Formal-Stylistic Features of Aman Mukhtar’s Dilogy “Navai and the

Artist Abulkhair”

Islamjan Yakubov

1,*

and Go‘zal Ataboyeva

2,†

Alisher Navo’i Tashkent State University of Uzbek Language and Literature, Tashkent, Uzbekistan

Tashkent State Pedagogical University named after Nizami, Tashkent, Uzbekistan

Keywords: Dialogue, Aesthetic Ideal, Form, Style, Individuality, Hero, Contrast, Dramatic Epoch, Portrait,

Anthropocentric Paradigm, Baroque, Classicism, Rococo, Cubism, Avant-Garde Style, Synthesis.

Abstract: This paper analyses the internal development of the literary work of the distinguished artist of Uzbekistan,

laureate of the State Prize, and renowned poet and writer Aman Mukhtar through the example of the dialogue

"Navoi and the Artist Abulkhayr." The author's novels reveal his personality and way of thinking. The close

connection of their way of thinking with the national context and literary traditions leads to an increased

emphasis on symbolic, metaphorical images, pictures, signs, and adventures in his works. The writer moves

freely between prose and poetry, intertwining the two in his poetic expression. Sometimes consciously,

sometimes unconsciously, he engages in a dialogue with the works of Lutfi, Navoi, Mashrab, Byron, Mirza

Ghalib, Nadira, Fitrat, and other poets. Therefore, the artistic text shows aspects related to the phenomenon

of reminiscence. Aman Mukhtar can craft an interesting plot based on an artistic examination of personal

experiences and symbols, resembling the poetic lines of his predecessors. Such a creative approach is novel

for modern Uzbek prose. Taking into account the aforementioned factors, the article compares the features

related to the poetics and expression style of O. Mukhtar's novels. The diversity of the genre and the originality

of the creative concept are analyzed. The writer's perspectives on socio-cultural life, the adeptness in applying

the principles of realism, romanticism, existentialism, surrealism, and stream of consciousness, as well as the

ability to incorporate the aesthetic ideal and creative concept into the process of artistic creation, were studied.

1 INTRODUCTION

Aman Mukhtar's novel dialogue "Navoi and artist

Abulkhayr" comprises two novels dedicated to the

life and work of our great ancestor Alisher Navoi,

namely "Ishq ahli" written during 1998-2000 and

"Buyuk farrosh" written between 2001-2004. (Amon

Mukhtar, 7: 224) Through artistic language, O.

Mukhtar endeavored to bring to life the portrait of

Alisher Navoi as depicted by the artist Abulhair, the

protagonist of the novel. The author sought to

poetically convey the image of a remarkable man—a

mystical scholar, a wise poet, and a statesman—

portrayed alongside his elegant emotions and moods,

set against the backdrop of historical events, in

accordance with his spiritual and intellectual

grandeur. As a result, the novel skillfully employs

many positive principles of portrait art, allowing the

depiction of human individuality in a captivating

Corresponding author

manner. This is not coincidental; rather, it is a

manifestation of the internal development of Aman

Mukhtar's work, which draws attention due to its

alignment with the characteristic style of most of his

novels.

Indeed, his literary works are renowned for their

originality of content, form, and expressive style.

They expand the expressive possibilities of the genre

by incorporating mythological and religious thinking,

as well as the principles of realism, romanticism,

existentialism, surrealism, and stream of

consciousness. These elements are employed to

achieve the realization of the aesthetic ideal and

creative vision in his artistic exploration of social and

cultural life and the human condition. The writer

skillfully crafts surreal characters, occasionally

presenting absurd situations, emotions, and symbols,

which reflect the truths uncovered through the

Yakubov, I. and Ataboyeva, G.

Formal-Stylistic Features of Aman Mukhtar’s Dilogy “Navai and the Artist Abulkhair”.

DOI: 10.5220/0012491100003792

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st Pamir Transboundary Conference for Sustainable Societies (PAMIR 2023), pages 491-495

ISBN: 978-989-758-687-3

491

writer's artistic thinking—his worldview and manner

of expression.

2 MAIN PART

The portrait is a genre of fine art. When discussing its

nature, types, genre history, and renowned portrait

painters, it is essential to recognize that the portrait is

primarily based on the anthropocentric principle. The

anthropocentric paradigm refers to a set of

phenomena and scientific ideas focused on the human

factor as the subject of study. In this perspective,

language and other objects are analyzed in relation to

humans. According to a humanist worldview,

understanding the world requires active creativity,

and the portrayal of its essence demands a deep

exploration of its human aspect, life goals,

aspirations, and the pursuit of human improvement

and perfection.

In the present era, virtually every scientific field relies

on the anthropocentric principle. For instance, in

philology—the study of words and their contexts—

artistic texts are examined in conjunction with their

creators and consumers. This approach forms strong

connections with related disciplines. The world that

surrounds us exists in multiple situations, and artists

and writers perceive and emotionally experience

them in their unique way. They imbue their

imaginings with meanings and feelings that they

convey to the audience or reader. When the

symphony of existence in motion is transferred to

canvas or language through the creative person's

feelings and imagination, their inner potential, or

identity, is undoubtedly expressed. The viewer and

reader, who engage with portraits and artistic texts,

enter into a dialogue with the author's mind,

emotions, and spiritual world. A portrait artist aims to

capture the essence of the individual, brilliantly

showcasing their specific spirit and character. In

everyday conversations, we often mention that a

portrait resembles its subject, as classical art

traditionally strived for accuracy in portraying the

model (living person). Our perceptions are influenced

by this tradition. However, modern art, particularly

avant-garde styles, seeks to go beyond mere physical

resemblance and instead delves into the depths of the

human heart.

The term "portrait" (from French - "portraire") means

a person, and the modern term "painting" (from Latin

- "persona") is related in meaning to it. Although the

term "portrait" was initially used by historian Andre

Feliben in the 17th century to describe a specific

individual, it later evolved into a separate genre

applicable to any pictorial representation during the

European Renaissance.

Portraits vary in nature and serve various purposes:

ceremonial depictions for coronations,

enthronements, or to adorn the gates of grand palaces;

portrayals of individuals in military parades on

horseback; and representations of lyrical moods and

heartfelt situations. Ceremonial portraits often

employ darker colors. Family galleries may feature an

intermediate view, presenting individuals in a half-

front view. Some portraits depict individuals in full

view, while others focus on the waist, chest, or

shoulders, leading to a preference for round images in

miniature portraits. Overall, there are around ten

internal varieties of portrait genres based on how

individuals are depicted:

a) In special attire (hunting, masquerade, theater, etc.)

or as historical figures.

b) Portrayals within historical, mythological, or

allegorical contexts.

c) Retrospective portraits, which are created based on

the likeness of a deceased person or their character

and psychological descriptions during life. (These are

also sometimes referred to as historical portraits).

g) Portraits depicting individuals or whole families

donating in front of the doors of an altar, with faces

of multiple people from the group portrayed.

d) Paired (complementary) portraits of spouses.

e) Portraits showing individual members or the entire

family gallery individually.

or) Portraits placing individuals against a natural

backdrop.

j) Generalized collective images (typical

representations of soldiers, merchants, peasants).

z) Self-portraits, where the artist depicts themselves,

which can sometimes contain allegorical content.

(Yakubov I.A. 2020.- Yakubov I. 2012).

In portrait art, various avant-garde styles, such as

baroque, classicism, rococo, cubism, and modernism,

can be employed depending on the artist's worldview,

creative intent, and aesthetic ideal. Throughout the

history of this genre, different periods and

movements like Antiquity, Renaissance, the era of

absolutism, Baroque, Rococo, Romanticism,

Realism, Impressionism, and Surrealism have

emerged, each with its distinct characteristics and

creative approaches. The world-renowned artists who

have excelled in the art of portraiture include

Leonardo da Vinci, Raphael Santi, Titian,

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Rembrandt, Peter Paul Rubens, Diego Velazquez,

Karl Brullov, Ilya Repin, Valentin Serov, and Vincent

van Gogh. Not to mention the specialists in

portraiture such as Jan Van Eyck, Jan Vermeer, Jean-

Marc Nattier, Louis Tocque, Thomas Gainsborough,

Dmitry Levitsky, Orest Kiprensky, Vladimir

Borovikovsky, Vasily Tropinin, as well as portrait

painters from English, Russian, Spanish, Dutch, and

other nations who have gained worldwide fame. In

this article, various methods like sociological,

biographical, analytical, comparative-typological,

hermeneutic, and complex analysis were employed

for its implementation.

3 RESULTS AND DISCUSSION

Amon Mukhtar's novels emerged in the 90s of the

20th century in response to spiritual and aesthetic

needs. These novels exhibit a blend of reality and

fantasy, blurring the lines between the real and the

dream-like. Within the hero's mind, a unique artistic

model of life is fashioned, forming a strange world

that intertwines reality and fantasy. These distinct

qualities arise from the fact that poetic expression is

rooted in the wonders of the human psyche.

The writer's novels shed light on his personality and

thought process. The use of symbolic, metaphorical

images, and cultural elements tied to the national

background add depth to the adventures depicted.

Amon Mukhtar seamlessly transitions between prose

and poetry during his poetic expression, at times

intentionally and sometimes involuntarily engaging

in a dialogue with the works of renowned poets like

Lutfi, Navoi, Mashrab, Bayron, Mirza Ghalib,

Nadira, and Fitrat. Amon Mukhtar's ability to create

captivating plots based on personal experiences and

reflections, akin to the poetic lines of his

predecessors, brings a fresh and innovative touch to

modern Uzbek prose.

The writer draws inspiration from national folklore,

religious narratives, and non-realistic methods

commonly found in Eastern classical literature. These

serve as a foundation for his creative mastery of

modern literature's descriptive methods and his

unique way of connecting with people and the world.

Consequently, his heroes often turn to Islamic faith in

times of crisis, offering the readers spiritual

satisfaction as they find truth and inner peace,

embarking on a path of enlightenment. O. Mukhtar

presents reality as a national-aesthetic phenomenon,

incorporating a mysterious-magical musical rhythm

and elements of historical documentation, folk oral

creativity, narratives, and fairy tale plots that enrich

the texture of his novels. All these characteristics

highlight the need for a creative approach when

reading these works, encouraging readers to engage

their minds actively.

Alisher Navoi, a genius personality, has been a

significant theme in both oral and written literature.

The artistic interpretation of such a historical figure

remains a subject of debate within literary studies.

The novel-dialogue written by Amon Mukhtar

dedicated to Navoi's character has sparked different

opinions among scholars. Some, like Academician M.

Koshjanov and Prof. Z. Pardaeva, perceive it as a

portrayal of Navoi's psychology and creative essence.

On the other hand, some, including S. Sodikov and

Sh. Doniyorova, acknowledge certain achievements

of the novel-dialogue but overlook its deeper

exploration of Navoi's creativity, associativity, and

compositional structure. They tend to approach the

work based on preconceived notions, not fully

recognizing its dynamic nature and its capacity to

synthesize other art forms as a mature genre.

Form and content are two interdependent categories

that express a particular attitude towards the

characteristics of the world and its manifestations.

The relationship between them becomes evident

when content actively seeks to adapt to a specific

form. This activity emerges when new content

necessitates a suitable form, resulting in a harmonious

unity of form and content in a literary work.

Style, as an essential category of poetics, is manifest

in the formal construction of a work of art. It is closely

related to the writer's personality and is evident in

various aspects of the artistic work, from the structure

of the artistic text to the creation of an artistic reality.

The style dictates how the elements of form come

together to form a coherent whole according to

certain laws. Thus, the style determines the essence

and function of each element in the composition.

Only when the creator fully masters the specific topic

he has engaged with, his thoughts, ideas, feelings, and

experiences created in his imagination will be

naturally expressed in a coherent sequence. The

magnificence of style emerges through the writer's

wisdom, sincere emotions, delicate taste, meticulous

choice of phrases, and the pursuit of clear and vivid

imagery. The Eastern style is known for favoring the

use of vibrant colors in poetic expression while

exercising restraint in the portrayal of images, in

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accordance with the regional mood. Consequently,

any vagueness, inappropriate language, or inclination

towards obscene imagery is always condemned.

Every writer conveys their thoughts as they think.

Thus, they aim to convince readers of their cherished

ideas and feelings, firmly held in the depths of their

hearts and logical minds. Achieving this requires

more than just desire and enthusiasm; it involves

incorporating relevant facts into the fiction. In the

prose of Kamil Avaz and Isajon Sultan, for example,

one can observe instances where they attempt to

analyze and research artistic texts, taking on tasks

typically performed by literary scholars. Sometimes

such factology can be quite unique. However, in some

cases, the analysis and research may overshadow

other aspects, leading to an increase in the length of

the literary work and potentially boring the reader. It

may also result in coordination issues between

different styles and an unintentional intrusion into the

domain of literary studies.

A work of art gains vitality through the creator's

refined taste, philosophical depth, and emotional

brilliance. To achieve this, the artist needs an

unbiased and honest attitude towards reality and the

ability to express themselves sincerely through

language. As Georges Louis Leclerc de Buffon stated,

"A style is a man himself: style cannot be denied,

stolen, or corrupted." A high, noble, and majestic

style will be admired across generations, as it

embodies enduring truths. A beautiful style derives its

beauty from the infinite truth it contains. All the

spiritual beauty inherent in it, along with the

connections that form it, are beneficial to the human

mind. The richness of truths within the subject itself

makes the style a priceless treasure. The style of an

author's work reflects their personality: sentence

structure, narration, use of artistic details, and all

aspects of plot construction affirm the manifestation

of the creator's character. It is believed that the

greatest commonality between fiction, history, and

philosophy lies in the subject of great things: Man and

Nature. Philosophy reveals the essence of the subject,

history records the facts, while fiction poetically

elevates sublime emotions, infusing them with color,

motion, and significance. Of these disciplines, fiction

has the unique capacity to uplift readers to higher

values beyond their daily lives. To achieve this, the

creator must direct all their talent and poetic skills

towards glorifying human dignity through the fate of

literary heroes.

In the realm of literary studies, style is not only

understood as an individual creator's manner but also

as closely linked to the literary process,

encompassing individual styles, the styles of literary

periods, and the classification of styles within literary

movements.

Today, the construction of the plot is not bound by

strict rules; the dynamics of depicted events and the

artist's interpretation are considered paramount.

External factors, such as the chronological order of

the narrative and the progression of events in space,

and the gradual introduction of characters, do not

necessarily require a coherent logical argument. The

increased attention to the inner world of a person and

their thoughts takes precedence. The focus lies in the

dialectics of the soul, with traditional life events

organized in a causal sequence making way for events

brought to life in the author's memories. In essence,

epic events become enriched by internal emotional

processes.

In "Ruins on the Hill," O. Mukhtar restores the image

of historical figures such as Lutfi, Mashrab, Bayron,

Mirzo Ghalib; while in "Women's Country and

Kingdom," Amir Timur, Babur, and Akbar come to

life. Characters like Nadira Begim in "Aflotun"

embody the longing for virtuous people, strong

genealogical ties with ancestors, dreams, and

sufferings known as "Turkestan's sadness," signifying

a desire to be worthy successors. The prose writer,

whose veins flow with the blood of their ancestors,

seeks solace for the pain of the times, and as Fitrat

puts it, "goes forward from the soil of their ancestors,"

drawing inspiration from their courage and

confidence.

4 CONCLUSION

Therefore, O. Mukhtar's mindset, creative concept,

and formal and stylistic research are intricately

linked, following a coherent internal logic. Adopting

this style of work is a well-established path for a

writer. It is crucial to observe his approach to

perceiving reality, the artistic expression methods he

employs, his unique standpoint, and his writing style

in determining his overall methodological direction.

Only then can the recurring themes and ever-evolving

elements become more apparent from one work to

another.

Creating a magnificent portrayal of Alisher Navoi

became O. Mukhtar's spiritual necessity. He

endeavored to transform the delicate, luminous

inspirations arising from the depths of his imagination

and perception into a genre-form image that aligns

with his character and creative direction. As Navoi's

personality deviates from official norms and does not

conform to conventional scholarly expectations, the

emotions in the heart of the prose writer differ from

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official attitudes as well. They are distinguished by

their unique expression, tone, emotions, and

vividness, along with the author-narrator's epic

narrative style and the brilliance of their character.

The writer delved into the genius and tragedy of a

person fated to accept God's will and endure the

judgment of destiny, patiently overcoming adversity

and forging ahead. They sought to paint the narrative

of a life spent "hard in loneliness" and portray the

mental scenes and emotional imagery. Shifting from

the realm of feelings to the realm of imagination, they

thought within the framework of Eastern life, culture,

and customs, finding profound meaning in simple

situations. Their aim was to express the spiritual

reality that has been dwelling in their thoughts, which

can be sensed, felt, and comprehended only through

consciousness. To achieve this, reliance on natural

instincts is essential.

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