Исламские и просветительские основы творчества Алишера Навои

Аннотация

The article examines the socio-educational and artistic-aesthetic factors of the creative perfection of the great poet and thinker Alisher Navoi, firstly, the fact that he thoroughly studied the Koran and the Sunnah, followed these two powerful sources without deviations, and secondly, that he read the works great Islamic thinkers, experts in Sufism and continuously developing their ideas, gave highly artistic interpretations in his works, thirdly, that he perfectly knew the history of the Turkish people to whom he belonged, and that he was able to mobilize all his creative and scientific potential to protect and elevation of the honor and glory of the nation. It discusses how Alisher Navoi followed the principles of faith and Sharia, tafsirs and hadiths read by the great thinker, the works of Sufism scholars. His artistic interpretation of religious-enlightenment and philosophical-mystical ideas at a high level is confirmed by the analysis of his work. The essence of the parts of "Hamsa" is being investigated, such as "hamd" (praise of Allah), "munajat" (request to Allah) and "nat" (praise of the prophet). Analytical views are put forward on the complementarity of Islamism and nationalism, the support of the concept of the great poet's work on Islamic enlightenment, which did not prevent his works from 17 expressing the national spirit. As a result of the analysis, theoretical generalizations are made. Key words: artistic creativity, Islam, poetry, literature, Koran, hadith, artistic and aesthetic factor, Sufism literature, artistic interpretation.eralizations are made. Sharq-islom adabiyoti shaklni ham, vaznni ham, ijodiy konsepsiyani ham Qur’oni karim va Hadisi shariflardan olgan. Shayx Ahmad Taroziyning “Fununu-l-balog‘a” asarida she’rning poetik shakliga taalluqli bo‘lgan badiiy san’atlarga misollar avval Qur’oni karim va Hadisi sharifdan, keyin turli shoirlar nazmiy asarlaridan keltirilgani ham ushbu fikrni tasdiqlaydi. Masalan, baytning har ikki misrasidagi so‘zlarning ohangdosh, vazndosh va qofiyadosh bo‘lishi talab etiladigan tarsi’ san’atiga misol sifatida Qur’oni majiddan quyidagi ikki oyat keltiriladi: Innal-abrora lafiy na’im, - Va innal fujjaro lafiy jahim. (Infitor, 13-14). Yana: Inna ilayna iyobahum, Summa inna a’layna hisobahum. (G‘oshiya, 25-26). Shundan so‘ng mazkur badiiy san’atga Rasuli akram (s.a.v.)ning “Kimki g‘azabiga itoat qilibdi, adabini zoye qilibdi” mazmunidagi hadisi misol qilingan: Man a’to’a g‘azabahu, azo’a adabahu [11.85]. Tarsi’ san’atiga hazrat Navoiyning “Hayratu-l-abror” dostoni munojot qismidan olingan quyidagi bayt misol bo‘la oladi: Kimki boshi sajdada – masjudisen, Kimki yuzi qiblada – ma’budisen [8.16]. Tashbeh badiiy adabiyotning xususiyatini to‘liq mujassam etadigan san’at ekani ayon. “Fununu-l-balog‘a”da ushbu badiiy san’atga “Yosin” surasidan misol keltiradi: Val-qamara qaddarnahu manozila hatta ‘ada ka-l-urjuni-l-qadim [11.94]. Ma’nosi: Biz oyni ham toki u eski xurmo butog‘i kabi bo‘lib qolguncha manzillarini belgilab, tayinlab qo‘ygandirmiz. Ushbu oyati karimada “eski xurmo butog‘i kabi” deyilar ekan, Alloh taolo bu orqali insonlarga tashbeh vositasida fikr yuritishni ta’lim beryapti. Shu asosda muborak Hadislarda ham tashbeh asosida fikrning balog‘at va fasohat bilan bayon etilishi kuzatiladi. Mas.: An-nasu savaun kaasnanil-mishti [11.95]. Ma’nosi: Odamlar xuddi taroqning tishlari kabi barobardirlar. 18 Alisher Navoiy “Xamsa”sining birinchi dostoni – “Hayratu-l- abror”da ustozi Abdurahmon Jomiy ta’rifida quyidagi tashbehlar qo‘llanilgani kuzatiladi: Ko‘ksi – haqoyiq duri ganjinasi, Ko‘ngli – maoniy yuzi oyinasi [8.42]. Bu kabi misollar badiiy adabiyot poetik shaklni Qur’oni karim va Hadisi sharifdan olgani isbotidir. Sharq-islom adabiyoti nafaqat shaklni, balki mazmunni va vaznni ham e’tiqodimizning mazkur mo‘tabar manbalaridan olgani ma’lum. Alisher Navoiy “Mezonu-l-avzon”da: “Haq subhonahu va taoloning kalomi majidida ko‘p еrda nazm voqe’ bo‘lubdurki, aruz qavoidi bila rostdur” [3.540], deya ta’kidlaydi. Biroq bu o‘rinda alohida e’tibor qaratish kerak bo‘lgan muhim jihat shundaki, ulug‘ bobokalonimiz “nazm” deganda bugungi “she’r” istilohini nazarda tutmagan. “Nazm” atamasida so‘zning “nizomga solinishi, aniq tartibga bo‘ysundirilishi” ma’nosi mujassam. Sharq-islom adabiyoti Qur’oni karim va Hadisi shariflardan ayni shu xususiyatni oldi. Buyuk mutafakkir “Mezonu-l-avzon”da, jumladan, «Lan tanolu-l-birra hatto tunfiqun» (Oli Imron, 92) oyati ramali musaddasi mahzuf vaznida, «Va-l-mursaloti urfan, fa-l-osifati asfan» (Al-Mursalot, 1-2) oyatlari muzorei musammani axrab vaznida ekani, “Kalomullohda ko‘p yеrda bu nav’ voqe’” bo‘lgani xususida to‘xtalib o‘tadi. Hazrat Alisher Navoiyning yozishicha: “Rasul sallallohu alayhi vassallam ahodisida dag‘i ham bu tariq tushubdur” [3.540]. Ulug‘ alloma fikricha: “Man akrama oliman faqad akramaniy» hadisi «maf’ulu mafoilun mafoiylu faul» afoili bilan ruboiy vaznida hazaji axrabi maqbuzi makfufi majbubda voqe’ bo‘lgani [3