Интерпретация символических образов в творчестве Алишера Навои

Аннотация

Ключевые слова: Произведения Алишера Навои отличаются богатым Алишер Навои, использованием символических образов, которые символические образы, становятся мощным средством передачи глубоких персидская литература, философских, духовных и моральных идей. Его поэзия и символизм, духовные образы, проза насыщены символами, отражающими такие понятия, культурное значение. как любовь, верность, мудрость и вечная борьба между добром и злом. В данной статье рассматриваются интерпретации символических образов в произведениях Навои, анализируются их значения, культурное наследие и роль в создании эстетической и эмоциональной глубины его творчества. Особое внимание уделяется ключевым символам, таким как соловей, роза, возлюбленная и путешествие, которые представлены во множестве многогранных интерпретаций. Эти образы тесно связаны с суфийской философией и общечеловеческими ценностями, подчеркивая универсальность и вечность идей Навои. Symbolism has always played a central role in Persian-Turkic literature, serving as a means to express abstract spiritual and moral concepts. Drawing from Sufi philosophy, poets used symbols like the nightingale, rose, wine, and beloved to represent divine love, spiritual struggle, and the path to enlightenment. Navoi inherited and enriched this tradition, embedding profound symbolic meanings into his poetic expressions. His imagery is not merely decorative but serves as a guide for readers on their spiritual and intellectual journeys. When we talk about art, we mean the image and imagery that define its essence or form its core. It requires the use of a number of movements and pictorial and expressive means in the concretization of abstract images that are the product of the creative imagination. At this point, it is necessary to dwell on symbolism and figurativeness, which are conditional methods of artistic representation of reality in the art of words. Because any image is considered symbolic to one degree or another because it reflects the generality. Symbols have been used since ancient times as a way of representing reality. Its earliest examples can be seen in folklore. It is known that symbolism is embodied in any simile, metaphor, even epithet in fiction. Therefore, the study of symbolic images used and used in artistic creation and revealing their multi-meaning layer arouses interest not only in a narrow circle of experts, but also in the general public. In this regard, studying the epistemology of the mirror symbol and its ideological- aesthetic significance in literature is one of the current scientific problems. If we look at the history of folklore and literature, we can see that the motif of the mirror is widely used. It is possible to get scientific conclusions about the role of this symbol in the poetics of artistic works by studying the works of a certain period or a particular artist. Until the invention of the mirror, a product of human ingenuity, the ancients used pools of stagnant water. The first records of mirrors made of bronze and silver date back to 3000 BC. In the Bronze Age, the mirror was mainly used in the countries of the ancient 212 Xorijiy lingvistika va lingvodidaktika – Зарубежная лингвистика и лингводидактика – Foreign Linguistics and Linguodidactics Issue – 2 № 5 (2024) / ISSN 2181-3701 East, but from the Iron Age, it spread to other regions. A metal mirror with a mostly rounded handle (in the ancient Greeks), more like any other statuette, has a flat face on the front and is decorated with various patterns or images on the back. Glass mirrors with tin and lead bases appeared in the Romans in the 1st century AD. Mirrors were brought to Central Asia mainly from China through the Great Silk Road and had practical and ceremonial functions. According to E.B. Barinova, in traditional Chinese symbolism, the ancient mirror of gujin and the magic mirror of shenjin were used as amulets against evil and devil temptation or evil spirits and their influence. According to this, the mirror is a miniature view of the world. According to the philosophy of Daos- Buddha personality, the quiet and motionless surface of the mirror is likened to the nature of a pure and true human being, which can understand the hidden essence of things. [7.34.] Regardless of the widespread use of the mirror in marriage, it also played various roles in the religious imagination of the people. First of all, the mirror served to inform a person about the future and to warn him of future affairs. In "Baburnoma" of Zahiriddin Muhammad Babur, information is given about the miraculous stone mirror near Isfara: "In one part of Isfara, there is a piece of stone falling among the bushes in the south. It is called "SangiOyna". everything is like a mirror to a husband." [10.7.] To this day, people look at this stone mirror as magical and miraculous, and believe that the future of the person who looks at it can be predicted or the ability to show lost items. In folklore, a mirror is interpreted as po