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THE ESSENCE OF THE USE OF LANDSCAPE IN A WORK OF ART
Seytniyazov Tursinbay
Аjiniyaz is a doctoral student of NMPI
https://doi.org/10.5281/zenodo.15734223
Keywords:
Literature, prose, novel, painting, time, landscape.
Summary.
The article examines the relationship between plot,
composition, time, and landscape in Karakalpak novels. The issues of how
writers express a concept through landscape depictions and its relation to time
have been discussed.
In novels, there is a tradition of conveying artistic time through the
depiction of nature. Because artistic time does not require as much precision as
diurnal time. At the same time, it is definite with respect to space. "In figurative
conveyance of the artistic word, time requires precision in relation to space, and
at the same time, the invented time and the perception of time do not always
coincide." For example, when we say "The day rose to the height of a rope," we
mean morning time. If it is described as "the sun is heating the stone above," it
becomes clear that time is a full dream. The image "The sun is setting red"
indicates evening. This is artistic time, which does not require a specific diurnal
time. But it's clear which moment is being depicted. At the same time, the exact
location of the place described in the novel is not mentioned, and it is not
necessary to say. In this respect, artistic space is also not defined in relation to
artistic time.
Time is a relatively abstract concept in artistic reality. In fiction, the
boundaries of time are very wide. For example, the exact time of the concept
"before noon" is unknown. Such time measurements can also include concepts
like "after noon" or "after the evening prayer." ..."after looking at the sun, he
knew that time was approaching and turned west" ("Maman biy afsonasi" page
4) This is artistic time, from which it is impossible to understand the exact
concept that the hero must reach his intended destination at what time. The
reader senses through the hero's inner experiences that Maman must arrive at
the designated place at the designated time, but this time is not precise. From
this very image, one can see the signs of young Maman's character. He wants to
be true to his word, to build all his actions on precision. By depicting Maman's
actions according to natural time, the writer aimed to convey these traits in his
character.
In the depiction of nature we have considered above, time has an abstract
concept in general, and in some cases, the temporal picture is depicted close to
the diurnal time. "The darkness of dawn gradually dissipates, Khalqobod is
SCIENCE AND INNOVATION IN THE
EDUCATION SYSTEM
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32
turning pale. ("Khalqobod," first book, page 100) Here, from the concept of
"dawn darkness dispersing," it is clear that time is early dawn. However, if we
look at the seasonal time, the time of early dawn is different in spring, summer,
autumn, and winter. Therefore, the desire to know the exact time from such a
description is illogical. From these analyses, it can be seen that when artistic
time is expressed through natural landscapes, time is early morning. The early
morning of which season is another matter. Such images are completely
different from the exact time "it was 6 o'clock in the morning." It is artistic and at
the same time conveys where the event is taking place. For example, in the
example above, it is clear that the event is outside (not inside the house), as well
as near Khalkabad.
In the novel, the depiction of nature is used symbolically, and it directly
influences the artistry and imagery of the depicted event [2,25]. In this case,
time may not be a direct indicator, but when combined with subsequent actions,
it becomes clear why this event occurred at this particular time. "Towards noon,
a strong blizzard arose against a one-sided whirlwind. This storm is the breeze
of people's anger... Before the group dispersed, two hundred foot peasants and
fishermen surrounded the yurt. ("Maman biy afsonasi" 418-bet) These
depictions were a people's uprising ("storm") when Esengeldi biy was preparing
to punish Maman biy in front of his subordinate biys, entrusting him to the
nobles who had come from Khiva ("whirlwind") for Maman biy's opposition to
Esengeldi biy's idea of gathering guards for the Khanate of Khiva.
The most uncertain depiction of the time of day is most often given in the
language of the characters [1,45]. "Everything is created this way. It was light
just now, it's dark now, light from a small area will be again..." ("Maman biy
afsonasi" 432-bet) "Hozir," "hozir," "bir maydondan" - these are words denoting
time, but with a high degree of uncertainty. These words do not directly denote
natural phenomena, but combine with the words "dark" and "light" to denote
natural phenomena. Now, if we analyze the words expressing the degree of
uncertainty, there is no clear time limit for the word "truly dominant." The time
one hour ago, as well as the time five hours ago, can be called dominant.
Compared to this word, the word "now" seems closer to certainty. But in this
context, it is also unclear. The reason is that it is unknown what time of night the
time is called "now" by the character.
There are also several ways to describe the process of dawn breaking. In
this case, along with natural objects such as the sun, mirage, Venus, and star, the
rooster's crow also represents the main local sign. In particular, the rooster's
SCIENCE AND INNOVATION IN THE
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crow is a sign of national psychology, a national perception of reality, which is
often used in novels. To indicate the time of dawn, the equation of the sun, which
has not yet risen from its nest, and the moon setting on the horizon, and the
highlighting of their illumination of the sky shows that the writer is a keen
observer of natural phenomena.
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