ABOUT THE ART OF OTANIYAZ NIYAZI'S GAZELLES

Abstract

In this article, one of the leading representatives of Khorezm's literary environment, Otaniyaz Niyazi's gazelles and his poetic features are discussed. Issues of tradition and identity in his gazelles are explored. It is highlighted that the poet enjoyed the work of the representatives of Turkish poetry and continued their literary traditions. It is also mentioned that most of Niyazi's gazelles are artistically perfect in addition to their ideological content. It is shown on the basis of analysis of his gazelles that he widely used the lively language of the people, that he wrote very fluent, cheerful verses, and that he perfectly mastered the theory of poetry, in particular, the science of aruz and music. Also, Otaniyoz Niyazi's effective use of spiritual, verbal, and common arts, and the fact that he demonstrated his artistic skills through the use of these arts, are justified. It is proven that Otaniyaz Niyazi used verbal arts such as tamsil, husni talil, tajohuli orif, intoq, istiora, irony, irsoli masal, tazmin, problem, tajnis, iyhom, tazod, tardu aks, kitobat etc. In this article, it is also mentioned that the poet continued the tradition of payravnavis and tatabbunavis arts in poetry. The article relies on the opinions of the great art historian Atullah Husayni, A. Rustamov, Y. Ishakov, V. Rahmonov and A. Hojiahmedov in researching Niyazi's art. It is revealed that Otaniyaz Niyazi thoroughly studied the science of rhyme from the great poets, knew the secrets of poetry, used them wisely, masterfully used the arts related to rhyme such as zulqofiyatayn, zulqawofi, tarse, tajnisli qofiya, musajje, tajziya. In the poet's gazelles, the artist's approach to the use of rhymes and radifs is shown, and it is scientifically proven that the poet's skill is visible in each verse each distich.

Keywords: art, gazel, classical poetics, Uzbek classical literature, poetic art.