Navoiy Xirotda qoldi va o’qishni davom ettirdi. U adabiy asarlarni qunt bilan o’qiy boshladi

Alisher  Navoiy   1441-yil  9- fevralda  Xirot  shaxrida  tug’ildi.Uning  otasi  G’iyosiddin   kichkina  bir  necha  qarindoshlari  temuriylar  saroyiga  yaqin  turgan  amaldor  aristokrat, buvilari  esa  temuriy  shag’zodalarning  enagalari  bo’lgan.Alisher  go’dakligida  temuriy  shag’zodalar  bilan  birga   tarbiyalandi.To’rt  yoshida  o’qishga  berdilar.Ziyrak  va  qobilyatli  Alisher  maktabdagi  boshqa  bolalardan  ajralib  turar  va  kattalarning  diqqatini  o’ziga  jalb  qilar  edi.

   Navoiy  Xirotda  qoldi  va  o’qishni  davom ettirdi.U  adabiy  asarlarni  qunt  bilan  o’qiy  boshladi.

Ota  va  ona  Alisherning  xar  tomonlama  bilim  olish  uchun  barcha   shart-sharoitlarni  yaratib  berdilar.Alisher  zamonasining  mashxur  muzikashunosi  Xo’ja  Yusuf  Burxondan  muzika  o’rgana  boshladi.xamda  tarix, adabiyot,xusnixat  va  boshqalar  bilan  jiddiy  shug’illana  boshladi.Alisher  ayniqsa  adabiyotni  sevdi.Oila  muxiti  bolaligidayoq  unda  adabiyotga  zo’r  xavas  tug’dirgan  edi.Alisherning   otasi  marifatparvar  kishi  va  san’at  xamda  adabiyot  muxbirlaridan   edi.Alisher  badiiy  asarlarni  o’qish  va o’rganish  bilan kifoyalanib qolmadi.

Uning  o’zi  xam  sherlar  yoza  boshladi.Navoiyning  necha  yoshidan boshlaqb  she’r  yozganini  bilmaymiz.

Lekin shunisi  ma’lumki,u 10-12  yoshlaridayoq  badiiy  zavq  vadidi  xamda  ilk  she’rlari  bilan  tanilib,katta  san’atkorlar  va  olimlarning  diqqatini  o’ziga  jalb  qilgan  edi.Alisher  otadan  yosh  yetim  qoldi.U  marifatparvar  xukumdor  Abulqosim  Bobur  qaramog’ida  tarbiyalana  boshladi  va  15  yoshida  Culton   Xusayn  Bayqaro  bilan  birga  Abulqosim  Boburning  saroyida  xizmat   qila  boshladi.Abulqosim  Bobur  1456-yilda  mashxatga  jo’nadi.Navoiy  va  Xusayn  Bayqaro  xam  Abulqosim  Bobur  bilan  mashxatga  borib,o’sha  yerda  o’qishni  davom  ettirishadi.1457-yilda  Abulqosim  Bobur  vafot  etadi.Navoiy  mashxatda  qolib  o’qishni  davom  ettiradi.

Mansab va  davlat  orzusida  yurgan  Xusayn  mirzo  Marvga  borib,taxtni  egallash  uchun   kuch   to’play  boshlaydi.Navoiy  Mashxadda  Sayid  Xasan  Ardasher  va  Kamol  Turbatiy  kabi davirning  mashxur  shoirlari  bilan  tanishadi. Navoiy  taxminan  18-19 yoshlarida  Abduraxmon  Jomiy  bilan  tanishadi.Navoiyning  bilim  saviyasi  va  adabiy  qobilyatidan  mamnun  bo’lgan  Jomiy  uni  xam  shogird,xam  farzand  deb  biladi.Ko’p  o’tmasdan  shogird  va  uystozning  munosabaatlari  ikki  ulug’ shoir  va  mutaffakkirning do’stligi va xamkorligiga    aylandi.Navoiyning  otasidan  qolgan  mol-mulkni  musodara  qildirgan.Navoiy  qattiqmoddiy  qiyinchiliklarga  duch  kelgan. Navoiy  shu  axvolda  Samarqandga  keldi.Samarqandda  xam tastlabki payitlarda  moddiy  qiyinchilikda  yashadi,lekin  shunga  qaramay,Samarqand  madrasalariga  qatnadi,ilm-fan, san’at va  adabiyot  axli  bilan  yaqinlashdi,bilim  saviyasi  istedodi  va  qobilyati  bilan  tez  orada  obro’  va  etibor  qozondi.Navoiy  Samarqandda  Sakkokiy  va  boshqa  shoirlarning  badiiy  merosi  bilan  yaqindan  tanishdi.

Samarqanddagi  madaniy  yodigorliklar,ayniqsa  Ulug’bek

Observatoriyasi  va  Uluf’bek  madrasasi  unda  katta 

Tassurot  qoldirdi.

Navoiy  keyinchalik  bu  tassurotlarini  o’z  asarlarida, jumladan,  ,,Xamsa’’sida  ifodaladi.

Navoiy  Samarqandda  1469-yilga  qadar  turdi.Toju-taxt orzusida  yurgan  Xusayn  Bayqaroning  Xirot  taxtini  egallab  olishi  uchun  shu  vaqtlarda  qulay  bir  voqea  yuz  berdi.1468-yilningoxirlarida  Abusaid  G’arbiy  Eronni  egallash  uchun  jang  olib  boradi.Jangda  Abusaidning  qo’shini  yengilib,uning  o’zi  o’ldiriladi. Shu  vaqtda  Xirot  ostonalariga  yaqinlashib  qolgan  Xusayn  Bayqaro  fursatdan  foydalanib,1469-yil  Xirotga  kiradi  va  taxtni  egallaydi.Xuddi  o’sha  yilning  aprel  oyida  Navoiy  Xirotga  qaytib  keladi.Alisher  Navoiydek  obro’li  va  tadbirli  kishilarga  muxtoj  bo’lgan  Xusayn  Bayqaro  Navoiyning  Xirotga  qaytishidan  mamnun  bo’lib,uni  saroyga  chaqirdi  va  muxirdorlik  vazifasini  topshirdi.Bu  mansab  eng  katta  mansablardan  biri  bo’lib,davlatning  xar  qanday  xujjatini  muxirdor  orqali  rasmiylashtirilar,muxirdor  muxr  bosar  va  imzo  chekar  edi.Muxirdorlik  vazifasi  Navoiyning  ijodiy  ishlari  bilan  ko’proq  shug’illanishiga  imkon  bermas  edi.Shuning  uchun  u  bu  vazifadan  istefo  berdi.Lekin  Xusayn  Bayqaro  o’z  davlat  apparatida  Navoiydek  tadbirli  va  donishmand  kishining  bo’lishini  zarur  deb  xisoblab,oradan  ko’p vaqt  o’tar-o’tmas,Navoiyni  amirlik yani  vazirlik  vazifasiga  tayinladi.Xusayn Bayqaro  bilan  uning  o’g’illari  o’rtasidagi  nizo-adovatlarni  bartaraf  qilishga  xarakat  qilar edi.Ayniqsa u obodonchilik va  madaniy  xayot  soxasida  juda  katta  xizmatlar  qildi. Alisher  Navoiy  o’z  atrofiga  olimlar,yozuvchilar va  san’atning turli  soxalaridagi  kishilarni  jalb  etdi.

Mashxur  rassom  Bexzod,xattot Sulton Ali  kabi  kishilar  xam  bevosita  Navoiyning  xomiyligida  kamolga  yetgan

edilar.Navoiy  olim,san’atkor  va  yozuvchilardan  unumli  ishlashni,o’z  qobilyati va imkoniyatlaridan  to’g’ri  foydalanishni  talab  qilar  edi.U ijodiy  ishga  beparvolik  bilan  qarovchi,shoshma-shosharlik  bilan  yuzaki  ish  qiliuvchi  kishilarni  yoqtirmas,ularga  qattiq  tanbex  berar edi.U  xam  marxamatli,xam  talabchan  ustoz  edi.

Navoiy  vazirlik  vaqtidan  xam,undan  keyin  xam  obodonchilikka  katta  axamiyat  berdi.Podsholikning  dastlabki  yillarida  Xusayn  Bayqaro  Navoiyning  obodonchilik  soxasidagi  faoliyatini  qo’llab-quvvatladi,davlat  xazinasidan  mablag’ ajiratdi.Shu  bilan  birga,Navoiy  obodonchilik  ishlariga  o’z  mablag’ini  ayamay  sarf  etdi.Samarqandda  juda  muhtojlikda  yashagan  Navoiy  Xirotga  qaytganidan  keyin,otasidan  qolgan mol-mulkga  ega  bo’ldi,Xusayn  Bayqaro  unga  Xirot,Sabzavor  va  boshqa  joylardan  katta  mulk  ajiratib  berdi.Navoiy ko’pchilik  asarlarni  o’zbek  tilida  yozib,bu tilning  badiiy  durdonalar  yaratish  uchun  katta  imkoniyatlarga  ega  ekanini  ko’rsatib  berdi,o’zbek yozuvchilari  oldiga  o’z  ona  tilida ijod  etish  vazifasini  qo’ydi.ularga  bu  yo’lda  xar  jixattan  yordam berdi.Shu bilan  birga,u  fo’rs – tojik  tilini  xam  o’z  ona  tilidek  sevdi,bu  tilda  xam  ajoyib  asarlar  yaratdi  va  fors - tojik  shoirlariga  katta  ehtirom  bilan  yondashdi,ular  bilan  ijodiy  xamkorlik  qildi,arab  tili  va  uning  leksikasi bilan  shug’illandi.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                   

Navoiy  dastlab  lirk  sherlari  bilan  keng  shuhrat  qozona  boshladi.1465 – 66 yillardayoq  Navoiyning  kitobxonlari  uning she’rlarini to’plab,devon  tuzadilar.Navoiyning  o’zi  esa  1470-yilning  boshlarida  birinchi  devoni  ,,Badoyul  bidoya’’ni  tuzdi.Keyinroq,1476 – 1483 yillar  oraqsida, ikkinchi  devonni  ,,Navodirun-nixoya’’ni yarati.

Lirik turda katta tajriba orttirib,shuhrat qozongan  Navoiy,  endi  o’zbek  tilida  yirik  epik  asarlar  yaratish  vazifasini  o’z oldiga  qo’ydi.Vazirlik  mansabidan istefo  berganidan keyin  ,,Xamsa’’yozishga  tayyorlana  boshladi.U oz vaqt  davomida  ,,Xamsa’’uchun  kerakli  barcha materiallarni  to’pladi.Nizomiy,Xisrav Dexlaviy va boshqa  shoirlarning ,,Xamsa’’si  yoki  ,,Xamsa’’sikli bo’yicha yaratga aloxida  dostonlarini,xalq  og’zaki  ijodi  xamda  tarix  asarlarini mukammal  o’rganib  chiqdi  va ,,Xamsa’’ yozish  fikrini  Abduraxmon Jomiyga  aytdi.Jomiy  uning  maqsadi  va  rejalarini  maqulladi,maslaxatlar  berdi.Navoiy  148-yilda   ,,Xamsa’’ni  yozishga  kirishdi.U  ,,Xamsa’’ni  yozish  uchun  juda  qisqa  muddat – ikki  yildan sal ko’proq  vaqt  sarf  qildi.1483-yilda  ,,Xamsa’’ning  birinchi  dostoni  ,,Xayratul – abror’’,1484-yilda  ,,Farxod  va Shirin’’,  ,,Layli  va  Majnun’’,  ,,Sabai  sayyor’’,  1485-yilda  ,,Saddi  Iskandariy’’  dostonlarini  yozdi.Bu  dostonlarida  u  davirning  juda  muxim  praoblemalarini  qo’ydi,o’rta  asirning  ilg’or  mutaffakiri  sifatida  progressiv  fikr-qarashlarini  ilgari  surdi.

1501-yilning  3  yanvarida  Alisher  Navoiy  vafot etdi. Butun  Xirot  qattiq  motam  tutdi.Musubatli xabar  tezda  butun  Xursonga,Movvarunnaxirga  va boshqa  joylarga  borib  yetdi.

His real name is Nizomiddin Mir Alisher. He wrote his poems under the pen-names of Navoi (in his poems which were written in the old Uzbek language) and Foni (in his poems which were written in Persian language). Navoi is a great Uzbek poet, a representative of the Uzbek literature which is called Chigatoy leterature in the West. He was born in Herat and spent the main part of his life there. Navoi's family was close to Timurid's palace. According to the information of great historian Hondamir, an old poet Lutfi met with Alisher Navoi, when he was a child and Lutfi appreciated his talent.

During 1464-65 the fans of Navoi's creation collected all of his poems and copied them to make "devon". Since 1469 Navoi had lived far from Herat because of the inside fights which were going in Timurid's state. 

One of the Timurid's Husayn Boyqaro took the crown of Herat in 1469, and a new period began in Navoi's life. In 1469 he was given a title as a stamper and in 1472 as a minister of the state (vazir) by Husayn Boyqaro. He was famous as a poet and a statesman and owned a great wealth at that time. During 1480 he built a number of madrasahs, 40 robots (the place where Karavan could have a little rest), 17 mosques, 10 honaqohs, 9 bath-houses, 9 bridges, 20 pools in Herat and in other parts of the country for his own money (from his own account). Navoi was sent to Astrobod as a governor (head) in 1487. Husayn Boyqaro gave a title to Navoi as "Muqarribi hazrati sultoniy (the closest person to sultan)". One of the main features of that title was that who could do state work instead of Husayn Bayqaro. (See: Bartold V.V. Selections. Vol. II (2), Moscow, 1964).

According to the capacity of Alisher Navoi's work is more than 60000 verses. His "Hamsa" includes the following dostons (plays): "Hayratu-l-abror", "Farhod va Shirin", "Layli va Majnun", "Sab'ai sayyor", "Saddi Iskandariy". Navoi was the first poet who created completed "Hamsa" in turkiy language (the old Uzbek language) and proved that such great work could be written in turkiy. (See: Bertel's Y.E. Navoi i Djami, Moscow, 1965).

More than 120 dostons (plays) which called "Layli va Majnun" were written in Eastern literature. Navoi also wrote "Layli va Majnun" and he described this theme in quite another way (the professor of the faculty of Uzbek Philology, the Tashkent State University Saida Nazrullaeva (1917-1988) wrote about it in her following book: (Nazrullaeva S. Tema “Leyli i Medjnun” v literaturax narodov sovetskogo Vostoka (Theme "Leyli i Medjnun" in the literatures of the Eastern nation). Tashkent, 1983).

Navoi expressed his tasavvufiy thoughts also in "Farhod va Shirin", "Hayratu-l-abror". (see: Erkinov S. Navoi "Farhod va Shirin" and its comparative analysis. Tashkent, 1978). 

The problems which are connected with the leader were the main plan in "Sab'ai Sayyor" and "Saddi Iskandariy" which are the parts of "Hamsa". In the tradition of writing Hamsa Alisher Navoi's "Hamsa" is distinguished with its social-political character and being original (see: Aliev G.Y. Themes and subjects of Nizami in the literature of Eastern Nation. Moscow, 1985). Having read Navoi's "Hamsa" Abdurahmon Jomi, who was the teacher and adviser of Navoi, was impressed and appreciated his work. (see: Erkinov A. La quarelle sur l'ancien et le nouveau dans les formes litteraires traditionnelles. Remarques sur les positions de Yani et de Nava'i. In: Annali del' Istituto Universitario Orientale, vol. 59 (Napoli 1999), p. 18-37).

There are many manuscripts and printed copies of Navoi's "Hamsa" in Central Asia (the catalogue of Alisher Navoi's "Hamsa". Compiler K. Munirov, M. Hakimov. Tashkent, 1986) 166 manuscripts which were copied during XV-XX centuries, are kept in the fund of manuscripts of the Institute Oriental Languages in the Academy of Sciences of Uzbekistan. In 84 of them all dostons (plays) of pentas are given in it.

Spreading the manuscripts of Navoi's "Hamsa" till the XX th centuries and finding out the number of it showed the important part in the intellectual life of the people in the Middle Asia (The assistant professor of National University of Uzbekistan A.Erkinov did some research works).

The descriptions of Alisher Navoi's "Hamsa" in the sources of the XV-XX th centuries. The thesis of doctor of Sciences of Philology. Tashkent, 1998; Erkinov A. Les manuscripts du Hamsa de "Ali Shir Nava'i et la vie culturelle de Hanat de Bouhara sous les Mangits. Bouhara-la-Noble. In: Cahiers. I'Asie centrale №5-6. 1998. 169-180; Erkinov A. The perception of works by classical authors in 18th and 19th century Central Asia; the example of the Xamsa of Ali Shir Nawa'i. In: Muslim Culture in Russia and Central Asia from the 18th to the Early 20th centuries. Vol. 2: Inter-Regional and Inter-Ethnic Relations. Ed by A.V. Kuegelgen, M. Kemper, A. Frank, Islamkundliche untersuchungen. Band. 216, Berlin, 1998, 513-526). 

Navoi's thoughts, the quintessence of philosophical views - tasavvufiy ideas of the last days of his life were described in "Lisonu-t-tayr" (see: Bertel's Y.E. Sufizm i sufiyskaya literatura, Moscow, 1965).

During 1491-1498 Alisher Navoi created 4 devons (collection) called "Hazoinu-l-maoniy". The general capacity of it is more than 50000 verses. There were 21 lyric genres in Eastern literature and Navoi used 16 of them in his poems. The collection of his poems in the Persian language is called "Devonu Foni". These two devons include 3150 poems which were written in gazal genre. Navoi collected his qasidas in Persian and made 2 miscellaneas called "Sittai Zaruriya: ("Olti Zarurat") and "Fusuli arbaa" ("Four seasons").

Alisher Navoi put forward the global problems with the sufizm in his poetry (see: the research work of B. Akromov, professor of the faculty of Uzbek philology, National University of Uzbekistan. Akromov B. Fasohat mulkining sohibqironi. Tashkent, 1991)

After the independence of Uzbekistan Navoi's poems about religion and sufizm are widely studied. Especially from this point of view the objective study of Navoi's poems are increased. (Komilov N. Tasavvuf. Tashkent, 1996). The religious poems of Navoi called "Arbain", "Munojot" were adopted firstly. The work "Nasoyimu-l-muhabbat", which includes information about 750 shayxs of tasavvuf was adopted (Navoi, the collection of complete works. Vol.17. T.: Fan (Science), 2001)

Navoi's "Muhokamatu-l-lugatayn" is devoted to the comparative analysis of Turkish and Persian. His tazkira "Majolisun-nafois" was written in the way of literary criticism (Hayitmetov A. Alisher Navoiyning adabiy-tanqidiy qarashlari (Literary critic thoughts of Alisher Navoi). Tashkent, 1959). His "Mezon ul-avzon" was written about the theory of aruz, "Mufradot" was written about the rules of problems.

Also he created the works called "Tarixi muluki ajam", "Tarixi anbiyo va hukamo". In the base of his collection called "Munshaot". In memorialistic genre he wrote "Hamsatu-l-mutaxayyirin" ("Besh hayrat") devoting to Abdurahmon Jomi (1494), "Holoti Sayyid Hasan Ardasher" (Sayyid Hasan Ardasher hayoti bayoni) and "Holoti Pahlavon Muhammad" (Pahlavon Muhammad hayoti bayoni). In Navoi's nasriy work "Mahbubu-l-qulub" (1500) the social and political thoughts were expressed in high level.

254 handwritings of 24 works of Navoi are kept in the Academy of Sciences of Uzbekistan, in the Institute of Oriental Languages (3rd fund) (Hakimov M. Navoi asarlari qo'lyozmalarining tavsifi. Toshkent, 1983)

The list of handwriters who copied the works of Alisher Navoi and some information about them can be a Risola. (Hakimov M. The handwriters who copied the works of Navoi, Tashkent, 1991)