sheʼr ham chun kishigadur farzand,

Ko‘ngliga qut

-

u bag‘riga payvand

4

.

In the 18th century, Muhammad Rizo Ogahi wrote in his devotion Ta'viz ul-Ashiqin that

the poem "...

Until the Resurrection Day, the Monument and the Child of Saodatosor

5

." Ogahi

clarifies this point in his Devon Masnavi and illuminates the poem with such wise sayings as
"the motto of the good", "a monument to the doom of man in this world", "a good child" and
"eternal dilband".

Bo‘lubdur sheʼr yaxshilar shiori,

Jahonda to qiyomat yodgori.

Kishiga sheʼrdin yo‘q yaxshi farzand,

Ki, doyim boqi ul farzandi dilband

6

.

Alisher Navoi's "Devonian Foniy" contains 64 Persian stanzas included in the Muqattaot

category. Disambiguation pages with short descriptions This season has done a scientific
analysis of the continents around them. Thus, Alisher Navoi's views on poetry and poetry are
expressed, firstly, directly through his direct works such as "Mezan ul-avzon", "Majolis un-
nafois", "Nasoyim ul-muhabbat", manoqib and qasidas, secondly, in separate chapters and
seasons of the poems "Khamsa", "Lison ut-tayr" and other centuries, and thirdly, through the
genres of ghazal, rubai, continent, fard and other genres in the lyric devons.

nashriyoti, 1998. 28-bet

2

Alisher Navoiy. Mukammal asarlar to‘plami. O‘n to‘rtinchi tom. Mahbub ul

-qulub. Munshaot,Vaqfiya . -

T.: “Fan”

nashriyoti, 1998. 28- bet

3

Alisher Navoiy. Mukammal asarlar to‘plami. G’aroyib us

-

sig’ar.

-

T.: “Fan” nashriyoti, 1998.

2- bet

4

Alisher Navoiy. Mukammal asarlar to‘plami. O‘ninchi tom. Sabʼai sayyor.

-

T.: “Fan” nashriyoti, 1992. 311

-bet

5

Oh, yes. Devon. Volume 1. - Tashkent: G'. Gulam Literature and Art Publishing House, 1971. Page 43

6

Ogahiy. Devon. 1-jild. -

Toshkent: G‘.G‘ulom nomidagi adabiyot va sanʼat nashriyoti, 1971. 43

-bet

138

ResearchBib IF - 11.01, ISSN: 3030-3753, Volume 2 Issue 7

The second season of this chapter

is devoted to the study of Alisher Navoi's poetry and its

influence on subsequent literary processes

. It should be noted that the experience of Alisher

Navoi occupies a special place in poetry and poetry, as in all areas of classical literature. It was
thanks to his invention that the tradition of composing tazkira dedicated to contemporaries
developed since the 15th century. One of such tazkiras is "Muzakkiri ahbob" by Hasankhoja
Nisori Bukhari, created 75 years after "Majolis un-nafois". Tazkira is a valuable resource for the
study of poets and poetry in the literary milieu of 16th century Movarounnahr. The influence of
"Majolis un-nafois" can be seen not only in mentioning contemporary scientists, poets and
artists, but also in dividing the work into chapters, giving a compact, meaningful assessment of
poets, reflecting on their moral and creative image, and understanding the essence of creativity.
In the main parts of the work, the author gives information about more than 250 of his
contemporaries. The influence of Alisher Navoi's tazkira can be seen in the tazkira Majmu al-
havos by the Azerbaijani Sodiqi Kitapdor. Sodiqbek Afshar, who lived in the late 16th and early
17th centuries, wrote Majmu al-havos in a language close to Majolis un nafois.

7

Afshor dedicates

his work to the mentions of 480 artists of his contemporaries. One of the tazkiras similar to
"Majolis un-nafois" is the work of Mutribi Samarkandi "Tazkirat ush-shuaro". Hasankhoja
Nisori's tazkirat "Muzakkiri ahbob", which mentions more than 250 poets and fans of literature,
was created in Bukhara, and Mutribi's "Tazkirat ush-shuaro" about more than 320 poets and fans
of literature of the second half of the 16th century and the beginning of the 17th century was
created in Samarkand. Mutribi studied Arabic, Tajik, Uzbek and Azerbaijani languages and
learned from sources in these languages, including "Hadayiq us-sehr" by Rashididdin Vatvat,
"Jami Mukhtasar" by Vahid Tabrezi discussing aruz, means of artistic image and rhyme, "Ilm al-
aruz norm al-ashor" about aruz by Sayfi Bukhari, "Majolis un-nafois" by Alisher Navoi,
"Baharistan" by Abdurahman Jami, "Muzakkiri ahbob" by Hasankhoja Nisori was. Mutribi
mentions more than 320 Uzbek and Tajik poets in his "Tazkirat ush-shuaro" ("Poets' Zikri"). One
of the tazkiras created in the 17th century is Muhammadbade Malekho Samarkandi's Muzokir ul-
ashab. It contains about 200 contemporary poets and speeches about classical poems. Of
particular importance is the tazkira "Riyaz ush-shuaro" created by Alikhulikhan Vola Dagestani
in India in the 18th century. He is a poet and literary critic, who lived and worked in the 18th
century, fluent in Arabic, Persian, Urdu and Turkic. Vola's interpretation "Riyaz ush-shuaro"
("Poets' Bush") brought great fame to the author. It is a historical-modern commentary on 2,594
poets and writers who lived and worked during the 10th-18th centuries. In addition, "Majmuai
Shoiron", Qari Rahmatullah Wazeh "Tuhfat ul-ahbob fi tazkirat ul-ashob", "Tazkirai Fahmiy"
(Tazkirat al-Shuaro), Abdulazim Shari "Tazkirat ush-shuaro", Mirsidsiq Hashmat "Tazkirat ush-
shuaro", Afzal Pirmasti "Afzal ut-tazkor fi zikr ush-shuaro v-al-ashor", Abdullah Abdi "Tazkirat
ush-shuaroi mutaakhhirini Bukhara", Muhammad Sharif Sadr Ziya "Tazkor ul-ashhar", Haji
Nematullah Muhtaram "Tazkirat ush-shuaro", Ahmadjon Tabibi "Majmuai Shuaroi Firuzshohi",
"Mukhammasoti majmuat ush-shuaroi Firuzshohi", and tazkira based on the traditions of Alisher
Navoi. "Majmuai poet" mentions poets gathered in the Kokand Khanate, "Afzal ut-tazkor"
mentions the poets of the Bukhara Khanate, two tazkira mentions Muhammad Rahim II (Firuz)
and the poets of Khorezm. This state of affairs is like the space and environment chosen in the
Tamil Navoi Tajiras. In his Tazkirat Mayhane, Abdunabi Fakhruzzamoni included authors who
wrote poetry, and Gulomalikhan Azaz described the poets who wrote poetry in Khizonai Omira.

7

Hamid Orasli. The great Azerbaijani poet Fuzuli. - Baku, 1958. Page 47

139

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It should be noted that not all of those mentioned in the "Complex Poet" are "

professional

poets

", but "amateur poets", many of whom

consider poetry to be an additional task

. Also,

Rahmatullah Qari Wazehdir, the author of the tazkira "Tuhfat ul-ahbob fi tazkirat ul-ashob"
("Remembrance of the interlocutors, the remembrance of friends"), gives information about the
life and work of 148 poets. In Kokand the "Majmuat ush-shuaro" was compiled by the authors
headed by Fazli, in Khorezm the "Majmuat ush-shuaro" was arranged by Tabibi himself. Thus,
the main genre of poetry and poetry can be divided into tazkiranavis to Navoi, Navoi period and
post-Navoi periods. Tazkira interprets Arabic, Persian, and Turkish poetry and poetry as classical
heritage based on a single law, while Arabic, Persian and Turkic language cite poets as the
product of one literary process. In this sense, the tazkiranavis tradition is recognized as a separate
phenomenon, and the issues of poetry and poetry are directly expressed in the classical genre, in
which all aspects related to poetry and poetry are discussed with high skill.

REFERENCES

1.

Alisher Navoiy. Mukammal asarlar to‘plami. O‘n to‘rtinchi tom. Mahbub ul

-qulub.

Munshaot,Vaqfiya . -

T.: “Fan” nashriyoti, 1998. 28

-bet

2.

Alisher Navoiy. Mukammal asarlar to‘plami. O‘n to‘rtinchi tom. Mahbub ul

-qulub.

Munshaot,Vaqfiya . -

T.: “Fan” nashriyoti, 1998. 28

- bet

3.

Alisher Navoiy. Mukammal asarlar to‘plami. G’aroyib us

-

sig’ar.

-

T.: “Fan” nashriyoti,

1998. 2- bet

4.

Alisher Navoiy. Mukammal asarlar to‘plami. O‘ninchi tom. Sabʼai sayyor.

-

T.: “Fan”

nashriyoti, 1992. 311-bet

5.

Alisher Navoiy. Mukammal asarlar to‘plami. O‘ninchi tom. Sabʼai sayyor.

-

T.: “Fan”

nashriyoti, 1992. 311-bet