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THE IDEOLOGICAL DIRECTION AND MAIN ARTISTIC IMAGES OF DASTANS “KHUSRAV AND SHIRIN” AND “FARHOD AND SHIRIN”
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This article is devoted to a comparative analysis of the image of Shirin in Nizami Ganjavi’s “Khusrav and Shirin” and Alisher Navoi’s “Farhod and Shirin”. The main ideological and artistic direction of the epics is highlighted, highlighting the importance of artistic symbols in the development of the work. The epics “Khusrav and Shirin” and “Farhod and Shirin” have been studied as one of the most amazing masterpieces of the art of speech, focusing on the interpretation of the world of unique artistic symbols
Title: THE IDEOLOGICAL DIRECTION AND MAIN ARTISTIC IMAGES OF DASTANS “KHUSRAV AND SHIRIN” AND “FARHOD AND SHIRIN”
Description:
This article is devoted to a comparative analysis of the image of Shirin in Nizami Ganjavi’s “Khusrav and Shirin” and Alisher Navoi’s “Farhod and Shirin”.
The main ideological and artistic direction of the epics is highlighted, highlighting the importance of artistic symbols in the development of the work.
The epics “Khusrav and Shirin” and “Farhod and Shirin” have been studied as one of the most amazing masterpieces of the art of speech, focusing on the interpretation of the world of unique artistic symbols.
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