POETICS OF CHILDREN'S CREATIVITY IN BUKHARA FOLKLORE

Аннотация

The article presents opinions on the poetics and composition, genre composition and artisticcharacteristicsof Bukhara children's play folklore samples . Keywords: folklore, poetic folklore, Bukhara children's play folklore , art, composition, genre structure, internal structure ofthegenre Bukhara is an ancient land that makes a worthy contribution to world civilization in terms of history and culture. It is considered a place that has brought up such great people as Ibn Sina, the great historian Narshahi, the great poet A. Abdullo Rodakiy, and the enlightened mystic scholars Imam al-Bukhari, Abdukholik Ghijduvani, and Bahovaddin Naqshband to the world of science and enlightenment. Bukhara folklore is also our eternal cultural heritage, creatively created by our people who have gone through a very long historical development path. The more this high spiritual heritage is studied, the more its idea, colorful content, artistic aesthetic feelings, way of life, national customs, painting and sculpture. traditions and values of our people have found their development. Bukhara folklore genres are diverse, differing from other regional genres in terms of their appearance, composition, and poetic features. These include folk oral works of narrative, asotir, legend, terma, epic, song, song, kinna songs in the spirit of word magic, fairy tales, children's games and their various genres, proverbs, riddles, and quick sayings. Among these genres, children's games, which appeared relatively later in the historical development of Bukhara folklore, are its integral part. The main feature of children's folklore is that although children's creativity occupies the main scope in it, a certain part of it takes place within the framework of the influence of adult creativity, customs, traditions, and efforts. From this perspective, it can be said that Uzbek children's folklore is our spiritual values, reflecting thethousands ofyears ofhistory, lifestyle, socio-moral views, andaesthetic taste ofourpeople. In many parts of the Bukhara children's play, the lifestyle, customs, paintings and traditions of the people are reflected. - What did you see at the top of the mountain? - I saw a white cradle. I saw awhite child in the whitecradle. I saw a whitechild in his hands. Isaw a white bowl. I saw ared applein the whitebowl. I bit intoa red apple, wintered in Samarkand. My uncle Kozivay's wife is sitting like a girl, her two faces are red and she is sitting like a bee. Your face is pale, your cradle is crooked. Big fish are lying on the floor. Small fish . The umbilical cord is cut. The place called Zochak is a winner. He is writing thinly. These examples, which are based on children's games, are performed by the play leader. This poem is multifunctional, typical of the genre of fun, sometimes in the tone of counting in the counting tone, sometimes in the poetic tone in the sayings , and serves to demonstrate other relationships. The poetic features of this text are manifested in the following: There is no mountain on the land of Bukhara. Alatau is a symbolic image, it is depicted as a mountain of dreams, a symbol of happiness. That is why a cradle stands at the top of this mountain. A child in a cradle. Both a white cradle and a white child are the greatest, incomparable creations of existence. And white is a sign of innocence, purity. There is no greater comparison, no likeness than a child and a cradle. The nature of a page1315 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue06,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai child is beautiful, so he wants to see everything in this clear color. Even a bowl with different colors and decorations is white , pure white in his eyes . The child could see an apple in any color. However, the red apple is a symbolic symbol - a sign of sincere love. Eating a red apple is a product of the main character's imagination, flying to Samarkand and wintering in that city. In the child's imagination, Samarkand is a distant magical city. Since winter is a difficult season for life, he does not hide that he is looking for salvation from that place. The wife of the boy's uncle is compared to a biy or a horse that has been tamed. Although she has given birth to a child, she is still likened to a girl who has reached puberty. His enthusiasm and perseverance are clearly visible in the picture. Although he was born a beshkaldok (an insect), he is still busy making a cradle. He also uses harsh words in response to the reality of thechild's nature. This is a curse word, meaning "let him die, let him go to the grave." Even though the child is being born, he is facing this curse because of his indifference and neglect. The big fish in the poem mean mature fish, and the fish are lying down in the water, meaning to spawn. Although it is typical for a chicken to lie down, this situation is transferred to a fish. Altho