АМИР ТЕМУР И ТИМУРИАНСКАЯ КУЛЬТУРА

AMIR TEMUR AND THE TIMURIAN CULTURE.

The epoch of Amir Temur and the Temurids occupy a special place in the history of Central Asian culture. The cultural achievements of this period were at the level of universal civilization. The formation of Uzbek culture in this classical period in the history of culture is connected with political, social and economic development of this period. In particular, architecture, science, literature, art, crafts are developing. A large number of scholars and artists, craftsmen, architects and artists from the countries of Movarounnahr and the Middle East, India, and the country, including the major cities of Samarkand, Shakhrisabz, Bukhara, Termez, Tashkent and Herat, have been brought together. Thanks to their efforts, a number of architectural monuments in Shahuzin, Bibikhanim mosque, Dor Us-Siyat (Kesh) and Ahmad Yassawi Mausoleum in Turkestan were built. It should be noted that Amir Temur and Temurids Shahruh, Ulugbek, Boysunur Mirzo, Abu Said Mirzo and others paid much attention to the development of culture, literature, painting and architecture.

During the Sahibkiran's time, the Sultanate carried out extensive work on improvement. It is worth mentioning the architectural complexes built in Samarkand, Shakhrisabz and other places, such as Damascus, Egypt, Baghdad, Sultanate, Farish, and Sheroz, which are named after major cities around the world.

Prosperity, development of irrigated agriculture have had a positive impact on the development of important economic sectors - crafts, trade and commodity-money relations. During Amir Temur's and Mirzo Ulugbek's mining operations, the development of various ores was highly developed. Thanks to the craft, special carpets, crates, glassware, saddle and jewelry neighborhoods were expanded, new market stalls, timbers and towers were built. Textile, pottery, plumbing, blacksmithing, and building, and architecture were the main sectors. In the cities of Samarkand, Bukhara, Tashkent, Shohruhiya, Termez, Shakhrisabz, Karshi new crafts neighborhoods were created, which became centers of trade and culture. Fabrics are made of yarn, wool and canvas. Silk fabrics were made of silk fabrics - satin, kimono, banoras, velvet, horo, and demo, purchased by local and foreign merchants.

In the 14th - 15th centuries, many articles of metal, household goods, equipment, and weapons were made. Samarkand became a weapon center and a special refrigerated neighborhood was created in the city. Copper and copper and coins were minted in the cities. By the decree of Amir Temur, a candle made for the tomb of the master Izziddin bin Tojiddin Isfahani Ahmed Yassavi, a huge copper cauldron poured by Abdulaziz bin Sharofuddin Tabrizi remains to this day. The copper and the plumber have performed many difficult tasks, such as metalworking, casting, surface painting, gold and silver water.

The doors of the Bibikhanim mosque in Samarkand are made of seven types of metal alloy. The jeweler made elegant jewelry made of gold, silver and copper. There are patterns and inscriptions on the surface of gold and silver-plated jewels.

Pottery has been the site of success. In the XIV-XV centuries mysterious ceramics were distinguished by their high artistic variety and quality. The pattern of calligraphy and calligraphy began to be widely used. The bricklayers in the building are called "panno", masonry, porch, and the masters who cover the mountains with bricks and lamps.

Glassware was developed in Samarkand and various dishes and accessories were made. The color was used in the construction. Wooden carved doors, fences, pillars, gates were created and various items and tools were created. The Samarkand paper was popular even in foreign countries. The historian Ibn Arabshah equated Shamsiddin Munshi's writing skills with the sharpness of Amir Temur's spear.

At that time the head of a craftsman company was called a "master", a helper and a apprentice. Artisans belong to the civilized strata of the city.

The Timurid state has regular trade relations with China, Tibet, India, Iran, Russia, Volga, Siberia. The embassy relations of the Temurids played an important role in expanding trade relations with foreign countries. Amir Temur built shopping centers, markets and roads in big cities, and increased caravanserai on trade routes. Especially in Samarkand and Bukhara there are market places for sale, chorsu, timber, vine, kappon. There are shops (shops) on either side of the broad street in the center of Samarkand. Samarkand and Bukhara are distinguished by the vast expanse of trading areas and the presence of specialized markets. The bazaar was a shopping mall, but also a crafts industry. There were also hand-written books, writing papers, and writing or writing letters. The shop is named after the goods sold on it (such as Tagi Jewelry, Toki Teleparker). Conversations on literature, poetry, science were organized in the markets, orders were issued, and the perpetrators were punished. Various performances are shown here, with a mosque, a madrassah, a bathroom built close to the market.

During the Timurids caravan routes, ambassadors, runners, and caravans for rest, horses, rabbits, cisterns were built.

At the end of the XIV-XV centuries, Movarounnahr was connected with many countries by caravan routes of socio-economic, sometimes political and military importance. These pathways have allowed for the development of interconnected countries in terms of people's lives, religious, economic, spiritual and material culture. In addition to its practical role in trade and diplomatic relations, caravan routes have also served to strengthen economic and cultural ties between countries and peoples. It is safe to say that during this period the Great Silk Road was restored and served as a cultural platform for the region.

 During the Timurid era in Central Asia, the fields of architecture, science, literature and art rose to the point of maturity. The power of the Timurid state was particularly prominent in architecture. "Look at our buildings, if you do not believe in our strength and power!" The inscription also indicated the political purpose of Amir Temur's rule. Because the grandeur of the buildings being built was one of the political tasks. During this period, the construction of the cities of Movarounnahr began with the construction of defensive walls, the regulation of streets and architectural complexes. The construction of a "wall" slightly different from the "medieval" city of "medieval city" can be seen in Samarkand and Shakhrisabz. During Amir Temur's construction the city of Kesh (Shakhrisabz) was completed. In the south-west of Gissar there were constructed rabats and orchards and gardens around the government palace - Aksaray.

Amir Temur paid special attention to the decoration of Samarkand, the capital of the kingdom. By his order, fortresses, fortresses, magnificent buildings and golden palaces were erected. The Shepherd-Father Mausoleum in Kukh hill, near the entrance to Samarkand, was built in the era of Mirzo Ulugbek, and the harmonious harmony of the building, the elegance of the general form and the harmonious combination of decorations. During the Amur Temur, Samarkand began to be built south of Afrasiab in the place of the inner and outer city during the Mongol era, and this area was surrounded by castle and ditch (d. 1371). Gissar is surrounded by a wall of 500 ha. The city has six gates.

The city is made up of neighborhoods, with several guzars. The greatest achievement of the Timurid era was the formation of architectural complexes in the city. Architecture has moved to a new level of development. The process entailed new tasks for engineers, architects and artists. During Amir Timur's time the range of edges was widened. In the construction of two-story domes, the height of the exterior dome, which relied on arcs from the inside, increased. During the era of Mirzo Ulugbek new types of underground structures were developed. The successes in the exact sciences were also reflected in the architectural monuments (Shahizin, Ahmad Yassavi, Gur Amir Mausoleums, Bibikhanim mosque, Ulugbek madrasah). There was a clear correlation between the layered structures, which determined the overall harmony of architectural forms in the design of the front and the interior. Decorative and decorative work was also done during the construction.

Before and after the Timurid period, the decorations and patterns were not so prominent in the architecture of Movarounnahr and Khurasan. In the architecture of Amir Temur and the era of Mirzo Ulugbek there is a variety of ornaments. Masterpieces of epigraphic writing were written in six different inscriptions.

Visual themes are rare in tile tiles. On the windows of the Oqsaroy is a pair of images of a lion and the sun, which is symbolic. The interior of the building at that time was also diverse. The walls and ceilings, even the dome, are decorated with ornaments. The buildings, built in the time of Amir Temur, were dominated by blue and gold colors, and magnificent ornaments, and in the era of Mirzo Ulugbek, blue motifs were more common in China.

During this time many mosques and mausoleums were built. After the Indian invasion (1399), Amir Temur erected a mosque in Samarkand. A madrassah and a mausoleum were erected in front of it. Mirzo Ulugbek started the reconstruction and reconstruction of the Bukhara Mosque. However, it will eventually be completed in the sixteenth century.

In the time of Amir Temur a madrassah of Saroymulkhanim (Bibikhonim) and a Gurai Amir complex were built. Mirzo Ulugbek built madrassas in Samarkand, Bukhara and Gijduvan. A madrassa in Bukhara says, "The desire for knowledge is obligatory for every Muslim and Muslim."

In the fifteenth century, the madrassa architecture has acquired its full-fledged appearance. Although the Madrassah construction was planned according to a single system, each of them had their own shapes, shapes and proportions. Two Timurid masterpieces - Ulugbek in Samarkand and Gavharshodbegim madrasah in Herat - are built on a single system, but they are different.

The fence, the shrines, and the tombs of the saints, including the tombs of the Temurids, the tombs of the clergy and the clergy, form a separate group. In the period of Amir Temur in Samarkand, Sheikh Burkhoniddin Sogarzhiy's burial place - Ruhabad Mausoleum and Temurids' mausoleum - Gur Amir's mausoleum, as well as a group of porcelain tombs will be built in the Shahizinda complex.

The effectiveness of creative research in the era of Mirzo Ulugbek also influences the architectural appearance of the gardens. The eight-sided mausoleum and the Romanian mausoleum (still unknown to the mother of the Sultan) are still under construction in the Shahizinda complex. Mirzo Ulugbek has also built unique buildings in Bukhara, Gijduvan, Shakhrisabz, Termez and Tashkent. However, the size of the building and the decorations in Samarkand were predominant. In Tashkent there is a mausoleum of Zangi-ota and Shaykhantakhur complex.

In the time of Amir Temur, a huge structure and scale - Ahmad Yassavi Mausoleum was built in Turkestan. This mausoleum is one of the most unique architectural monuments of the Muslim East.

The architecture of the pillars also has a unique structure. Amir Temur erects the Chashmai Ayyub Monument in Bukhara (1380) Also in Shahrisabz, Amir Temur is a memorial for pilgrimage and funeral - "Dor ul-Siyadat" (1379-80), in Shahrisabz, after the death of his son Jahongir. It was built by Jakhongir Mausoleum (Hazrati Imam Mausoleum). It shows the traditions of Khorezm architecture. After Amir Temur re-introduced Khorezm to Maveraunnahr, the architects and masters there were relocated first to Shahrisabz and then to Samarkand.

The Ulugbek Observatory in Samarkand is a unique monument of architectural art. The observatory is a 48-meter circle with three floors. In the observatory, along with Ulugbek, Jamshid Kashi, Ruzi in Kazizoda, Ali Kushchi and other scholars developed astronomy.

The palaces built during the Timurid era were of two types. The first one was an administrative and political function and was built in a fortress or fort. The other two are out-of-town camps, where reception, meetings and leisure are held. The Dome of Aksaray in Shahrisabz is 22 meters in diameter, its ridge and arch are immense. The main residence of Amir Temur and Mirzo Ulugbek was in Kuksaroy and Bostansaroy in Samarkand. Outside the city, Amir Temur erected twelve gardens, each with its name, size, function, and beautification. Receptions and weddings in these gardens were recorded by RG Clavijo and Sharafiddin Ali Yazdi.

During the period of Mirzo Ulugbek, the Registan Square of Samarkand was formed, the mosque Alika Kukaldosh mosque with 210 domes was built. Some mausoleums in Shahuzin, Chilustun and Chinnihana palaces, and the Kugumbumb mosque in Shahrisabz were built during his time.

In the second half of the 15th century, a Madrassah of Khoja Akhror, Mausoleum and Aksaray Mausoleum were erected in Samarkand.

During the Timurids, the fine arts rose in various directions. The ancient wall paintings and traditions of fine arts in Central Asia were restored in a new form and meaning during the Amir Temur era. Miniature art was also viewed primarily as a pattern. In the Temurids' palaces and palaces in Samarkand, there were wall paintings depicting reception, battle scenes, hunting scenes, and public holidays. They depict Amir Temur, his sons, grandchildren, women and concubines. The wall paintings on the walls of the Ulugbek Observatory were also colorful and thematic in style, close to the miniature genre. In a photo of Abdurahman al-Sufi's disaster, the constellation of Andromeda is depicted as a woman. At the Observatory are nine galaxies, seven flanges, seven luminous stars, time sections, and seven climates on Earth.

There are also paintings in calligraphy and calligraphy in the monuments of Shirinbeka aga, Bibikhonim, Tugan Aga, built in the time of Amir Temur. The Shirinbeka-Aga Mausoleum has plenty of color, while the other two buildings feature white and blue Islamic ornaments.

To the development of calligraphy in the fifteenth century developed traditional sultry and fast-paced style of decoration along with traditional Kufi, Masonic and Devonian letters. A special workshop, where unique manuscripts will be copied, has had a positive impact on the development of the bookstore.

In the period of Amir Temur a miniature school was established in Samarkand, the leading painter at that time was Hoja Abdulhay Nakkash. Copied miniatures currently stored in libraries in Turkey and Berlin date back to the 14th-15th centuries, with individual figures, trees, glaucaps, small compositions, ornamentation, movement precision, and placement of images.

The figures of the historical figures are also reflected in the miniatures. No miniatures depicting the life of Amir Temur have yet to be found. Pictures close to the original can be found in the first copy of the Zafarnoma. His most striking appearance is in the "Exodus 3", copied by Herod (1467). Beginning with Mirak Nakkash and completed by Kamoliddin Behzod, these miniatures are characterized by the complexity of the style and the combination of vibrant colors.

The development of oriental miniature was connected with the development of fiction. The illustrators often worked on paintings in the works of Firdavsi, Nizami, Khusrav Dehlavi, and later Jami and Navoi. In the fourteenth century, a miniature painting of Rashiduddin Fazlullah's historical work "Jome'-ut-tavorih" was also created. This tradition continues throughout the Timurid era, with war scenes in Sharafuddin Ali Yazdi's "Zafarnoma" and Khatifi's "Temurnoma". In some cases religious works have also been depicted in ancient places such as Mecca and Medina. Some of the works feature footage of Prophet Mohammed (his blessed faces covered with a mask) and his ascent.

Most of the 15th-century miniatures depict scenes of Oriental poetry related to Layli and Majnun, Husrov and Shirin, Rustam, Iskandar, and Bakhrom. In general, the art of miniature was a peculiar artistic and aesthetic phenomenon of the Muslim East for a period of time in Iraq, Iran, Khorasan, Movarounnahr and India. This art was connected with the Temurids' sponsorship, and advanced miniature schools were established in central cities such as Isfahan, Sheroz, Tabriz, Herat, Samarkand, and Delhi.

The Samarkand School of Miniature was formed in the first half of the XIV-XV centuries. These miniatures, created in a variety of categories, influence the influence of Chinese painting on Turkic images of Eastern Turkestan art.

The paintings by Samarkand palace artists Khoja Abdulhay Nakkash and his students Sheikh Mahmud Talili, Pir Ahmad Boghi Shamali, Muhammad bin Mahmudshah al - Hayyam, and Dervish Mansour are all finely applied. These miniatures were created on the theme of the Timurid hunting. Some 14 years later, some of these artists (Mahmudshoh al - Hayyam) moved to Herat when Boysunur founded a library, calligraphy, and ornamental workshop in Mirzo Herat. While Khoja Abdulhay's miniatures in historical works ("Zafarnoma") reflect the images of Amir Temur and the Temurids, some of his paintings are also illustrated in different ways. Some of Khalil's Sultan's miniatures are important historical documents but are distinguished by their artistic style of 'ink pen'. During the lifetime of Amir Temur, there are kings and princes on his palace walls. Genuine portrait genre was created by Kamoliddin Behzod.

Many miniatures depicting the images of Amir Temur and the Temurids are in various libraries around the world. Many of them do not include the period of painting or the artist, place, school. However, in these miniatures, a glittering sun lion's head is found on the decoration of the palace of the emblem of Amir Temur, on coins struck by Khalil Sultan and Ulugbek. It is also possible to say that these miniatures belong to the Samarkand School of Miniature, because of their rich green and brown nature, and the clothes are of Turkish origin. This is because the costumes of Herat and Sheroz miniatures are different. Representatives of the miniatures of the Samarkand School were more skilled in composition and landscape.

Sultan Ali Bovardi's miniatures of calligraphers and painters, famous in the era of Mirzo Ulugbek, are characterized by sharp lines and bright colors. 18 miniatures belonging to the Samarkand school are used by Nizami's “Khamsa” and 49 miniature “Shahnameh”, which are now stored at the Topkapu Palace Library in Turkey. In the miniatures of Abdurahman al-Sufi's "List of Silent Stars", the maps show the locations of large and small stars in red and black circles, and are graphically printed in black ink. The constellation is depicted as an ordinary people's representation. The theme of ordinary people's life in Eastern miniature arose in the period of the Timurids. For example, miniatures such as “Construction of Samarkand Mosque”, “Buildings of the Alexander Wall”, “Life of the Nomads”, “Jamshid's Teaching to the Public”.

The rise of culture during the Timurid period was also manifested in various forms of artisanship. Some of them were related to architecture, some to ceramics, wood and stone carving. The gravestones were partly written with calligraphic patterns in Islamic-like plants, mainly geometric patterns. These inscriptions are written in deep, solid holes. The gravestones are in the form of crayfish or pillars, and are made of local raw materials of marble, and in some cases very rare stones. The carved wood carvings are decorated with carved ornaments of Gur Amir, Shakhizinda, Yassavi's tombs, as well as 15th-century pillars. During this period metal embroidery is developing. The objects and utensils are made of gold, brass and red copper. The ornaments are made by carving and carving. The magnificent candles in the Yassavi Mausoleum, especially the two-ton pot, are the highest example of bronze casting.

For applied art ceramics, the simple glaze of green, orange glitter with black dyes or embossed flowers was a novelty. The patterns in ceramics are painted on the brush. In ceramic ceramics of the Timurid era, where ceramics were used in the past, ceramic painters use a variety of colors, from light blue to lavender. Textile, carpet weaving and embroidery have been elevated to the highest level of art from the applied arts of this period.

The rapid development of science and culture throughout the Muslim world is inextricably linked with the name and activity of Amir Temur. Thanks to Amir Temur's interest in the development of science, Samarkand has become one of the centers of science and education in the world. Famous scientists and scholars of the Sahibkiran gathered in Samarkand. For example, Sayid Sharif Jurjoni, Masud Taftazoni, Jamshid Kashi, Ali Kushchi, Rumi, Kazyoda Rumi, physician Khusamiddin Kermoni, and Mavlono Ahmed, as well as more than 200 scholars from different countries and countries during the Ulugbek era. During the Timurid era, great scientists in the field of natural and humanities made a significant contribution to the development of world science. Mirzo Ulugbek, Kazizoda Rumi, Giyosiddin Jamshid and Ali Kushchi made new discoveries in astronomy. Hafizi Abru, Sharafiddin Ali Yazdi, Abdurazzoq Samarkandiy, Mirhond, Khondamir, Zayniddin Vosifiy and others have created valuable works in history. In the field of fiction and linguistics, artists such as Davlatshah Samarkand, Jomiy, Alisher Navoi, Atoullo Hussaini, and Preacher Koshifiy became famous for their high art.

In the period of Mirzo Ulugbek in Samarkand there was a unique scientific academy. Works on measuring the globe and drawing up astronomical tables were conducted. The construction of the Samarkand Observatory was a huge cultural event, unmatched in the world at that time in terms of equipment and scientific achievements. Mirzo Ulugbek had a profound knowledge of mathematics, geometry and astronomy. His favorite students were Ali Kushchi and Muhammad Khawafi.

In the work of Ziji jadidi Koragoni, Mirzo Ulugbek continues the tradition of astronomy in the VIII-XI centuries and highlights it. He has written a book on mathematics, "A Determination of a Sine of a Sine", a Risolai Ulugbek Study on Falcons, and a Pamphlet on Music. In addition, Ulugbek wrote a historical work called "The history of the arab' ulus".

During this period, samples of folklore were created. Literature has been refined in terms of artistic style, scientific works on literary criticism and linguistics have been created. In the Turkic language there was created the classic Chigatoy - Uzbek literature. During the Timurid era, prominent artists have lived and worked in Kutb Khorezmi, Sayfi Palace, Haidar Khorezmi, Durbek, Hafiz Khorezmi, Atai, Sakkoki, Lutfi, Bobur, Muhammad Salih (author of "Shayboniynoma"), Kamoliddin Binoi and others. In particular, the works of Alisher Navoi raised Uzbek literature to the stage of perfection.

The status of Uzbek language, literature and culture was moderate in Maverounnahr and Khurasan. The Turkic-speaking peoples of Khurasan and their intellectuals began to interact with scholars, poets and artists in Samarkand, Bukhara, Turkestan and other cities. He lived and worked in whatever country or city he found most comfortable. For example, Khorezmian poets Haidar Khorezmi lived in Sheroz, Sheikh Atai Turbat (near Tashkent), Balkh, and Mevlana Lutfi from Tashkent were born near Herat.

The Timurid rulers and princes were close to literature and art and to science. Of these, 22 are creative-poets who, in addition to writing poetry, have also sponsored the artists. Khalil Sultan and Hussein Baikarah created the devon.

In Khurasan and Movarounnahr there are many Persian and Turkish poets, and literary life has risen. The emphasis on translations of oriental classical literature is also on the rise. Such kinds of artistic creativity as ghazal, ruboi, hoof have developed. In the literary process, kings, ordinary craftsmen and artisans, scholars and scholars took part.

In the development of literary life in Khurasan, Boysungur Mirzo (Shokhrukh's son) played an important role in his initiative and contributed greatly to all fields of science and art. Under his leadership, a reliable scientific text was created by comparing many manuscripts of the Shahnameh. He wrote poetry in Persian and Turkish. Excellent in calligraphy and ornamental art. The decorations and books of the Gavharshodbegim Mosque in Herat are personally compiled by Boysunur Mirza himself. There are forty calligraphers and seventy artists in his library. Alisher Navoi wrote that no-one was as patronizing musicians and calligraphers as Boysunur Mirzo.

Many Persian and Turkish artists gathered in Movarounnahr during the Mirzo Ulugbek era. The literary environment was directly managed by Ulugbek himself, and the best poets of that time were gathered in Samarkand. Mawlana Kamal Badahshi was appointed as the poet's leader (Malik ul-kalam). In one of his poems, Sakkoki noted that Mirzo Ulugbek wrote poetry and that his understanding of the poem was high. Mirzo Ulugbek considered the poems of Mevlana Lutfi with the works of the famous 15th-century poet Salmon Sozaji. It is fair to say that Mawlano Lutfi, a representative of Uzbek classical literature, is actually superior to Salman in Sufi poetry. Because Salman is basically the kayaks.

Along with the lyrical poems of the most prominent Uzbek poet Sakkoki at the Ulugbek Palace, his poems were a significant achievement of this poetic genre. While Alisher Navoi gives more information about Khurasan poets in Majolis un - nafois, Davlatshah Samarkand tells about the creators of the past in his work Tazkirat Ush-shuaro. A recent work by Sheikh Ahmad ibn Khudodod Tarazi's "Funun ul-balaga" (1437) in the Uzbek language, opened in 1993, opened new opportunities to study the literary life of Movarounnahr. In addition to the well-known poets we know of in his work, Sheikh Tarazi quotes the unknown chambers of Muhammad Temur Bogu, examples of Shams Qisari's al-matlubul-ba'd poems, romantic bytes by the poet Jalali, his ghostly poetry.

The second half of the fifteenth century is the most advanced period of Uzbek literature, and this elevation is connected with the names of the Timurid Sultan Hussain Baikaro and the bright sun of Uzbek literature Alisher Navoi. During Hussein Baikaro's reign of Khurasan (1469-1506), great attention was paid to the development of many areas of literature, art and science. During his reign, Sultan Hussain, who wrote poems under the pseudonym "Hussein", gave Alisher Navoi the titles of "Amiri Kabir", "Mukarabi Hadrat Sultan" ("The closest person of the Sultan") and sponsored the development of culture. Alisher Navoi in collaboration with his mentor, Abdurahman Jomi, led the development of spirituality. In their view, fiction has achieved great success. The greatest examples of literature of that time were the “Hamsa” of Alisher Navoi and the “Hazoyinul-maoni” devil, and Jafi's Haft avrang and poetry collections. It is no coincidence that Sultan Hussain Baikarah was so proud of his work in his Treatise during his reign.

This rich literary heritage has had a profound impact on the further development of Uzbek literature. Bobur's "Boburnoma" was based on the life traditions of Uzbek literature and science at that time.

Literature of the Timurid period represents a special stage in the development of Uzbek literature. His ideas of humanism and nationalism, justice and enlightenment have not lost their charm. This literary heritage has played an important role in the education of a perfect person in Uzbekistan for centuries, with its rich content, ideological and ideological depth and divinity.

The cultural highs in Maveraunnahr and Khurasan in the second half of the 14th and 15th centuries impressed not only the Muslim East, but also the European countries. This height not only reflects the recent cultural and spiritual development of Central Asia, but also has a significant impact on the cultural development of neighboring countries.

Determination of the common factors of cultural development of this period shows that they are inextricably linked together and have been able to produce cultural and spiritual heights in a short period of time.

First of all, we can point out the political and social factor. Large territory was united into a single kingdom and provided social prosperity.

Second, economic factor - The introduction of a single management system in Movarounnahr and Khurasan has led to economic stability and rapid development of production. Attention by the state to the development of farming, handicrafts, commerce, and the implementation of a number of activities in this area were of great importance for the spiritual and cultural development of the country.

The third - the spiritual factor - was the use of previous cultural heritage, spiritual values, wealth, development on their basis. From the spiritual and cultural values ​​created in Central Asia in the earlier centuries, especially in the IX-XIII centuries, from the legacy of great scholars and scholars, Bukhari, Abu Isa Termizi, Muhammad Khorezmi, Ahmad Farghoni, Farabi, Ibn Sina, Beruni; The heritage of such great scholars as Firdavsi, Nizami Ganjavi, Rumi, Tusi, Attor, created in Arabic, Persian and Turkic languages, is widely used in the ancient Greek scientific and spiritual heritage, which is of great importance in the spiritual heritage of the Muslim East. During this period, cultural ties between other countries, both under the influence of Amir Temur and non-existent, were rapidly developing, which opened the way for the exchange of spiritual values. In particular, the exchange of cultural values ​​was important in relations with countries such as Iran, Arab countries, India and China.

Fourth - ideological factor - While this factor is an integral part of the spiritual factor, it is desirable to highlight it for its importance and play a major role in the spiritual life of its time. The Nakshbandian doctrine and its major representatives, based on the development of the teachings of Yusuf Hamadoni, Abdul-Khaliq Gijduvani, and Ahmad Yassawi in Central Asia, played an extremely important role in the political, social and cultural life of the 14th-15th centuries. Because, Bakhouddin Nakshband's motto "Dil-ba yor - u, dast-kor" "Let God be with the hand and work" became a way of life for the general public, along with the leading mystic representatives.

Khoja Ahror Wali, a frequent representative of the 15th century Nakshbandian doctrine, played an important positive role not only in cultural life, but also in socio-political and economic life.

These factors led to the rapid and high level of culture and spirituality of the Timurid epoch, the achievements of which have been the basis for further cultural development for many centuries.

Spiritual and cultural development in the XIV-XV centuries is closely connected with the strengthening of Islamic ideology. The Islamic sciences were widely taught in madrasahs and mosques, and the principles, customs, and traditions were taught in the Sharia. In the "Temur's Pillars" the activities of saints, sheikhs, Sayyids and scholars are mentioned. During this time, popular knowledge, science, art, culture and mysticism were widespread among intellectuals.

Amir Temur treated the poets and scholars with great respect. Amir Temur had three elders: Shamsiddin Kulol, Sayed Baraka and Zayniddin Abubakr Toyobadi.

The great representatives of Sufi teachings, such as Muhammad Porso, Jacob Charhiy, and Hoja Ahror, have been active in the spiritual purification and development of society, and have influenced and influenced them by creating a series of pamphlets on the teaching of the pattern. In this regard, the activities of Khoja Akhror are particularly important.

Medical science at that time also had its own great representatives. Among them are Burhoniddin Nafis ibn Evaz Bin Hakim Al-Karmani, Sultan Ali Khurasan and Hussein Jarrah.

In the XIV-XV centuries in Central Asia there appeared great scientists, who studied the sciences of logic and philosophy. The development of these disciplines is largely due to the names of two great thinkers, Sa'diddin bin Omar Taftazani and Mir Sayid Jurjoni. In addition, there were scholars living in Samarkand at that time, such as Abdujabbor Khorezmi, Shamsiddin Munshi, Abdulla Lison, Badriddin Ahmed, Numoniddin Khorezmi, Khoja Afzal, Jalal Hoki and others. The leading social and moral ideas of his time began to be detailed in fiction, in mystic poetry, in poetry and prose, in ghazals and rubais. The works of Sakkoki, Jami, Lutfi, Navoi, Binini, Amir Kocim Anwar and others have a rich philosophical and moral meaning.

During this period there were published special treatises on the problems of ethics and education, among them the legacy of Hussein Voiz Koshifi and Jaloliddin Davani.

During this period much attention was paid to the study and coverage of the history of the liberation of Movarounnahr and Khurasan from the Mongol tyranny. The works of historians such as Nizomiddin Shami, Giyosiddin Ali Yazdi, Sharafuddin Ali Yazdi, Abdurazzoq Samarkand, Hafizi Abru, Fasih Ahmed Khawafi, Muiniddin Natanziy, Mirhond, Khondamir are now an important source for us to study the cultural development of the time.

The development of science and literature has also had a positive impact on the development of book art, including the transfer of new manuscripts, calligraphy, painting, illustration and cover art. Elegant books and calligraphy rose to a new level of development in the 14th and 15th centuries. Calligrapher Mir Ali Tabrizi discovered the letter of Nasta This method was promoted by Sultan Ali Mashhadi in Herat, and produced calligraphers such as Abdurahman Khorezmi, Sultan Ali Khandon, Mir Ali Qilqalam, Halwaji, Rafiki, Mirak Nakkash, Kamoliddin Behzod, Qasim Ali, Mahmud Muzahhib. Timurid court libraries were established in Samarkand and Herat, Isfahan and Sheroz. They have been collecting and storing manuscripts.

The XIV-XV centuries was a new stage in the development of the musical art of the peoples of Central Asia. New songs and songs, musical instruments and music theory were created. Trained musicians, composers and musicians. Among them are Abdukadir Nayi, Qulmuhammad Sheikh, Hussein Udi, Shahkuli Gijjaki, Ahmed Lawi, Hoja Yusuf Andijan, Ustad Shady and Najmiddin Kawqabi. Mirzo Ulugbek, Jomiy, Navoi and Building composers wrote and composed new musical compositions. The 12th status, formed in the 9th-12th centuries, improved during this period. There were also popular theatrical performances - folk clowns, clowns, puppets, and dancers.

Thus, during the Timurids' civilization in Central Asia the culture was highly developed and developed. The cornerstone of the cultural development of the 14th-15th centuries in Movarounnahr and Khurasan was laid by the great Amir Temur.

Contemporary science recognizes the epoch of Amir Temur and the Temurids as the true Renaissance - the Renaissance. After all, the best traditions of the past are based on the creative use of the experience of the past and new approaches to addressing the challenges facing scholars, architects and craftsmen, miniature artists, poets, musicians, and representatives of contemporary art.

Independent Uzbekistan pays attention to the study of this rich cultural heritage and the continuation of its traditions at the level of state policy.