American Journal Of Social Sciences And Humanity Research
152
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VOLUME
Vol.05 Issue06 2025
PAGE NO.
152-154
10.37547/ajsshr/Volume05Issue06-39
24
The Artistic Expression of National Values Through
Traditional Imagery in The Works of Contemporary
Uzbek Women Poets
Ma’diyeva Adiba Dovudovna
Senior Lecturer at the Uzbek State University of World Languages, Uzbekistan
Received:
30 April 2025;
Accepted:
28 May 2025;
Published:
30 June 2025
Abstract:
This article explores the poetic expression of national and spiritual values through traditional imagery
in the works of prominent representatives of contemporary Uzbek literature
—
Zebo Mirzo, Farida Afruz, and
Hosiyat Rustamova. In the poetry of these women poets, images such as "Motherland," "mother," "home,"
"spring," "sun," and "earth" become artistic symbols of the nation's historical memory, spiritual state, and cultural
identity. Through these images, the authors organically combine ideas of national pride, kindness, selflessness,
and creative vitality with the aesthetic thinking of modernity. The article provides a poetic analysis of the artistic
and aesthetic functions of these images, their symbolic and philosophical meanings, as well as their connection
to today’s socio
-cultural reality. Special attention is given to the role of traditional imagery in the process of
aesthetic renewal, poetic expression, and the female perspective on the world.
Keywords:
Contemporary Uzbek poetry, women poets, traditional imagery, national values, poetic interpretation,
symbolic meaning, metaphor, aesthetic perception.
Introduction:
The cultural mindset, historical memory,
and national values of every nation find their unique
reflection in the literary process. Poetry, in particular,
represents the most profound and expressive form of
artistic embodiment of these values, delving into the
subtlest layers of spirituality and national aesthetic
consciousness. Especially through the system of
symbols within poetic texts, national self-awareness,
historical memory, ancient worldviews, and aesthetic
perceptions of the people are vividly expressed.
Traditional images serve as symbolic mirrors of
worldview, beliefs, and life philosophy that have been
shaped over centuries. In artistic thinking, they
function not only as echoes of the past but also as
poetic expressions of contemporary consciousness.
In modern Uzbek poetry
—
especially in the work of
women poets
—
these images acquire new meanings,
spirit, and aesthetic interpretation. The images of
"mother," "home," "land," "spring," "sun," and
"Motherland" are not merely artistic devices in their
poetry, but instruments for understanding national
identity, preserving spiritual values, and passing them
on to future generations. For this reason, there is a
growing scholarly need to systematically analyze
traditional imagery from the perspective of women
poets
—
their symbolic and spiritual weight, as well as
their significance in the cultural and national memory
of the people.
Contemporary Uzbek women poets such as Zebo
Mirzo, Farida Afruz, and Hosiyat Rustamova strive to
express national and spiritual values primarily through
traditional imagery. In their poetic thought, such
images as "mother," "home," "spring," "sun," "earth,"
"Motherland," "river," and "tree" are organically
combined with the historical memory of the nation, its
aesthetic worldview, and moral foundations. These
images reflect the centuries-old spiritual experience of
the Uzbek people, their philosophy of life, and attitude
toward existence.
Through these symbols, women poets particularly
vividly convey maternal tenderness, devotion to the
ho
meland, and the soul’s longing for beauty, using
American Journal Of Social Sciences And Humanity Research
153
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
subtle poetic means. In their verses, traditional images
gain new poetic resonance, enriched by modern
aesthetic explorations and individual worldviews. As a
result, such imagery becomes not merely symbolic but
serves as artistic reflections of the national spirit and
mentality of the people.
In the works of contemporary Uzbek women poets, the
image of the mother often embodies the concepts of
the homeland, maternal love, selflessness, and at
times, symbolizes a woman who has discovered her
true self and attained spiritual maturity. Through this
image, not only femininity is conveyed, but also
national values such as patience, protection, sanctity,
and devotion. Particularly in the poetry of Zebo Mirzo,
the multifaceted nature of the maternal image is
revealed: at times it emerges as the voice of the
homeland resonating within the heart, and at other
times as the female soul’s aspiration for spiritual
independence.
(1) No less significant is the authorial interpretation of
the image of the home. In Zebo Mirzo’s poetry, the
home is not merely a physical space but a spiritual
refuge, a sacred place, a repository of childhood
memories imbued with profound artistic and aesthetic
depth.
(2) This interpretation resonates with the philosophical
views of French thinker Gaston Bachelard, who
regarded the home as a space of the soul.
(3) The poetic representation of home as a symbol of
childhood, silence, trust, memory, and sanctity
becomes a creative revelation in the poetess's work,
expressing the unity of literary-aesthetic thought and
the inner world of the individual. As a result, the image
of home transforms into a space for understanding the
spiritual world of the Uzbek woman, her national
memory, and poetic identity.
In the poetry of Farida Afruz, the image of spring is
interpreted as a symbol of the awakening of the female
soul, the vitality of life, creativity, and spiritual rebirth.
(4) The poetic perception of spring in her work
transcends the mere change of seasons
—
spring
becomes an internal experience, a source of spiritual
renewal and aesthetic inspiration. It represents an
inner state of transformation, awakening, and moral
growth in a woman. Through the images of spring and
the sun, the poetess expresses the strength, patience,
self-sacrifice, love, and spiritual resilience of the Uzbek
woman, using delicate poetic means.
These images reveal an organic connection between
woman and nature: woman is the source of life, and
nature is her reflection. In Farida Afr
uz’s spring
-themed
poetry, the female image emerges as an embodiment
of the unique beauty and spiritual harmony of nature.
At the same time, the symbolism of spring encapsulates
themes of intellectual awakening in the modern Uzbek
woman, her inner transformation, the process of
reflecting on national identity, and the development of
pride and patriotism. The poetic content revealed
through this image represents a complete aesthetic
expression of feminine sensitivity and spiritual
strength, of life-giving creativity and selflessness.
In the poetry of Hosiyat Rustamova, the images of earth
and homeland are distinguished by their unique
symbolic and philosophical depth.
(5) Through the image of the earth, the poetess
artistically conveys not only the earth as the source of
life but also maternal care, tenderness, boundless
patience, and the devotion of a mother-woman. This
symbol reflects the aesthetic unity of femininity and
the homeland. In Hosiyat Rustamova’s verses, the
earth becomes a poetic sign of noble aspirations,
selflessness, creative vitality, patience and resilience,
as well as a symbol of struggle and inner strength. The
image powerfully expresses a woman’s loyalty to her
native land, her love for it, and her instinct to protect
it.
The poetess’s ap
proach to the image of the homeland
lies in her interpretation of it not as a geographical
space, but as a spiritual dimension
—
a homeland of the
heart, a space of love and duty. In her poetry, the
homeland is not merely a necessity of life but a spiritual
essence, a divine emotion living in the deepest layers of
the human soul. Through these images, Hosiyat
Rustamova conveys a woman’s inner growth, her
comprehension of national identity, and her moral
responsibility toward her native land. Thus, the images
of earth and homeland are enriched not only with
aesthetic dimensions but also with philosophical and
ethical layers, deepening the internal semantic
structure of the poetic text.
In the works of contemporary Uzbek women poets,
traditional imagery functions not only as a continuation
of folkloric or classical literary traditions but also as an
expression of the poetic consciousness of a new era
—
key elements of a national aesthetic worldview. Images
such as mother, home, Motherland, spring, sun, earth,
memory, and love acquire new meaning, resonance,
and artistic style within the framework of
contemporary poetic thought. Through these symbols,
the spiritual state of the Uzbek woman, her national
identity, aesthetic perspectives, and social status are
deeply and multifacetedly revealed.
The poets transform these images into an integrated
aesthetic system, drawing from their individual
perspectives, inner experiences, and life stories. In
doing so, they act as innovators shaping a new direction
American Journal Of Social Sciences And Humanity Research
154
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American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
in Uzbek poetry. Their creative work harmoniously
blends tradition and innovation, national foundations
and modernity, aesthetic refinement and philosophical
depth. Thus, the poetic interpretation of national
values through traditional imagery in contemporary
women's poetry in Uzbekistan not only ensures
continuity of cultural heritage but also opens new
horizons of artistic thinking. Contemporary Uzbek
women poets, inspired by a rich cultural and spiritual
heritage, aim not only to preserve but also to
reinterpret traditional imagery in the context of
modern realities. Their work reflects an internal
dialogue between past and present, between
individual and collective experience. This allows the
poets to create a unique poetic space where tradition
serves not as a limitation but as a foundation for free
artistic expression. Within this framework, national
symbols are infused with new life, becoming relevant
expressions of female subjectivity, moral vision, and
cultural memory.
It is important to note that the use of traditional
imagery in contemporary Uzbek women’s poetry is not
a mere repetition of established symbols, but rather a
deep artistic process of reconstruction and
reinterpretation. Images such as mother, home, earth,
and Motherland are imbued with personal meaning,
conveying subtle emotional states, spiritual quests, and
existential reflections. In this way, women’s poetry
becomes not only an artistic reflection of national
consciousness but also an active participant in cultural
dialogue, shaping new models of understanding the
role of women in both society and literature.
Through their poetry, contemporary Uzbek women
poets challenge and enrich traditional representations
by introducing a distinctly feminine perspective that
emphasizes emotional depth, spiritual resilience, and
ethical awareness. Their reinterpretation of cultural
symbols does not isolate the individual from the
collective, but rather integrates personal experience
with national history. This interplay creates a layered
poetic discourse where inner emotional landscapes are
intricately linked to the cultural identity of the nation.
As a result, their work not only redefines the symbolic
meanings of tradition but also reclaims space for
women's voices within the broader narrative of Uzbek
literature.
Moreover, the poetic strategies employed by these
authors
—
metaphor, symbolism, intertextuality, and
lyrical introspection
—
serve to elevate traditional
images beyond mere cultural markers. They become
dynamic instruments for conveying the complexity of
modern Uzbek womanhood in the face of social
change, globalization, and historical memory. In doing
so, these poets actively participate in the shaping of
national consciousness, while also asserting a poetic
identity that is both deeply rooted in tradition and
boldly contemporary. Their contributions signal a
transformative shift in the literary landscape, where
female creativity plays a central role in the aesthetic
evolution of Uzbek poetry.
REFERENCES
Mirzayeva, Z. Ishq (Love). Tashkent: Akademnashr,
2011, p. 16.
Mirzo, Z. Nur kukunlari (Dust of Light). Tashkent: Yangi
Asr Avlodi, 2004, p. 75.
Bachelard, G. The Poetics of Space. Boston: Beacon
Press, 1994, p. 19.
Afruz, F. Közim manim (My Gaze). Poems. Tashkent:
Gafur Gulyam Publishing House of Literature and Art,
1999, p. 27.
Rustamova, K. Devor (The Wall). Poems. Tashkent:
Gafur Gulyam Creative Publishing and Printing House,
2006, p. 101.
