CC BY
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https://doi.org/10.29013/ESR-21-5.6-65-68
Usmonova Laylo Rakhmatullaevna, Assistant of the Department of Social and Humanitarian Sciences
Samarkand State Medical Institute, E-mail: [email protected]
THE MANIFESTATION OF THE EASTERN ROMANTIC SPIRIT IN MINIATURE ART
Abstract. This article describes the romantic features of miniature art, which is considered an aesthetic treasure of the peoples of the East and has great potential to give romance to literary images - on the example of a miniature work.
Keywords: miniature art, aesthetic perception, manuscripts, romantic spirit, "Layli and Mejnun".
The role of miniature art in the aesthetic perception, study and understanding of the world and being around us is great. Reflecting life in literary images, giving it an aesthetic value, is a powerful tool for seeing miniature beauty. He accurately expresses not only the truth of yesterday, but also the life of tomorrow. By revealing the world of beauty to people through its fairy-tale-fantastic, romantic and aesthetic features, it develops their aesthetic tastes, encourages them to acquire knowledge and reason, nurtures their desire to accept everything around them more beautifully.
It is known that Movarounnahr has long been a center for compiling and collecting books. Historical sources indicate that this country has a rich tradition of collecting books and preserving them skillfully. Until the 15th century, the collection of mostly scientific literature was a priority, but from the 15 th century onwards, the collection of manuscripts of poetic collections decorated with miniature paintings gradually began to dominate. The patronage of the Great Amir Temur and his successors played an important role in this. Many written sources testify to Temur's special love for books and their creators, and therefore brought to the capital Samarkand not only many rare manuscripts, but also masters of handicrafts, cal-ligraphers, artists, covers from the conquered lands. Unfortunately, these ornate manuscripts, created by
masters working in Temur's palace, have not reached us. In the Middle Ages, the fate of manuscripts and libraries was as threatening and often tragic as the fate of people. Apart from the testimonies written by medieval authors, there is not a single name left from Temur's famous library. One can only assume that the level of art of the manuscripts collected here is very high, because these are the best works selected from the libraries of the defeated rulers, as well as unique books prepared by the leading masters of their time from the conquered lands in Samarkand was Temur Palace [1; 10]. Based on these sources, we can say that the fine arts of Central Asia developed in two streams - monumental and miniature color painting. From the 16th century onwards, the only field of applied art was book miniatures. The reason for this was the great importance of fiction in the spiritual life of the peoples of the Middle East. From this period onwards, poetry, fiction, chronicles of historical events began to be expressed not in the form of a dry list of events, but in the colorful language of works of art.
In Islamic teaching, although the depiction of living images and beings is forbidden (this is not explicitly stated in the Qur'an), such a prohibition was applied in accordance with manuscripts with a religious meaning. Literary works, on the other hand, are decorated with various paintings, in spite of such restrictions.
Accordingly, in revealing the romantic world of Oriental literature (especially in poetry), the mood of the miniature painting, within the whole process of decorating manuscripts, could be answered [2; 4].
In fact, romanticism is one of the most important aspects of Central Asian poetry, music, dance, and painting. In the poem, "The peculiarity of the poetic thinking, which is characteristic ofthe romantic style, is that the poet seeks to integrate the phenomena of nature and the universe into the realm of his world to the extent that the imagination can cover the imagination as well as his closest confidant and companion. There is also a degree of abstraction and generalization, but this commonality manifests itself in the form of an expression of some profound philosophical thought, view, or experience. Depending on the poet's abilities, personal and individual image possibilities, the concepts of nature, life, man, people, history and legends will be different and radiant" [3; 2].
"As with any artistic method, romanticism has mysterious wonders that will fascinate future generations. In an era when Romanticism reigned as a creative method and direction, poetry received extraordinary attention, and even in prose and drama, lyricism grew exponentially and became one of the only means of perception. In the same way the worship of the poet's personality and of poetry, of poetic creation, began. This has led to an increase in the role of poetry. As a result, the main direction, such as the reflection and affirmation of the poetic basis of life, the extraordinary romantic uplift at a higher point, has intensified" [4; 4]. In the fine arts, as in literature and music, the symbols of a particular period are manifested, which are common to all branches of creation and art. Romanticism, as a source of vitality and beauty, also gifted a lot to miniature art. Among the artistic styles used in Oriental miniatures, special attention is paid to romanticism. The themes of Love and Beauty as a branch of Sufi aesthetics served not only the development of poetry but also of the fine arts.
The manuscripts "provide miniature art with many themes and plots, and are decorated by rep-
resentatives and artists from Tabriz and Shirvan to Herat and Bukhara schools." Nizami's "Khamsa" and Firdavsi's "Shohnoma" were the most decorated literary works with miniatures [5; 19].
In addition, we have received invaluable miniature works by Amir Khusrav Dehlavi, Abdurahmon Jami, Alisher Navoi and Saadi, which are among the treasures of world masterpieces. This, in turn, testifies to the fact that literature had a great influence on the formation of miniature art and laid the foundation for its development.
The theme of love in art has also played an important role in Oriental painting (miniatures depicting Farhod and Shirin, Layli and Mejnun, Yusuf and Zu-leyha, etc.). In the Eastern miniature, which depicts Sufi poetry through images, the romantic feelings of the heroes, their Sufi interpretation are depicted using figurative means, colors, lines, metaphors, symbols and symbols, so that only those who are aware of the outward and inward teachings of Sufis can understand [6; 5].
Kamoliddin Behzod, the incomparable artist who brought the Herat miniature school to its peak, as a painter, deeply understood the beauty of the world. He was able to see the uniqueness and beauty around him because of the tenderness of his heart. Behzod worked on thousands of miniature images during his lifetime. He created an art school in the fine arts with his own style and style. Well-known orientalist A. Yakubovsky expressed the following opinions about Behzod: "The value of Behzod's work is determined by the brightness of the colors in his works and the proportionate elegance. The value of an artist's work is determined, first of all, by his serious approach to the subject. He not only created wonderful portraits (photo by Hussein Boykaro), beautifully depicted the ceremonies in the palace ("Reception in the Garden of Timur", "Zafarnoma"), depicting the battles, but also accurately reflected the life of ordinary people" [7; 29-30]. The delicate lyricism and romantic spirit inherent in the artist's work are especially evident in Nizami's Hamsa (late 15th century;
British Museum) and Amir Khusrav Dehlavi's Layli and Mejnun (Saltikov-Shchedrin Library) [8; 12].
In the XV-XVI and later centuries, Kamoliddin Behzod's students could be found in Herat, Tabriz, Bukhara, Samarkand, Sheroz, Isfahan, Istanbul, India, as well as in many other cities of the great East. More than a dozen famous artists, such as Sultan Muhammad, Qasim Ali Chehrakushoy, Darvish Muhammad, Ustad Muhammadi, Muzaffar Ali, Yu-suf Mullo, Rustam Ali, Shaykhzoda Khurasani, Shah Muzaffar, Mir Said Ali, Mahmud Muzahhib, Abdullo, who continued with great success [9; 232].
Continuing the creative traditions of Kamoliddin Behzod, some of the artists in their miniatures addressed the themes of folk life, fairy tales and instructive plots, while others, in a slightly modified form, continued his romantic style and followed exactly the classical creative norms of Behzod. But for all it was customary to adhere to the perfection of line and color, and to use vibrant colors in their miniatures like Behzod.
When we compare the miniatures created by the artists with the poetic lines of the literary works, we see that they not only revealed the content of the work, but also showed great artistic fantasy and creativity. In doing so, they "added an abundance oflive observations in addition to the real reliability side of the painting style" [10; 181]. Miniature artists not only narrated the details of the text, but also tried to make it a complete story, continuing it logically, creatively processing the situations depicted. As an example here is a miniature of Mir Said Ali, a student of the genius of the Herat miniature school Kamoliddin Behzod, "In front of the tent of Mejnun Layli." In his work, Nizami skillfully conveys the madness of Madonna and the feelings that surround her to Layla, while the artist describes in detail the life and lifestyle of the nomads, as well as the image of a shepherd playing a flute, giving the story a romantic meaning. filled in the way. It should be noted that researchers, in particular, K. Kerimov, described this feature of miniatures as "animation of miniatures
with additional characters that are not provided in the literary plot" [11; 17].
Much of the spacious space in the miniature is filled with white tents adorned with luxurious curtains and ornaments. At the top of the miniature, on a distant hill, is an old man leaning on his cane and a shepherd playing a flute. This view, combined with the image of a flourishing landscape and white clouds in the blue sky, creates a wonderfully colorful landscape. The fact that the image in the miniature is not directly related to the literary plot, but at the same time vivid and detailed, further enriches the main content and romantic spirit of the work.
It is known that some musical instruments have a special place in the lives of members of the Sufi order. In particular, the flute was considered to be a symbol of purity, justice, righteousness, and at the same time the anguish of the soul that was suffering the loss. For example, the image of a shepherd playing the flute, depicted at the top of Mir Said Ali's miniature "In front of the tent of Mejnun Layli", has a special aesthetic meaning. "In this composition, a madman with a heart full of love and a shepherd playing the flute are depicted in the same sky, in the same place. The flute, a symbol of the soul suffering from separation, tells the story of a mad lover in love" [12; 12]. The environment depicted in this miniature, the "flute" instrument, which has a certain symbolic meaning, is important not only for gaining knowledge about the musical world of a certain period, but also for understanding the romantic spirit of the work.
In short, Eastern Romanticism is known to the whole world, to the whole world of scientific thought, to the world of art for its miraculous, powerful poetics and mysteries rich in hidden depths, and has amazed with its rich experience for centuries. This great miracle, which fascinates the whole world of humanity with its magical world, is the great contribution of the peoples of Central Asia, artists, poets and writers, and, of course, artists, to such a powerful and artistic and aesthetic power.
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