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187ASQAD MUXTORNING "CHINOR" ROMANIDA AYOL PORTRETINING
BADIIY-PSIXOLOGIK ASOSLARI
ORIPOVA Gulnoza,
filologiya fanlari bo 'yicha falsafa doktori (PhD) Farg'ona davlat universiteti katta o'qituvchisi ALIJANOVA Maftuna Azimjon qizi
Farg 'ona davlat universiteti 2-kurs magistranti
d https://doi.org/10.24412/2181-2993-2022-2-221-226
f
\ I -.1 II /
Maqolada Asqad Muxtorning "Chinor" romanida ayol portretining ANNOTATSIYA badiiy-psixologik asoslari o 'rganilgan. Adabiyotshunos olimlarning
portretga oid qarashlari keltirilgan. Ayol portreti orqali asardagi ayol qahramonlar ruhiy pisihologiyasi, xarakteri, milliyligi va boshqalar tahlilga olingan. Muallif niyati qahramon portretida qanchalik ochib berilgani o 'rganilgan.
Kalit so'zlar: Portret, qahramon, roman, xarakter, tasvir, ma'naviy olam, psixologiya, ayol ortreti,
The article examines the artistic and psychological basis of the ABSTRACT portrait of a woman in Asqad Mukhtar's novel "Chinor". The views of literary scholars on the portrait are presented. The psychological psychology, character, nationality, etc. of the female characters in the work "Portrait of a Woman" are analyzed. The extent to which the author's intention is revealed in the hero's portrait is studied.
Key words: Portrait, hero, novel, character, image, spiritual world, psychology, female portrait
KIRISH (Introduction)
"Badiiy portret - adabiy asarda personajlar qiyofasining tasviri va tavsifi". [1;50] Portret adabiy qahramonning tashqi qiyofasi, ko'rinishi, kiyim-kechagi, xatti-harakati, o'zini tutishi va hakozolarning badiiy asardagi tasviri bo'lib, "ijodkor portret yaratishda yuz, ko'z, qosh, lab, burun kabi a'zolarni tasvirlash bilan chekanmay, gavda, qo'l, bosh harakatlari, gapirish ohangi va surati, kulishi, yig'lashi kabi inson ruhiyati bilan bog'liq faoliyatlarga ham katta e'tibor qaratadi" [2;180]
ADABIYOTLAR TAHLILI VA METODLAR
Badiiy portret Asqad Muxtorning yirik asarlaridan biri "Chinor" romanida ham chiroyli chizgilar orqali ifoda etilgan. Ijodkor ayollar obrazini yaratishda uning ichki
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olami, xarakteriga mos bolgan tashqi ko'rinishda tasvirlaydi. Asar davomida qahramonlar portretlarini ba'zan muallif tilidan, ba'zan esa qahramonlar tilidan chizilganini ko'ramiz. "Bozorqul eshikka kelib tashqariga quloq soldi, Onabibini ko'z oldiga keltirdi: u anordek tiqmachoq, durkungina, otash..."[3;13] Yuqoridagi Bozorqulning ayoli Onabibi portretini chizishda ijodkor o'xshatish tasvir vositalaridan foydalangan. U to'ladan kelgan bo'lsada, chiroyli his- tuyg'uga limmo-lim ayol sifatida tasvirlaydi. Portret adabiy qahramonning tashqi ko'rinishini tasvirlash asosida uning xarakter qirralarini ochishga xizmat qiladi. Mahorat bilan chizilgan portretlar esa inson obrazini yorqinlashtirish, ruhiy tadqiq etish vositasiga aylangan.
Badiiy obraz portretining ikki qirrasi mavjud: obrazning tashqi qiyofasi va uning individual-psixologik qiyofasi. Bu xil tasnif, albatta, shartli bo'lib, har ikki holatda yozuvchi qahramonning ruhiyati, xarakteriga kirib borishga harakat qiladi. Portret ijodkorning inson dunyosini qanchalik chuqur bilishini namoyon etish bilan birga o'quvchining ham inson tabiati to'g'risidagi fikrlarini kengaytiradi, qahramonlarning dardini tushunishi va his qilishiga yordam beradi. Bundan ko'rinib turibdiki, ijodkorning badiiy mahoratini uning adabiy qahramon portretini tasvirlashiga qarab ham belgilasa bo'ladi. Portret - bu xarakterning tashqi ko'rinishini tasvirlash, uning xarakteristikasida katta rol o'ynaydi, shuningdek, obraz yaratish vositalaridan biri. Qahramon tabiatining muallif uchun ayniqsa muhim bo'lib ko'ringan tomonlari portretda o'z aksini topgan. Portretning psixologik ma'nosi adabiyotning rivojlanishi bilan ortib boradi.
NATIJALAR
Rus adabiyotshunos olimi V.E Xalizov ayollar portretiga alohida to'xtalib o'tadi: "Ayollarning portretlarini chizish, rus yozuvchilari yuz va shakl shakllarining go'zalligidan ko'ra bir necha bor nafislikni afzal ko'rishgan. "Yevgeniy Onegin" ning sakkizinchi bobini eslaylik, u erda Tatyana o'zining tashqi ko'rinishining bejirimligi va nafisligi bilan erkaklar ko'zi o'ngida latofatli ayol gavdalanadi" [4;56]
Adabiyotshunoslik lug'atida "Portret-( fr. portrait- tasvir so'zidan ) . Adabiy asarda kishining tashqi qiyofasi, siymosi, kiyim-kechagi.o'zini tutishi va boshqalar tasviri. Badiiy asardagi portretning xarakteri rang-barang bo'ladi. Biroq portretning eng muhim xarakteri uning ko'proq psixologik portret bo'lishidadir. Psixologik portret yozuvchi personajning tashqi qiyofasi orqali uning ruhiy dunyosini ochishga yordam beradi. Shuning uchun aytish mumkinki, portret yozuvchining shaxsiy uslubi, mahorati va maqsadiga bog'liq holda turlicha darajada berilishi mumkin. Masalan, ba'zan shaxsning tashqi qiyofasi va xatti-harakati juda batafsil tasvirlansa, ba'zan obrazning yo tashqi qiyofasiga yoki uning xatt-harakatiga oid muhim bir
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detalni tasvirlash orqali ham berilishi mumkin. Portret obraz yaratishning muhim shartlaridan biridir.".[5; 238] Lug'atda portretga berilgan tarifdan ko'rinadiki, portretning asardagi asosiy xarakteri bu obrazning psixologik ruhiyatini ochib berishdir. Bunda ijodkorlar har xil yo'nalishdan foydalanishadi. Masalan, obrazlar xarakterini ochishda uni tashqi ko'rinishi, kiyim kechaklari, yuz-qiyofasini bir nuqtada mufassal yoritadi. Yana bir yo'nalishlardan biri bu qahramonni boshqa bir qahramon tilidan ifodalaydi. Qahramonga xos kichik detalni berish bilan birga uning tashqi ko'rinishi haqidagi tasavvur o'quvchi ko'z o'ngida namoyon bo'ladi. Misol qilib olganda, " Onabibi podachining halim go'jasidan semirib, ikki yuzi lo'ppi, las kamzul ustidan zebigardon, qo'ltiq tumor taqib yurardi, bekorchilikda o'sma tortib, xol qo'ndirardi" [3;14] Ijodkor bu tasvir bilan o'zbek ayolining milliy qiyofasini o'zbegona zebigardon, qo'ltiq tumor, o'sma kabi buyumlar orqali o'quvchi tassavurida gavdalantiradi.
Adabiyotshunos olim To'xta Boboyev "Adabiyotshunoslikka kirish" asarida badiiy portretga quyidagicha ta'rif beradi: " Portret -fr tasvir- badiiy asarda kishining tashqi qiyofasi siymosi, kiyim- kechagi, va hokozolar tasviri. Portret odatda ikki ma'noda, ya'ni qahramonning tashqi ko'rinishi (tor ma'noda) va qahramonning individual-psixologik qiyofasi (keng ma'noda) qo'llaniladi. San'atkor yozuvchi qahramonning tashqi qiyofasini chizish orqali uning ruhiyatiga kirishga intilgan. Xususan portret unsurlaridan ko'z, yuz, ko'z yoshi va boshqalar. Portret san'atkor uchun qahramon ruhiy dunyosini ochuvchi kalit bo'lib xizmat qiladi." [6;173]
MUHOKAMA
Adabiyotshunos portretni keng va tor ma'noda qo'llash mumkinligi, tor ma'noda faqatgina qahramon tashqi ko'rinishi tasvirlansa, keng ma'noda esa individual-psixologik ya'ni ichki ruhiyatini aks etishini ta'kidlaydi. O'z navbatida portret unsurlarini yuz, ko'z, ko'z yoshi va boshqa unsurlarni sanab o'tadi. Bu bilan olimning fikrlaridan poretret asar uchun kerak bo'lgan qimmatli unsur ekanini anglab olishimiz qiyin emas. "Mariya Vasilyevna birdan qah-qah otib kulib yubordi. U chiroyli emas, yuzi hatto shiddatliroq, lekin kulsa ko'rkam bo'lib ketar edi, Orif aka hali kulgining sababini tushunib yetmasa ham, qo'shilishib kuldi." [3;62]. Asardagi Mariya Vasilyevna Obkom sekratari, diplomat ayol, ishbilarmon, o'ziga bo'lgan ishonchi baland ayol, bu hatto uning tashqi ko'rinishida ham aks etadi. U uncha chiroylik emas lekin kulsa ayollik latofati namoyon bo'ladi. Uning xarakteri, psixologik- tempramenti shiddatli, ishiga talabchan, qahri qattiq. Ushbu portret orqali ijodkor yana bir ayolning ichki olamini ochadi.
Adabiyotshunos olim T.Qurbonovning ta'biri bilan aytganda: "portret asar qahramonining faqatgina tashqi ko'rinishi, qiyofasini tasvirlash uchungina emas,
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qahramonning ma'naviy olamini ochib berishga, o'ziga xos belgilarini ko'rsatishga ham xizmat qiladi".[7;17] "Isroilovning orqasida og'zi katta, qulog'ida og'ir oltin isirg'a silkinib turgan novcha xotini kulishini ham bilmay, kulmasligini ham bilmay, yuzida ko'proq yig'iga o'xshagan sun'iy bir ifoda bilan, bo'lg'usi o'gay qiziga erining yelkasi orqali qarab turardi". [3;122] Ismoilovning xotinini yozuvchi o'ziga ishongan, ma'naviy saviyasi past, qulog'idagi og'ir oltin isirg'a esa, boylikka o'ch ayol ekanini ifodalaydi. Uning qalbidagi niyati, yuzidagi sun'iy ifodaga ko'chadi.
XULOSA (Conclusion)
Xulosa qilib aytganda, mahorat bilan yaratilgan badiiy portret tasvirida qahramonning yoshi, qaysi ijtimoiy tabaqaga xos ekanligi, kasbi, ma'naviy darajasi, xarakteri, odobi, pisixologiyasi, ruhiy holatlari, hattoki, qaysi millat vakili ekani va qaysi davrga mansub ekanligi ham o'z ifodasini topadi. Asqad Muxtorning "Chinor" romanida yuqorida sanab o'tgan xususiyatlar mujassamlashgan. Asarda nafaqat ayol portreti, balki erkaklar tasviri ham mohirona chizilgan. Qahramonlarning badiiy-psixologik holatlari badiiy portretlarida aks etgan.
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