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Journal articles on the topic 'Navoi's ghazals'

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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1

Eshonqulov, Husniddin. "Peculiarities of the artistic construction of Alisher Navoi's romantic ghazals." Golden scripts 3, no. 1 (2021): 69–86. http://dx.doi.org/10.52773/tsuull.gold.2021.1/fdfi6444.

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The article reveals the peculiarities of the artistic structure of Alisher Navoi's romantic ghazals based on the analysis. It deals with the great poet's skill in the use of visual aids and rhyming techniques related to word repetition. Navoi, aware of the question-and-answer style in the ghazals of his great predecessors such as Hafiz and Lutfi, raised the traditional question-and-answer session between the lover and the lover in the ghazal "Jong'a chun dermen..." It is defined as the artistic discovery of peculiarities, such as the beginning, the course of events, rising actions, climax, and the conclusion. The artistic skills of the great poet in the use of the art of tardi’aks are analyzed, and the analysis of the formation of a unique semantic-compositional structure of romantic poems with the help of such pictorial means based on word repetition is revealed. The analysis also reveals the peculiarities of the musajja ghazals based on the poet's ghazal verses, the influence of the rhyme and internal radifs on the artistic structure of the ghazal, and the fact that Navoi's musajja ghazals were written not only in the hazaj, but also in the rajaz and ramal.

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2

Haydarova, Gulhayo Ahmadaliyevna. "NAVOI AND SOBIR ABDULLA." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (2021): 149–54. http://dx.doi.org/10.26739/2181-1490-2021-2-17.

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This article illustrates the influence of Alisher Navoi's ghazals on Sabir Abdulla’s ghazal, one of the representatives of Uzbek poetry in twentieth century. This effect is illustrated by the art of “talmeh” which a literary type of poet. The art of “talmeh” used in the poems of Alisher Navoi and Sabir Abdulla is compared and the aspects of tradition and originality are identified. Talmeh which was used in Sabir Abdulla’s works is divided into groups according to the theme. At the same time, the art of “talmeh” in Uzbek literature and the phenomena of allusion, which are widely studied by world researchers, are compared and similarities and differences are identified. In the process, Sabir Abdulla's ability to use “talmeh” was also assessed. The influence of Navoi's ghazals on the poet's work is considered, and the reasons for deviating from the norms of tradition are explained in detail.Key words: talmeh, allusions, poetic ideas, names of historical figures, Sabir Abdulla's ghazali-yya, aspects of tradition and originality, art of iyham, types of talmeh, special dictionary, talmehs with limited use

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3

Tursunov, Rustam M. "THE MISCELLANEOUS SATIRE OF THE MASHRAB." International Journal of Advance Scientific Research 05, no. 12 (2024): 36–41. https://doi.org/10.37547/ijasr-04-12-06.

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This article examines some works by Mashrab, the son of one of the great representatives of Uzbek classical literature, the mystic and thinker poet Boborakhim Mulla Vali (Valibobo), partly influenced by Mawlana Lutfi, Alisher Navoi, and mainly by the famous Azerbaijani poet Muhammad Fuzuli. In particular, Mashrab's ghazals and tahmis written following Lutfi's ghazal "I love you...", Navoi's ghazals with the parallels "Kelmadi", "Koshki" and Fuzuli's ghazals "Meni jondan osandirdi..." and "Olandan sor", as well as his muhamma with the parallels "Ayrilmisham". This ghazal, in the tahmis, is a comparative analysis of Mashrab's competition with Fuzuli in terms of art, and the success of the worthy continuation of the mystical ideas in the ghazal.

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4

Dustkaraeva, Surayya Nartaylakovna. "PROSE NARRATIVE WISDOM (ON THE EXAMPLE OF ALISHER NAVOI'S GHAZALS )." Results of National Scientific Research International Journal 3, no. 10 (2024): 10–15. https://doi.org/10.5281/zenodo.13926617.

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The article discusses some forms of conveying Alisher Navoi's ghazals to modern readers. In this, mainly, experiences related to the creation of prose narratives of each stanza, lessons and conclusions derived from them are summarized. The author tried to explain his thoughts on the example of a ghazal from the book "Gharayib us-sigar" ("If your anger dies, all my work will be satisfied").

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5

Dustkaraeva, Surayya Nartaylakovna. "PROSE NARRATIVE WISDOM (ON THE EXAMPLE OF ALISHER NAVOI'S GHAZALS )." Results of National Scientific Research International Journal 3, no. 10 (2024): 10–15. https://doi.org/10.5281/zenodo.13926643.

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The article discusses some forms of conveying Alisher Navoi's ghazals to modern readers. In this, mainly, experiences related to the creation of prose narratives of each stanza, lessons and conclusions derived from them are summarized. The author tried to explain his thoughts on the example of a ghazal from the book "Gharayib us-sigar" ("If your anger dies, all my work will be satisfied").

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6

Savronovna, Dostova Surayyo. "USE OF MODERN PEDAGOGICAL TECHNOLOGIES IN TEACHING THE SUBJECT OF ALISHER NAVOIY'S GHAZALS." American Journal Of Philological Sciences 03, no. 05 (2023): 59–67. http://dx.doi.org/10.37547/ajps/volume03issue05-11.

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This article talks about the use of modern pedagogical technologies in teaching the subject of Alisher Navoi's ghazals from the science of Old Uzbek writing. The science of old Uzbek writing is currently taught as a specialty subject in the faculties of Uzbek philology of higher educational institutions of our country. In this article, we want to talk about the interactive methods that can be used to open the content of practical exercises on the subject of Alisher Navoi's ghazals from the science of old Uzbek writing.

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7

Zaripov, B. P. "About the Maqta’ in ghazals (on the example of alisher navoi's ghazals)." Asian Journal Of Multidimensional Research 11, no. 7 (2022): 68–71. http://dx.doi.org/10.5958/2278-4853.2022.00173.2.

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8

Shermamatova. "PROBLEMS OF TRANSLATING NAVOY'S LYRICS INTO FOREIGN LANGUAGES." European Journal of Learning on History and Social Sciences 1, no. 2 (2024): 45–47. http://dx.doi.org/10.61796/ejlhss.v1i2.305.

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The article talks about the translations of Alisher Navoi's ghazals and rubai into English by Uzbek and foreign translators. Their achievements and shortcomings are thoroughly analyzed. Some suggestions and recommendations were given and relevant conclusions were drawn

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9

Péri, Benedek. "HOW MĪR CALĪ-ŠĪR NAVĀYĪ’S PERSIAN POETRY INFLUENCED THE POET-WARRIOR OTTOMAN SULTAN SELIM I (1512–1520)." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (2021): 32–38. http://dx.doi.org/10.26739/2181-1490-2021-2-3.

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This article discusses the importance of Persian poetry in the work of Alisher Navoi and how much they were valued in the Ottoman Empire. In particular, it is noted that Sultan Boyazid I (1481-1512), under the influence of Navoi ghazals, ordered the creation of works in the style of poetic poetry. It is unclear whether these assumptions are based on explicit historical fact, but the author bases this assumption on the proximity of Ottoman poetry to Navoi's ghazals. The author analyzes the work of Navoi, studying the work of the Ottoman ruler Sultan Selim I. The reason for this is that he was a contemporary of Navoi, better known for his Persian poems in poetry, and, most importantly, in the first half of the XVIth century, the Ottoman literary critic Latīfī, a close a contemporary of the Sultan, admitted that Selim was inspired by the poetry of Navoi. Clarifies the issue under consideration. The author also interprets ideas in terms of couplets. Speaking about the activities of Sultan Selim I, it is said that most of his work was composed of poems, and most of them were answer poems. The author also notes new discoveries in science using Selim's Per-sian ghazals, edited by Paul Horn. The author's research confirms the similarity of couplets in the desired weight, as well as the fact that the size of seven-couplet verses in Navoi is five couplets in Selim's work, which gives the reader another novelty

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10

Isomitdinovna, Soatova Nodira, and Turopova Parizod. "THE IMAGE OF THE MOTHER-WOMAN IN ALISHER NAVOI’S WORKS." International Journal of Advance Scientific Research 05, no. 12 (2024): 167–78. https://doi.org/10.37547/ijasr-04-12-25.

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This article is dedicated to exploring the artistic depiction of the image of the mother-woman in the works of Alisher Navoi. It examines the poet's perspectives on women, as expressed in ghazals and rubaiyat from his collection "Khazayin ul-Ma'ani", as well as in his works "Nasayim ul-Muhabbat" and "Mahbub ul-Qulub". The analysis demonstrates that in Navoi's poetry, the figure of the mother-woman uniquely represents the identity, formation, and manifestation of an entire people and nation. The poet skillfully employed expressive imagery in his verses, capturing both the era's and women's societal challenges with profound philosophical depth. The simplicity of thought, conveyed through straightforward lines, holds a dominant place in his lyrical work. Navoi’s poetry reflects national landscapes and realities through an intellectual exploration of meaning and layers of ideas, achieved via artistic interpretation, depiction, and detail. Ultimately, the poet portrays the destiny of women as intrinsically linked to their role as faithful companions and mothers, ensuring continuity for future generations. These characteristics are echoed in oral folklore, where female figures are simultaneously depicted as brave heroines and caring mothers, blending diverse qualities into a syncretic image. The study of Navoi’s works reveals a progressive enhancement and deepening of the artistic interpretation of the beloved's image across different genres and works.

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11

Turobov, Bekpulat Nusratullayevich. "ORIENTALIST E.E. BERTELS THINKING ABOUT THE FORMING FACTORS OF ALISHER NAVOI'S WORK." Philisophy and life 1, SI 2 (2022): 2. https://doi.org/10.5281/zenodo.7325550.

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This article presents an analysis of the formation of the work of the great oriental thinker Alisher Navoi, made by orientalist E.E. Bertels. In his works, E.E. Bertels made a comparative analysis of ghazals, poems, quatrains, masnavis written in Persian and Turkish languages. The article is devoted to the formation of Navoi's scientific work is directly related to the Timurid period, It did not only encourage the poets who wrote in the Turkic language during the Timurid period, but also made them work in this field In this article, we also consider that one of the important factors in the formation of Navoi's work was the fact that Alisher Navoi was inspired by the works of his predecessors and contemporary artists, as well as by studying and analyzing them in depth.

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12

Choriyeva, Ozoda, and S. Tuliboyev. "THE LIFE OF THE PATIENT…" MODERN SCIENCE AND RESEARCH 2, no. 10 (2023): 149–54. https://doi.org/10.5281/zenodo.10028101.

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<i>In this article, Alisher Navoi's radiative ghazal "Qilmadin hech" is analyzed. The ghazal's verse and verse are determined. The board will be developed. A. Navoi's high potential in the science of dreams known to all of us, his ability to interpret one word in different meanings and skillfully use poetic arts, is once again proven by analyzing each stanza separately. will be done.</i>

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13

Rahmonova, Shahnoza. "The Metrical Features of Chustiy’s Ghazals." Golden scripts 1, no. 1 (2019): 103–29. http://dx.doi.org/10.52773/tsuull.gold.2019.1/dcuo5963.

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Chusti’s poems in the genre of ghazals especially with their metric aspect in such writings as “Khayotnoma” (1988), “Sadokat gullari” (1992), “Ko‘ngil tilagi” (1994) are reserched in this article. Moreover, we will see the peculiarities of each couplet (string) based on the requirements of the ghazal in the proportion of ideas and images, the unity of meaning and form in the poet’s view. Chusti actively used the system of aruzi bahri (metric term) rajaz, muhtass, mutakarib, musari, hazaj, ramal in his ghazals. We can see that the ghazals were created in these metric systems fit into 52 songs of “Shashmakom”. And also the analyzed the genres of ghazals and the value of the themes. In addition, the metric of Chusti’s ghazals is compared with the metric properties of the poems of Alisher Navoi and Zahiriddin Muhammad Babur. Their parallels, similarities, themes and content are highlighted with definite examples. Interaction with oral folklore and folk songs of ghazals are researched. In addition, it was said that the individual ghazals of Chustiy are not compatible with the rules of aruz, in particular, the ghazal “Khaddan ziyada”, “Keling tezrak, Karakalpak”. During the analysis of these ghazals, they were found to be more consistent with the rules of fingerprint metrics. And also for the first time, the article presents statistical data on the ghazal of Chusti.

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14

Rahim, Mardanov. "Addressing Messenger Characters and Poetic Mastery." European International Journal of Philological Sciences 5, no. 3 (2025): 12–16. https://doi.org/10.55640/eijps-05-03-04.

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In the poetry of the great thinker Navoi, ghazals on the theme of news constitute a significant portion. Most of them begin with an appeal to characters who convey messages. We will examine this in the example of the great poet's ghazal, included in the divan "Badoe' ul-vasat" under number 366.

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15

OZTURK, Ridvan. "Linguistic Characteristics of the Naziraz Ghazals and Tahmis Written by Afghanistan Poet Alim Labib to Nevai Poems." Golden Scripts 1 (March 10, 2024): 118–30. http://dx.doi.org/10.52773/tsuull.gold.2024.1/lfsh9177.

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Uzbeks are one of the most populous Turkic peoples. Uzbeks today live not only in Uzbekistan but also in many other countries. Afghanistan is one of these countries. In the 15th century, Ali Shir Navoi lived in the Herat region of Afghanistan and his poems written in Turkic are still read and understood in this region, and even nazir ghazals are written to his gha- zals. In addition, tahmis are also made by adding verses to his ghazals. In this article, we will identify the ghazals and tahmis written by Afghan Uzbek poet Âlim Labib to Ali Shir Navaî’s poems and compa- re them with Navaî’s poems in terms of language and style. In addition, based on Âlim Labib’s poems, we will point out some differences of Afghan Uzbek from Ali Shir Navoi’s language and standard Uzbekistan Uzbek.

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16

Shoaliyeva, N. K. "Understanding Mysticism in Alisher Navoi’s “Foniy” Divan." European International Journal of Philological Sciences 5, no. 3 (2025): 17–20. https://doi.org/10.55640/eijps-05-03-05.

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This article explores the mystical (irfaniy) perspectives of the 15th-century renowned Muslim poet and thinker, Mir Alisher Navoi, as reflected in his divan Foniy. Sufism and its teachings have long played a significant role in shaping Islamic thought, influencing human perception, self-awareness, and moral refinement. Alisher Navoi, as a distinguished poet of his time, deeply engaged with Sufi philosophy and incorporated its themes into his literary works. His Foniy divan vividly illustrates key Sufi concepts such as repentance (tawba), annihilation of the self (fana), unity (wahdat), and divine bewilderment (hayrat). The article examines Navoi’s poetic reflections on these spiritual ideas, particularly his view that love and divine truth transcend religious and physical boundaries. Drawing comparisons with the works of earlier Sufi poets such as Rumi, Hafez, and Sa’di, the study highlights Navoi’s mastery in blending poetic elegance with profound mystical thought. His expressions of religious tolerance and unity resonate with modern concepts of pluralism and inclusivity. Through a close reading of selected ghazals, especially his famous verse equating the Ka‘ba and the monastery, the paper sheds light on Navoi’s belief in the universality of divine love and the ultimate goal of spiritual unity.

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17

Yusupova, Dilnavoz. "DIVANS CREATED BY AMATEWS: INTERPRETATION ANALYSIS AND CORRECTION." ALISHER NAVOIY INTERNATIONAL JOURNAL 1, no. 1 (2021): 101–10. http://dx.doi.org/10.26739/2181-1490-2021-1-11.

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In this article, the object of the study is to analyze the studies of Navoi related to the Divans of Alisher Navoi. The Divan poems composed by the poet admirers have been studied in comparison with those of the official Divans. The article deals with the analyzes of the bait (couplet) from “Baburname”, as well as modern editions of the poet’s poems, the history of the creation of some ghazals. The need to consider the gradual development of the poet’s poems and the process of creating a specific ghazal to “Khazayin al-ma’ani” in five stages is emphasized.

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18

Jumaxo'ja, Nusratullo. "POETIC CONSCIOUSNESS AND SCIENTIFIC THINKING IN THE INTERPRETATIONS." Golden scripts 1, no. 2 (2019): 19–24. http://dx.doi.org/10.52773/tsuull.gold.2019.2/iurx5891.

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This article discusses diverse poetic angels of the prominent Uzbek poet of the XX century Erkin Vahidov. Erkin Vahidov was raised in a vibrant literary environment which profoundly contributed to the formation of the great poet’s philosophical views. In his book “Poet, Poetry, and a Poetic Consiousness” (“Shoiru she’ru shuur”) Vahidov shares his thoughts about his vigorous background; his love for the classical creators of ghazals such as Hafiz, Navai, Bedil, and Fuzuliy. Additionally, the author presents Vahidov’s delicate and skillful abilities to compose in a classical genre and his talent to portray Navoi in his philosophical works.The author further describes some aspects of Vahidov’s book “The Beauty of the Word” (“So’z Latofati”) and defines it as a literary essay representing his philosophical views. Vahidov’s interpretations of Navoi’s ghazals are the product of his poetic righteousness and scholarly consciousness.

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19

Olimova, Munavvar. "Regarding Huvaido's commentary on Navoi's ghazal." Golden scripts 4, no. 4 (2024): 46–77. https://doi.org/10.52773/tsuull.gold.2024.4/lwle3965.

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Khojanazar Huvaydo is one of the famous poets of the 18th century Uzbek literature with his lyrical poems and epics. The creator left a significant literary and spiritual heritage. His lyrical heritage - his divan - has been published. Today, the poet's works are preserved in manuscript and lithographic form in many manuscript collections. One of them is the lithograph "Huvaydoyi Chimyoniy" kept in the Bukhara Museum of Literature and Art. Based on the study of this source, a mukhammas tied to Navoi's ghazal, which was not available among the published divan of the poet, was discovered. In the article, the text of this mukhammas was converted from the old Uzbek script to the current script and analyzed from an ideological and artistic point of view.

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20

Rahmonova, Shahlo. "THE IMAGE OF A WOMAN AND HER SOCIAL POSITION IN NAVOI’S POETRY." American Journal of Philological Sciences 3, no. 12 (2023): 104–14. http://dx.doi.org/10.37547/ajps/volume03issue12-17.

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The image of a woman is widely covered in Navoi’s poetry. The role and social status of women in society are determined by their social activity. In particular, we see that they are not inferior to anyone in their work in public administration, they actively participate in public life, acquiring knowledge and profession. In the lyrics and epics of Alisher Navoi, women’s activity, enlightenment, hard work for the welfare of the people, talent and talent are vividly shown. In the poet’s poetry, the woman’s position, love-loyalty and the issue of love are glorified in his ghazals and rubai. It has been analyzed that issues such as women’s education and occupation are in line with today’s times.

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21

Amonova, Zilola Qodirovna, and Zufnunabegim Rizvonovna Akhrorova. "HUSSEINI'S ARTISTIC SKILL." International journal of word art 5, no. 3 (2022): 93–98. https://doi.org/10.5281/zenodo.6642491.

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Husseini and his creative heritage have a special place in Uzbek classical literature. In particular, the poet's Divan (collected poems) and the work "Risola" are distinguished by their wide range. The poems in the poet's divan are among the poems that show the charm of the Turkish language. In his poems on love, Husseini actively used the arts of talmeh, tazad, tanosub, and repetition to express the relationship between a lover and a lover and interpreted on the basis of dictionaries. Also, two of the poet's poems, inspired by Alisher Navoi's ghazals, written in response to some of his ghazals, were taken as the object of analysis. In covering this issue, attention is paid to Husseini's contribution to the development of the ghazal genre, his unique style and artistic skills, unlike other poets.

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Bobokulova, Oyjamol Saidovna. "Description And Interpretation Of Rind In Navoi’s First Translation." American Journal of Social Science and Education Innovations 03, no. 05 (2021): 167–71. http://dx.doi.org/10.37547/tajssei/volume03issue05-32.

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In Uzbek literature, the issue of rind (disobeying the rules of Sharia) and it is one of the most unexplored and interesting issues. In Navoi’s lyrics a series of rind poems occupies a significant place in the content. In addition to the poet’s ghazals, the article analyzes the issue of rind and attitude to rind in his works, in particular, in his translation of the “Strange us-sig’ar”. This approach allows for a harmonious study of Navoi’s views on the ideals of life and aesthetics. Such views are expressed in the article on the example of Navoi’s biographical analysis.

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23

Isakovna, Karimova Farida. "Praises About Hussein Boykaro In Alisher Navoi’s “Khazoin Ul-Maoniy” Collection." American Journal of Interdisciplinary Innovations and Research 02, no. 12 (2020): 122–27. http://dx.doi.org/10.37547/tajiir/volume02issue12-18.

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24

Hasanova, Shafoat. "On the Title and Thematic Significance of Rizoiy’s Qush Tili (‘The Language of Birds’)"." Current Research Journal of Philological Sciences 6, no. 3 (2025): 16–20. https://doi.org/10.37547/philological-crjps-06-03-04.

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n Uzbek literature, the study of epics of the type "Mantiq ut-tayr" is associated with the study of Alisher Navoi's epic "Lison ut-tayr" and has always been in the spotlight of experts. Mavlono Khoja Qоzi Payvandi Rizoi (XVIII acp) was one of the authors who wrote in Turkish on the theme of “Mantiq ut-tayr”. The only manuscript of the epic "Language of the Bird's" created by him is kept in the fund of the State Museum of Literature named after Alisher Navoi under inventory number 127.The epics of the Mantik ut-tayr cycle and the works of Sanai, Ibn Sina, Shakhobiddin Suhrawardi, Ahmad Ghazali played a direct role in the creation of the Rizai epic "Language of the Bird's", while the history of Islam, the Holy Quran and the hadiths served as an important factor in ensuring the uniqueness plot and composition.

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25

Imomaliyeva, Musharrafxon. "NODIRA MELODIES OF NAVOI." QO‘QON UNIVERSITETI XABARNOMASI 10, no. 10 (2024): 121–23. http://dx.doi.org/10.54613/ku.v10i10.926.

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The article shows the influence of Alisher Navoi's heritage on the work of Mohlaroyim Nadira, as well as the example of Navoi-like melodies in the work of the poetess, and her introduction to the poet's ghazal. Although she lived in a very complicated political life, the poet made a great contribution to the development of our classical literature of the 19th century, gathered around her people who enjoyed art, and educated them. As a result, female poets also actively participate in literary life in Kokand. They also created divans, their works were included in collections, tazkiras, their recognition and notable aspects are mentioned in the article. The fact that Nodirabegim is the owner of high artistic thinking, he is also famous as a statesman with his active social activities, and at the same time, the aspects of Nodirabegim's lyrics, rich in deep and philosophical observations, are presented in a detailed study.

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Matkarimov, S. "A.NAVOY'S GHAZALS TRANSLATION AND ANALYSE." Znanstvena misel journal, no. 82 (September 22, 2023): 17–19. https://doi.org/10.5281/zenodo.8369269.

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The article is devoted to the French translation of A. Navoi's gazelle, which begins “Meni men istagan uz sukhbatiga arjumand etmas” and “Jonga chun derman not erdi ulmakim kayfiyati” by Hamid Ismoilov and JeanPierre Balpa. The author studied the work of translators in this area and conducted a deep analysis of the translation of a ghazal, that is, an Eastern work translated into Western European languages.

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27

Umirova, Dilshoda Husniddin qizi. "ALISHER NAVOI'S CONTRIBUTION TO THE DEVELOPMENT OF THE TURKISH LANGUAGE." EURASIAN JOURNAL OF SOCIAL SCIENCES, PHILOSOPHY AND CULTURE 1, no. 1 (2021): 32–34. https://doi.org/10.5281/zenodo.5516534.

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It is true that the person who strengthened the position of the Turkish language in the world community and raised the aspects of it that no one has yet noticed to the level of art, was a ghazal writer, statesman, loyal friend, public educator, revived the Turkish language. , the person who gave him life is Mir Alisher Navoi. With his greatest and most famous work "Khamsa", Navoi proved that the Turkish language is not inferior to any other language, and with his creative skills has increased the interest and love of many peoples for this language.

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Aysara, MADALIEVA. "TEXTUAL STUDY OF GHAZALS IN "TERMA DEVAN" OF ALISHER NAVOY (BASED ON 16TH CENTURY MANUSCRIPTS)." International journal of Alisher NAvoi 2, no. 3 (2022): 5. https://doi.org/10.5281/zenodo.7302574.

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After the creation of «Khaza'in al-ma'ani», which included most of the poetic heritage of Alisher Navoi, «Selected Divans» began to appear as a selection of his poems. In the Main Fund of the Abu Rayhan Biruni Institute of Oriental Studies, Uzbekistan Academy of Sciences there are 9 manuscripts of the «Selected Divans» of Navoi dating back to the 16th century. This article compares ghazals, which are part of four out of nine divans. The results are compared with the «Khaza'in alma'ani» divans. It also shows the dynamics of changes in the literary process associated with poetic genres over a period of time associated with the manuscripts of the «Selected Divans». In conclusion, the views of the author are given: each of the copies of the «Selected Divans» was created in its original order; determining the reasons for the creation of such collections of poetry.

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29

Rahmatov, Mardon. "The relationship between the subject of speech and the image of Navoi." Golden scripts 4, no. 2 (2022): 112–25. http://dx.doi.org/10.52773/tsuull.gold.2022.2/redq2489.

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The article analyzes the producer of speech and its (speech) subject, which are among the central categories of speech linguistics. In the linguistic analysis of lyrical works, attention is paid to the formation of these categories in a poetic text with the help of linguistic signs, their mutual unity and difference.In Eastern poetry, according to tradition, nicknames and the subject of speech, which are specifically included in the text of ghazals as a speaker, do not always correspond to each other, there are certain differences and inconsistencies between them. Clarification of the relationship of the subject category of speech to the addressee (the pseudonym of the poet) is important in determining the status of the speech structure of the lyrical text.

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Qahramonovna, Umarova Gulmalika. "The Image of Hakim as A Carrier of Sufi Ideas." American Journal Of Social Sciences And Humanity Research 05, no. 04 (2025): 40–44. https://doi.org/10.37547/ajsshr/volume05issue04-07.

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Sufism has developed since the early centuries of Islamic history. Among its founders are figures like Hasan al-Basri, Rabia al-Adawiyya, and Bayazid al-Bistami. Later, Sufism was further developed by great mystics such as Imam al-Ghazali, Ibn Arabi, and Jalaluddin Rumi. In Central Asia, individuals like Ahmad Yasawi, Bahauddin Naqshband, and Alisher Navoi played a significant role in advancing Sufism through their important written works.

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Tojiboeva, Ozoda. "“Tarjebandi Khomisa” as a product of following Alisher Navoi." Golden Scripts 5, no. 1 (2023): 66–78. http://dx.doi.org/10.52773/tsuull.gold.2023.1/tink7424.

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Following the creative heritage of Alisher Navai is one of the traditions that was widely extended in later periods of Uzbek literature.In particular, the literary environment in Khorezm is influenced by all the poet’s poems in lyrical genres. The role of this region is also important in the creative processing and promotion of the epic “Khamsa”. The poets of Khorezm wrote ghazels under the influence of Alisher Navai, and because of the literary influence they went along the path of Tatabbu', Tahmis and Tazmin.The work of the talented poet Awaz Otar “Tarjebandi Khomisa” was written under the influence of the epic of Alisher Navai’s “Khamsa”. Although in this work the author relied on the content of the epic “Khamsa”, the idea and formal aspects of the novel correspond to the novel by Alisher Navai. Therefore, in this article “Tarjebandi khomisa” compared with the epics and Tarjebandi of Alisher Navai “Khamsa”.

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Utanova, Sirdaryo. "THE COORDINATION OF COLOR AND CLOTHES IN LITERAL IMAGE (IN THE EXAMPLE OF GHAZALS BY ALISHER NAVOI)." Theoretical & Applied Science 75, no. 07 (2019): 9–13. http://dx.doi.org/10.15863/tas.2019.07.75.3.

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Salokhiy, Dilorom Isomiddin kizi. "ISSUES OF ARTISTIC SKILLS IN THE POETRY OF ALISHER NAVOI." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 1 (2021): 53–62. http://dx.doi.org/10.26739/2181-1490-2021-1-6.

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The article discusses the artistic skill of Alisher Navoi and the problems of the poet’s lyrical style. The author analyzes the originality of the poet’s lyrical style on the material of his own collections of poems composed and edited by his own - “Badoy ul-Bidoya” (“Rare Beginnings”), “Navadyr un-nihoya” (“The Beginnings of the End”) and “Khaza’ine ul-Maani” (“Treasure of Thoughts”). The poet’s artistic and aesthetic views are most vividly reflected in his artistic techniques to create the image of the lyrical hero, in the application of aruz technique, also in the verses of social content. In the collections of Navai poems, the Great Creator’s ghazal praises, reflecting the advanced ideas of Eastern religious thinking, occupy a wide place. In them, the poet expresses his humane reflections, which go beyond national, racial, primitive-religious, ideological barriers and praise the person, serve for his spiritual perfection. One of the main criteria of Navai’s poetry is its reflection of the positive ideas of Sufism, the poet’s belonging to the Sufi Naqshbandia

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Madirimova, Sohiba. "A Scientific Description of the Manuscripts of Mutrib Khonakharob’s Works." Golden scripts 1, no. 3 (2019): 27–59. http://dx.doi.org/10.52773/tsuull.gold.2019.3/ujww8077.

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This article is about the bilingual poet Mutrib Xanaxarab who had lived and hadcreated at the end of the XIX century and at the beginning of the XX century and his lyric heritage sources. As such the information about his heritage which are kept to this period are gathered and they are researched in terms of textology and literary source study. The sources are compared and reflections are shown on the scientific bases.In this article the main attention is focused on “Devoni Mutrib Xonaxarab” manuscripts’ studies under similar and unlike circumstancts. The information about his biography and heritage indifferent sources — devons bayozes tazkiras are scientifically and monographically characterized. Poet’s lyric creations which were not shown in his devon are identified from the manuscripts and lithographic sousces such as early press publication and the scientific reasonings about them are given. Mutrib’s devons’ manuscripts’ sources are characterized according to the establishment, preservation, volume are attended. The new ghazals, which are not included in the devons, are identified in the bayozes, tazkiras. The manuscripts sources in different manuscript funds, museums in our Republic are studied as classifying sources. For example, the manuscripts and lithographic sources which are kept in the museum of Ichan castle in Kh-iva, in Hamid Sulaymon and fundamental funds in the Academy of Sciences of the Respublic of Uzbekistan and the early press publication which are kept in the national publication fund of in the national library named after Alisher Navoi are used.

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Makhmudova, Muattar Makhsatilloevna. "FUNDAMENTALS AND IDEOLOGICAL CONTENT OF THE CREATION OF Y.V. GOETHE'S "WEST-EAST COLLECTION OF POEMS"." Scientific Reports of Bukhara State University 5, no. 5 (2021): 119–30. http://dx.doi.org/10.52297/2181-1466/2021/5/5/11.

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Background. The article tells about the work of the famous German writer Johann Wolfgang Goethe and about the history of the creation of the famous "West-Eastern Divan". Methods. The famous German writer Johann Wolfgang Goethe (1749-1832) was a poet, playwright, literary critic, jurist, orientalist, historian and philosopher, painter, theater critic, naturalist, and scientist and statesman who made discoveries in biology and mineralogy. He was one of the first to use the term "world literature." His 143-volume artistic and scientific legacy includes his works such as Faust, The Sufferings of Young Werther, West-east collection of poems, Muhammad (peace and blessings of Allaah be upon him), Tawrida Iphigenia, Roman Elegies, Torquato Tasso, "The Evolution of Nabotot", "The Magic Whisper", "Information about Color", as well as more than three thousand poems have attracted the attention of readers around the world. Results. In particular, Goethe's main idea in his artistic heritage was to bring together the cultures of all the peoples of the world and to open the way to world literature. "West-east collection of poems" brought him a lot of fame. At that time, the poet was 70 years old. Discussion. Before Goethe created the "West-east collection of poems" (or “Mag‘ribu Mashriq devoni”), he began to study the Qur'an, the holy book of Islam, which the Orient worships. At that time, the Qur'an was translated into German, as well as into Latin, English and French. Although the poet was still young, more precisely, twenty-four years old, he studied these translations by comparing them because he knew all the languages listed above. He even mastered the Arabic orthography, through which he tried to understand and study the essence of the verses of the Qur'an. He also took a keen interest in studying the life of Muhammad (peace and blessings of Allaah be upon him) and the hadeeths that are his sayings. The full manuscript of Surat an-Nas, written by Goethe in Arabic, includes "Allah," "Muhammad, may Allah bless him and grant him peace." The manuscript is still housed in the House Museum in Weimar, Germany. Conclusion. Thus, Goethe, who from an early age was interested in the languages, history, literature, religious and philosophical views, customs and traditions of the peoples of the East, wrote the "West-east collection of poems", primarily under the influence of the Qur'an and hadiths, mystical teachings. as well as in the interpretation of the ghazals of such famous representatives of Eastern poetry as Rudaki, Firdavsi, Hafiz Sherozi, Saadi, Anvari, Nizami, Rumi, Jami, Navoi. He even chose the oriental nickname "Hotam" to create it

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N.F. Atajanova. "ON THE LITERARY TRADITIONS OF NAVOI IN THE WORKS OF KHOREZM POETESSES." SPAST Reports 1, no. 1 (2024). http://dx.doi.org/10.69848/sreports.v1i1.4637.

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This article accentuates the influence of Alisher Navoi's work on Khorezm poets, notably Ullibibi Otayeva, Gavhar Ibodullayeva, and Shaira Shams. Ibodullayeva's mukhammas in response to Navoi's ghazal, "Sen Mening," exhibits harmonisation of form and content, while Shams brings Navoi's complex thoughts in "Dost" to modern readers. Otayeva refines Navoi's concept in "Nasoyim ul-muhabbat," seen in Ibodullayeva's "Boldim" and Shams's "Aylasa" ghazals. The poets' works echo the traditions of Uzbek literature and Navoi's pervasive influence. Their artistic expression reveals shared imagery, as noted in Otayeva's analysis of Navoi’s ghazals and rubai in her work, "The Last Wish."

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Ahadjon, MUHAMMADIYEV. "REALIZING NAVOI'S ENLIGHTENMENT." INTERNATIONAL JOURNAL OF ALISHER NAVOI 2023, Volume-3, Issue-2 (2023). https://doi.org/10.5281/zenodo.8399796.

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This article focuses on analysis and interpretation of ghazals. In the article, Alisher Navoi’s ghazal as a ghostly praise is an object and has been interpreted in comparison with the verses and hadiths.

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M.Jandreyeva. "THE IMAGE OF ASCETICISM IN NAVOI'S LYRICS." May 20, 2023. https://doi.org/10.5281/zenodo.7953528.

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<em>In this article, the image of asceticism in Alisher Navoi's lyrics, its use in ghazals, the question of how it acquires meaning, based on the analysis of Navoi's ghazals, are discussed.</em>

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Shermamatova, Shermamatova. "Problems of Translating Navoy's Lyrics into Foreign Languages." Academia Open 9, no. 1 (2024). http://dx.doi.org/10.21070/acopen.9.2024.8436.

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This article critically examines the translations of Alisher Navoi's ghazals and rubai into English by both Uzbek and foreign translators. The study employs a rigorous analysis to evaluate the achievements and shortcomings of these translations. Methodologically, it employs a comparative approach to highlight variations in linguistic nuances and cultural interpretations. The results shed light on the diverse approaches taken by translators, offering insights into the challenges faced and suggesting improvements for future endeavors. The implications of this research extend to the broader field of literary translation, emphasizing the importance of preserving the cultural and linguistic richness of Navoi's poetry in English renditions. Highlights: Cross-cultural Examination: This study conducts a comprehensive analysis of Alisher Navoi's poetry translations into English by both Uzbek and foreign translators, emphasizing the cultural nuances embedded in the process. Translator Strategies: The article highlights diverse translation approaches, evaluating the achievements and shortcomings of English renditions of Navoi's ghazals and rubai, providing valuable insights for future translation endeavors. Preserving Literary Richness: Through a comparative method, the research underscores the importance of maintaining the cultural and linguistic richness of Navoi's poetry in English translations, contributing to the broader field of literary translation studies. Keywords: Bilingual Dictionary, Translation, Ghazals, Rubai, Word Choice

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"ON THE NA’T GHAZALS OF ABDURAHMAN JAMI AND ALISHER NAVAI." Philology matters, September 19, 2019, 3–13. http://dx.doi.org/10.36078/987654357.

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The article deals with a comparative study of na’t ghazals of the great figures of the Persian and Turkic poetry – Abdurahman Jami and Alisher Navois’ Devans. The ghasals play an important role for the evaluation of the XV century’s religious-philosophical and artistic thinking. In Alisher Navoi's ‘Khazoyin ul-maoni’, which consists of four devan and n’at ghazals of A. Jami’s three devans, which deals with the subject-matters about Muhammad (s.a.v)’s lifestyle, khadises, miracles sent to him and his role in the life of a human being have been stated. Author analyzes the na’ts by both poets’ ghazals, in particular the subject of the artistic knowledge of several images and concepts: Mecca, Batho, Ka'ba, Medina, Yasrib, Zamzam, Prophethood, Adam, Khatam al-Anbiya, Hadisand others. According to the placement of na’t ghazals of A. Navai’s devan, the author emphasizes that they have a stable arrangement in the composition of devons, unlike of A. Jami’s ghazals, which is linked with ‘Shawahid un- Nubuwat’, the life-style of the Prophet Muhammad.

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D.Allanazarova. "PEDAGOGICAL ANALYSIS OF ALISHER NAVOY'S GHAZALS ON MUSIC." October 19, 2022. https://doi.org/10.5281/zenodo.7223414.

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<em>This article refers to one of Alisher Navoi's love ghazals written on the theme of love. Also at the heart of the lyrical plot of the ghazal lies the image of the suffering of waiting for the beloved wife, the promised lover, that is, the lyrical hero. The work consists of seven stanzas.</em>

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G'ulomova, Nargiza Sa'dullayevna. "A STUDY OF PROVERBS AND PHRASES FOUND IN THE GHAZALS OF "GARAYIB US-SIGAR"." October 10, 2023. https://doi.org/10.5281/zenodo.8424191.

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<em>In the process of reading and analyzing Alisher Navoi's ghazals, users can fully feel the reality in the ghazal, understand the philosophical essence in it, perceive the mystical world, understand that love is real and love figurative, and feel the love of Allah in every particle. is considered very important. In the process of semantic tagging of ghazal texts for Alisher Navoi's corpus, selection of wise words, folk proverbs, expressions used by the poet and their inclusion in the corpus base is very important in the education of the young generation, as well as improving the readability of our classical works. </em>

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"STRUCTURAL-COMPOSITIONAL ANALYSIS OF COMPARISONS IN THE POETRY OF ALISHER NAVOI." Philology matters, June 20, 2020, 74–86. http://dx.doi.org/10.36078/987654437.

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The article explores the linguistic-poetic aspect of the art of allegory in the poetic works of Alisher Navoi, which has a special place in the development of world artistic thought and its analogies are structurally-compositionally analyzed, revealed in a condensed form or formula in order to have a clear idea of its structural features and to have a clear understanding,and the analogies in it set out the principles of structural division. According to the presence, place and quantity of analogy components in the poet's intended works, analogies are initially divided into three types – simple analogies, complex analogies and complex analogies and two types of simple analogies have been identified. According to the presence of simulation components, simulations are divided into two types, i.e. complete simulations and incomplete simulations, and are classified using some formal symbols. In the poet's poetic works, indirect (similar and analogous components) analogies, i.e., A (similar) and B (simulated) device analogies, are based on factual material, which is more numerous than other structural analogies.The structure of simple analogies in the poet's poetry is A - similar, B - analogous, V - analogical note and G - analogical symbol,it involved all of the simulation components – A B V G. In complex simulations, it was found that A - similar and B - simulated were indeed present, in which case the V - identification record or the G - identification mark were not used.In particular, the non-use of the G-identification symbol has been widely observed. A B Vs played an important role in the structure of complex analogies. The third type of simulations, i.e., in the structure of complex simulations, occurs in the amount of A-like one and B-simulated in two or more quantities.Its formula is in the form A B B ... V G or A B B ... V. In Alisher Navoi's poetic works, especially in his ghazals on romantic themes, this structural, i.e. A B B ... V G or A B B ... V type analogies are widely used, as evidenced by the material. Such formulaic analogies were the basis for the poet to express the inner and outer beauty of the beloved from a complete, clear and impressive artistic point of view. Although the analogies used in the poet's poems differ in structural and compositional features, they all serve the same purpose - the perfection of the work of art, the content is beautiful and impressive, and most importantly, the clear and vivid expression of universal ideas.

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Komila, KOMILJONOVA. "THE DEFINITION OF LOVE IN THE DEVON OF ERKIN VAHIDOV." July 30, 2023. https://doi.org/10.5281/zenodo.8221616.

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The theme of love has long been one of the main themes of classical literature. The origin and development of the ghazal genre goes back to the need to express the feelings of people and their love. Romantic gazelles also dominate Erkin Vakhidov's divan, such as the ones of Atoyi, Lutfiy, Navoi. The article analyzes romantic ghazals and examples written about love.

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"Similarities in Addressing the Complex Nature of Love and Devotion in Methamorphosis by Kafka and in ghazals of Mir Alisher Navoiy." International Journal of Innovative Technology and Exploring Engineering 8, no. 9S3 (2019): 1542–45. http://dx.doi.org/10.35940/ijitee.i3322.0789s319.

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The great European novelist and short-story writer, Franz Kafka, and one of the most famous eastern poets of Middle ages, Alisher Navoiy, at first blush seem to have absolutely nothing in common. But a detailed analysis of two distinguished works of the writers, reveals their surprisingly similar views in regard to interpretation of love and devotion concepts. Step-by-step comparison of one of the Mir Alisher Navoiy’s ghazals with The Metamorphosis of Kafka allows to correlate the messages of each masterpiece, and thus define the similarities in personal traits of each author

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Sharipova, Odinahon Shavkatjon qizi Hasanboyeva Shahlo Shermurod qizi. "CHANG IN ALISHER NAVOI'S HERITAGE." September 29, 2022. https://doi.org/10.5281/zenodo.7126203.

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<em>This article discusses the types of ancient Uzbek folk instruments, the process of their formation and their place in the works of our ghazal poets, and especially the role and definition of the chan instrument in the works of Alisher Navoi.</em>

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Hamroyeva, Orzigul. "THE ARTISTIC PURPOSE OF ALISHER NAVOIY'S RHYME." Turkology, December 9, 2024. https://doi.org/10.59358/ayt.1537609.

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Rhyme is not merely an element based on repetitions at the end of lines, but one of the crucial components in conveying the essence of a poem. Navoiy's works are distinguished by their remarkable diversity in all aspects. They include events, characters, nature, objects, grandeur, buildings, places, and times, as well as descriptions and narratives. Metrics, rhyme, saj’ (rhymed prose), and artistic devices vary in each chapter, section, couplet, and verse of a work. Moreover, there is not a single chapter, section, couplet, or verse, nor a single word, meaning, or sound that lacks a unique aspect. The artistic role of rhyme in poetry is of significant importance, as the chosen rhyme determines the poem's artistic value through its core essence, depth, melodic quality, artistic value, and even the harmony of sounds, functioning as an entire system. The poet’s poetic thought is vividly apparent in this. The poetic genres and their substantive and formal characteristics influence how rhyme is presented in lines and stanzas. Even within a single ghazal (lyric poem), the rhyme varies according to the thematic and formal requirements of each type. Through rhyme, the essence and spirit of the ghazal are defined. Thus, rhyme is not merely a melodic element but one of the crucial poetic units that define the essence of the poem. Below, the impact of rhyme on the essence of the ghazal in Navoiy's lyrical legacy is examined.

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B.Abduvohidov, M.Ishquvvatov. "ALISHER NAVOI'S CLASSIFICATION OF RITUAL CHAPTERS IN "SADDI ISKANDARI" AND "LISON UT-TAIR" EPICS." April 11, 2023. https://doi.org/10.5281/zenodo.7816300.

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<em>This article provides information about the analysis of the chapters in the epics "Saddi Iskandariy" and "Lison ut-Tair" by Alisher Navoi, the sultan of the ghazal estate, which reflect the events of Miraj.</em>

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G'afurov, Nodirjon Sayfutdin o'g'li. "BODA SHOKHIDIN IT'S NOT MY FAULT IF I WAS NOLON..." August 16, 2024. https://doi.org/10.5281/zenodo.13329217.

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N.Saydaliyeva. "ALISHER NAVOI ANANASI MUAZZAMKHAN'S CREATION." November 2, 2022. https://doi.org/10.5281/zenodo.7273275.

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<em>In this article, it is stated that the poetess Muazzam Khan worked with the work of Hazrat Alisher Navoi, and was inspired by Hazrat Alisher Navoi, as is the case with many creators of our classical literature. The ghazas presented here were written under the inspiration of Navoi's work, and talk about Sufism and its archons.</em>

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