{"id":40414,"date":"2025-02-20T09:32:06","date_gmt":"2025-02-20T04:32:06","guid":{"rendered":"https:\/\/www.bukhari.uz\/?p=40414"},"modified":"2025-02-17T11:46:40","modified_gmt":"2025-02-17T06:46:40","slug":"sug%ca%bbdiy-yozma-yodgorliklar-grafik-fondini-yaratish-masalasi","status":"publish","type":"post","link":"https:\/\/bukhari.uz\/?p=40414&lang=oz","title":{"rendered":"SUG\u02bbDIY YOZMA YODGORLIKLAR GRAFIK FONDINI YARATISH MASALASI"},"content":{"rendered":"

Markaziy Osiyo tarixi qadim tarixga ega mintaqa hisoblanadi. Mintaqa tarixiga doir ma\u02bclumotlar yunon-rim, arman, fors, pahlaviy, hind, elam, xitoy, turkiy, baqtriy, arabiy tilli ko\u02bbplab manbalarda yetib kelgan. Ushbu manbalarning katta qismi Markaziy Osiyo xalqlari muhitidan tashqarida <\/span>yoki bir necha asrlar keyin yozilgan. Shu bois, Markaziy Osiyo, xususan, O\u02bbzbekiston xalqlari tarixini o\u02bbrganishda qo\u02bbshimcha isbot talab etiladi.<\/span><\/p>\n

Markaziy Osiyo xalqlari tarixini tadqiq etishda yuqorida zikr etilgan manbalar bilan bir qatorda sug\u02bbdiy yozma yodgorliklar ham mavjudki, ularning ilmiy ahamiyati ko\u02bbp marotaba tahlil qilingan va ilmiy asoslan\u00adgan. Lekin ushbu turkum manbalarning tarixiy tahlili bugungi kunga qadar to\u02bbliq amalga oshirilmagan bo\u02bblib, buni V.B.Xenning, E.Benvinist, V.A.Livshis, M.Is\u02bchoqov, Yu.Yoshida kabi olimlar ta\u02bckidlab keladi. Buning asosiy sabablaridan biri \u2013 bu sug\u02bbdiy yozma yodgorliklarning talqin etilishi yoki ularni o\u02bbqishning qiyinligi desak mubolag\u02bba bo\u02bblmaydi. Bugungi manbashunoslikdagi dolzarb masala bo\u02bblib kelayotgan jihatlardan biri ham ayni shu \u2013 sug\u02bbdiy yozma yodgorliklarni to\u02bbg\u02bbri talqin qilish bo\u02bblib, buning uchun yozuvning grafik fondini tiklash, boyitish va uni unifikatsiyalash masalasidir.<\/span><\/p>\n

Sug\u02bbdiylar hozirgi O\u02bbzbekistonning Zarafshon va Qashqadaryo vohasi, Tojikistonning Sug\u02bbd viloyati hududlarining qadimgi aholisi bo\u02bblgan. Mil. avv. III-II asrlarda ular Ahamoniylar davrida mahkamachilikda amal qilgan oromiy yozuvi alifbosini o\u02bbz tiliga moslashtirgan [5:25-26]. Bu yozuv alifbosi faqat undosh tovushlarni aks ettirgan. Qisqa unlilar yozuvda aks etmagan. Ular so\u02bbz tarkibida kelgan paytda intuitiv tiklab talaffuz qilin\u00adgan. Bu amaliyot yozuv madaniyatining ommaviyligi sharoitidagina mumkin bo\u02bblgani e\u02bctiborga olinsa, sug\u02bbdiylar bu sohada ancha ilg\u02bbor bo\u02bblgan. So\u02bbz tarkibida cho\u02bbziq unlilar uchragan holda sug\u02bbdiylar undosh tovush belgilari yoy harfidan \u1fd1 uchun, waw harfidan \u016b uchun foydalanishgan. Cho\u02bbziq \u1fb1 oromiy alifbosining al\u0113f harfi bilan berilgan [8:374-377].<\/span><\/p>\n

Sug\u02bbdiy til shomiy oromiy tilidan fonetik tizimiga ko\u02bbra, jiddiy farq qilgan. Bunga xos ba\u02bczi tovushlarni oromiy harflarida ifoda etib bo\u02bblmagani sababli sug\u02bbdiy alfavit l\u1fb1med harfini til uchi va tish oralig\u02bbi sirg\u02bbaluvchi \u03b4 (th) va uning jarangsiz jufti \u03d1 uchun ishlatilgan. Sug\u02bbdiy tilda qof (qaf) tovushi bo\u02bblmagan. Biroq turkiy o\u02bbzlashma so\u02bbzlarda yoki oromiycha geterogrammalarda q tovushini yozish shart bo\u02bblgan holda oromiy kaf tashdidda, ya\u02bcni qo\u02bbshaloq \u201ckk\u201d shaklida yozilgan [6:16].<\/span><\/p>\n

Bu ma\u02bclumotlar yozuv grafik shakllarining funksional moslashuvi haqida bir shingil edi [6:10-22]. Masalaning muhim jihati sug\u02bbdiy yozuvning grafik fondini yaratish ehtiyoji tobora ortib borayotganidir. Agar biz yozuv arxeologiyasi va nazariy grammatologiya metodlarini sug\u02bbdiy yozuvga tatbiq eta olsak edi, bugunga qadar topilgan va kelajakda topilish ehtimoli bo\u02bblgan har qanday sug\u02bbdiy matn bilan ishlashdagi murakkabliklar chekingan bo\u02bblardi.<\/span><\/p>\n

Qolaversa, sug\u02bbdiy yozuvning rasmiy kitobiy husnixat (kalligrafik) shakllaridan tashqari, ko\u02bbplab individual xat shakllari, mahkamachilikda amal qilgan erkin xat mashqlari, nihoyat tosh va boshqa qattiq materiallar yuzasida, ayniqsa, tangalarda yetib kelgan epigrafik yodgorliklardagi xatning o\u02bbziga xos jihatlari mavjudki, bularning hammasi sug\u02bbdshunoslik yodgorliklarida yetib kelgan xat (harfiy) namunalarining grafik fondini yaratish masalasini dolzarb qilib qo\u02bbymoqda.<\/span><\/p>\n

Sug\u02bbdiy matnlarning satrlari yuqoridan pastga \u2013 vertikal yo\u02bbnalishda joylashtirilgan namunalarida harflarning grafik shakllari ham alohida jiddiy muammodir. Avvalo, vertikal satrli sug\u02bbdiy matn tuzish amaliyotining tarixiy ildizlari hali ishonchli tarzda ochib berilmagan. Yapon olimi Yutaka Yoshida ushbu masalaga oid maqolasida bunga bir qadar oydinlik kiritishga harakat qilgan. Jumladan, olim Eski xatlar, Afrosiyob devoriy yozuvi, Panjikent devoriy suratlari orasidagi vertikal bitiklarni tahlil qilgan [22:375-391]. Bug\u02bbut yodnomasidagi vertikal yozuv misolida V.B.Xenning sug\u02bbdiy yozuvning monumental maqsadlarga mos emasligini qayd etgan [16:20-25; 7:135-137]. Ayni shu sababli vertikal sug\u02bbdiy matnlar grafik tahlili umumsug\u02bbdiy yozuv grafik fondi doirasida alohida tadqiqot obyekti bo\u02bblishi lozim. Chunki vertikal yozuv ko\u02bbnikmasi shunchaki hasham uchun emas, balki kasbiy mahorat va barqaror ko\u02bbnikmani talab qilgani aniq. Bu esa, o\u02bbz navbatida, yozuv texnologiyasi va texnik imkoniyatlari doirasida qaralmog\u02bbi lozim bo\u02bblgan masaladir.<\/span><\/p>\n

Ta\u02bckidlash lozim bo\u02bblgan yana bir masala shuki, sug\u02bbdiy yozuv grafik fondini yaratish asnosida harflarning o\u02bbxshash va farqli jihatlari yuzasidan yozuvni unifikatsiyaga intilish ham muhimdir. Bu holat yozuvni talqin etishda yanada yaxshiroq yordam beradi. Buni soha mutaxassislari ham o\u02bbz tadqiqotlarida ta\u02bckidlaydi [12:113].<\/span><\/p>\n

Qayd etish lozimki, sug\u02bbdiylar Ahamoniylar sulolasi hukmronligi davri\u00adda va ushbu mamlakatda sug\u02bbdiy yozuvning ajdodi bo\u02bblmish oromiy yozuv keng tarqalgan davrlardan buyon yozuv madaniya\u00adtiga ega bo\u02bblgan. Shu sababli ham ular Sug\u02bbd ustidan hukmronlik qilgan boshqa xalqlarga katta madaniy ta\u02bcsir o\u02bbtkazdi. Masalan, sug\u02bbdiy yozuvning \u201cuyg\u02bbur yozuvi\u201d nomi bilan qadimgi turk tilidagi yozma asarlarni ifodalashda ishlatilgani bunga dalil bo\u02bbla oladi [13:15-27]. Sug\u02bbdiy yozuvning so\u02bbnggi ko\u02bbrinishi bo\u02bblgan va \u201cturk\u201d, \u201cuyg\u02bbur yozuvi\u201d deb atalgan ushbu yozuvga keyinchalik mo\u02bbg\u02bbul tilidagi yozma asarlarni ifodalashda foydalanish maqsadida yana o\u02bbzgarti\u00adrish\u00ad kiritilgan [4:46-57]. Shu asnoda milliy sug\u02bbdiy yozuv ham turli ta\u02bcsirlar sabab o\u02bbzgarishga uchradi.<\/span><\/p>\n

Milliy sug\u02bbdiy yozuv qadimda va ilk o\u02bbrta asrlarda Markaziy Osiyodan to Mo\u02bbg\u02bbuliston va Xitoygacha, Tibetdan Yettisuvgacha bo\u02bblgan juda katta hududda shunday bir madaniy, ijtimoiy omil bo\u02bbldiki, natijada, yozuvning o\u02bbzi ham ko\u02bbpgina umumiy xususiyatlar, imloviy qoidalar kasb etdi, bir so\u02bbz bilan aytganda, unifikatsiya tomon rivojlandi. Buning natijasida, sug\u02bbdiy matnlarning deyarli barcha\u00adsida aks etgan yozuv va harflarning grafik shakllari, umumiy tashqi xususiyatlariga ko\u02bbra katta tafovutga ega emas. Ayniqsa, kotiblar tomonidan bitilgan sug\u02bbdiy-buddaviy, sug\u02bbdiy-moniy va sug\u02bbdiy-nestorian matnlari xattotlik san\u02bcatining nodir namunasi hisoblanadi [19].<\/span><\/p>\n

Mug\u02bb tog\u02bbi sug\u02bbdiy hujjatlaridagi harflarning grafik shakli va shu asosda dastxatlar o\u02bbrtasida farqlar ko\u02bbzga tashlanadi. Bunday tafovutlar asosan yozuv taraqqiyotining muayyan bosqichi, individual dastxat xususiyatlari hamda u yoki bu matnning maqsadi va vazifasi bilan bog\u02bbliq holda izohlanishi mumkin. Masalan, Mug\u02bb tog\u02bbi arxivi Nov. 3, Nov 4 (nikoh shartnomasi) I.1 (Abdurahmon ibn Subhning Devashtichga maktubi) hujjatlaridagi kalligrafik go\u02bbzal husnixat ushbu hujjatlarning tantanavor va siyosiy-diplomatik mazmuni hamda maqsadi bilan bog\u02bbliq holda izohlansa [9: 18-49], ko\u02bbpgina kundalik xo\u02bbjalik ish hujjatlaridagi yozuv husnixat talablariga rioya qilinmagan holda bitilgani ko\u02bbzga tashlanadi.<\/span><\/p>\n

Sug\u02bbdiy yozuvning mahalliy shakllari haqidagi mulohazalar sug\u02bbdshunoslikda XX asrning 50-yillarida bildirilgan edi. Buxorxudotlar \u2013 Arab xalifaligi istilosi arafasidagi (VIII asrning birinchi choragi) Buxoro hukmdorlarining tangalarida qo\u02bbllanilgan sug\u02bbdiy yozuvidagi ayrim belgilarning shakli va mazmuniga ko\u02bbra, umumsug\u02bbd milliy yozuvining bir varianti sifatida talqin qilingan [10:150-163]. Sug\u02bbdiy yozuvdagi harflarning grafik xususiyatlari va paleografiyasi masalalari keyinchalik M.Is\u02bchoqov tomonidan [4], ayni masalalarning tangalarda aks etishi yuzasidan G\u02bb.Boboyorov [1:14; 2:196] muhim ilmiy natijalarga erishdi. Lekin shuni eslatish lozimki, V.A.Shishkin tomonidan Varaxshada (Buxorxudotlarning yozgi qarorgohi) topilgan sopol bo\u02bblaklaridagi sug\u02bbdiy yozuv parchalari odatdagidek Samarqand yoki milliy sug\u02bbdiy yozuv bilan bitilgan [14:66]. Yoki 2006-yilda Poykentdan topilgan sopol parchasiga yozilgan sug\u02bbdiy yozuv namunasini misol qilib olish mumkin. Arxaik shakllarini saqlab qolgan harflar, kursiv hisoblanadi. Harflar paleografiyasi ularning qadim ekanini ko\u02bbrsatadi. Yozuv bir qator bo\u02bblib, unda ] k-y-\u03b4r \u02bc(\u03b2t \u03b4) [\u00a0 \u2013 Kidara o\u02bbn ye[tti] jumlasi bitilgan.<\/span><\/p>\n

\u201cKidara\u201d shaxs ismi sifatida ma\u02bclum bo\u02bblib, kidariylar (IV-V asrlar) hukmdori hisoblanadi. \u201cKidara\u201d ismi bitilgan mazkur sug\u02bbdiy jumlani sug\u02bbdshunos P.B.Lurye [\u02bcLK\u0160NT \u02bcYKZY ZKn] k-y-\u03b4r \u02bc(\u03b2t \u03b4) [s sr\u03b4 \u02bc\u02bcz]\u2013 \u201c[mana bu yil] Kidaraning o\u02bbn ye[ttinchi yil] (hukmronlik yili)\u201d shaklida tiklashga harakat qiladi. Jumlaning paleografik tuzilishi \u201cSamarqand sug\u02bbdiy\u201d yozuvi yoki sug\u02bbdiy yozuv \u201cstandart\u201didan farq qiladi. Ammo jumladagi Kidara ismi gap V asrning birinchi yarmi haqida borayotganiga ishora qiladi. F.Grene kidariylarning Sug\u02bbdni bosib olishini V asrning 40-yillari va ayni sulolaning Baqtriyadagi hukmronligi tugagan davrni 467-yillar bilan bog\u02bblaydi. Yuqorida keltirilgan ma\u02bclumotlar va \u201cKidaraning o\u02bbn yettinchi yili\u201d sug\u02bbdiy jumlasi orqali kidariylarning Buxoroni bosib olishi V asrning o\u02bbrtalari bo\u02bblishi mumkinligini aniqlash imkonini beradi [11:47-48]. Lekin ushbu yozuvdagi sug\u02bbdiy yozuv ham buxorxudot tangalaridan farq qiladi. Bu hol esa, yuqorida alohida ko\u02bbrsatilgan Buxoro milliy yozuvining ishlatilish doirasi nihoyat tor bo\u02bblganidan dalolat beradi. Yoki faqat buxorxudotlar o\u02bbz nomidan zarb qilingan tangalardagina ushbu yozuvdan foydalangan. Mazkur holat ham sug\u02bbdiy yozuv grafik fondining turli tumanligidan darak beradi.<\/span><\/p>\n

Yuqoridagi fikrlarni yanada aniqlashtirish maqsadida ayrim misollarni ham keltirib o\u02bbtish lozim. Masalan, ba\u02bczi harflarini hisobga olmaganda, sug\u02bbdiy yozuvli yodgorliklarda mavjud harflarning grafik shakllari ularning qariyb bir xil asosli ekanini ko\u02bbrsatadi. Jumladan, Turfan vohasidan graf Otani Kudzuy (1876 \u2013 1948) tomonidan topilgan (Hozirda Kioto (Yaponiya)dagi Ryukoku kutubxonasida saqlanadi) yana bir sug\u02bbdiy alifbo e\u02bclon qilingan edi. Ushbu kolleksiya hamda sug\u02bbdiy alifbo K.Kudara, V.Zunderman va Yu.Yoshida tomonidan yapon tilida e\u02bclon qilingan [18]. Alifbo qog\u02bbozga bitilgan bo\u02bblib, tahlil natijasida voyaga yetmagan o\u02bbquvchi tomonidan yozilgani ma\u02bclum bo\u02bbladi Unda ham harflarning aksariyat katta qismi sug\u02bbdiy alifbodagi harflar bilan qariyb bir xil ekani ko\u02bbzga tashlanadi [21:75-79].<\/span><\/p>\n

Turfandan topilgan alifbo va Panjikentdan topilgan sug\u02bbdiy alifbo harflarining qiyosiy tahliliga birinchilardan bo\u02bblib e\u02bctibor qaratgan V.A. Livshisning keltirishicha, 1965-yil Panjikent qazishmalarida arxeolog A.Isoqov tomonidan topilgan sopol parchasidagi sug\u02bbdiy alifbo 23 ta harfdan iborat bo\u02bblgan: \u02bc (\u0101leph), \u03b2 (b\u0113th), \u03b3 (gimel), d (d\u0101let), h (h\u0113), w (w\u0101w), z (zayin), x (aram.\u1e25 \u2013 \u1e25eth), \u1e6d (\u1e6deth), y (y\u014ddh), k (k\u0101ph), \u03b4 (l\u0101medh),m (m\u0113m), n (n\u016bn), s (s\u0101mek), \u02bb (ayin), p (p\u0113), c (oramiycha. \u1e63 \u2013 \u1e63\u0101d\u0113),q (q\u014dph), r (r\u0113\u0161), \u0161 (\u0161\u012bn), t (t\u0101w), l (l\u0101medh)[9: 299].<\/span><\/p>\n

Turfandan topilgan alifbodagi yozuv mashqi uch qatordan (3-qator to\u02bbliq saqlanmagan) iborat bo\u02bblib, Panjikentdagi alifbodan tartibi bilan farq qiladi. Ushbu alifbodagi harflarni esa quyidagicha talqin qilish mumkin:<\/span><\/p>\n

\u02bc \u03b2 w \u03b3 \u03b4 m \u02bb (100 raqamiga o\u02bbxshash) s r p \u03b4 (takror) t<\/span><\/p>\n

n z \u1e6d (?) \u03b4 (takror) \u02bc (yoki s?) t<\/span><\/p>\n

w y [] (p) r (?) \u0161t[9: 305]<\/span><\/p>\n

Bizningcha, ushbu alifbo Panjikentdan topilgan alifboning yana bir ko\u02bbrinishi bo\u02bblib, harflar paleografik jihatdan farq qiladi. Alifbodagi harflarning grafik shakli ularni quyidagi tarzda talqin qilish imkonini beradi:<\/span><\/p>\n

Birinchi qator: \u00a0– \u0101leph,- b\u0113th, – gimel (\u03b3\/x), – l\u0101medh, \u00a0– m\u0113m, \u00a0– \u02bbayin (ushbu grafik shakl \u201cKo\u02bbhna xatlar\u201dda 100 sonini ifodalash uchun ishlatilgan), \u00a0– \u010d (oro\u00admiycha. \u1e63 \u2013 \u1e63\u0101d\u0113), \u00a0– y (y\u014ddh), \u00a0– k (k\u0101ph) (?), \u00a0– \u03b4 (l\u0101medh), \u00a0– m (m\u0113m).<\/span><\/p>\n

Ikkinchi qator: \u00a0– n (n\u016bn) (?), \u00a0– \u02bbayin, \u00a0– l\u0101medh, \u00a0– \u0101leph, \u00a0– r (r\u0113\u0161), \u00a0– \u0161 (sh\u1fd1n), \u00a0– t (t\u0101w).<\/span><\/p>\n

Yozuv mashqi tahlili quyidagilardan darak beradi:<\/span><\/p>\n

Alifbodagi l\u0101medh harfi o\u02bbzidan keyingi harf bilan qo\u02bbshib yozilgan bo\u02bblib, siyohi juda xira va harfga qo\u02bbshilib ketgan. Ushbu harf birinchi qator 4-va ikkinchi qator 3-o\u02bbrinda takrorlangan;<\/span><\/p>\n

Kursiv n\u016bn () harfi alifbedagi ayni harfdan chap tomon chizig\u02bbining yuqoriga to\u02bbg\u02bbri qaratib chizilgani va harfning bosh qismidagi tugun mavjudligi orqali farq qiladi;<\/span><\/p>\n

Ikkinchi qatordagi \u02bbayin harfi ham ikki o\u02bbrinda \u2013 birinchi va ikkinchi qatorda takrorlangan. Birinchi qatordagi \u02bbayin harf belgisidan ko\u02bbra ko\u02bbproq sonni ifodalash uchun ishlatilgan. Ikkala shakl ham bir-biridan anchayin farqlanadi. Ayniqsa, ikkinchi \u02bbayin harfi ikkita harf kabi yozilgan;<\/span><\/p>\n

Ikkinchi qatordagi l\u0101medh harfi birinchi qatorda boshqacha shaklda takrorlangan;<\/span><\/p>\n

Ikkinchi qatordagi \u0101leph birinchi qatorda ham takrorlangan. Ushbu o\u02bbrinda \u0101leph harfining \u201cshox\u201dlari o\u02bbngga qaratib aks ettirilgani bilan farqlanadi;<\/span><\/p>\n

Alifboda he, sameh (s\u1fd1n), pe harflari yetishmaydi. Alifbodagi harflar tartib bilan joylashtirilmagan. a, l, m, \u02bbayin harflari takrorlangan. Ba\u02bczi harflarning o\u02bbqilishi ochiqligicha qolmoqda. Masalan, ikkinchi qatordagi so\u02bbnggi harf noma\u02bclum. Shuningdek, alifbodagi harflar\u00adning tuzilishi yoki chizma shakliga qarab yodgorlik qachon bitilganini aniqlash mushkul. Harflarning asosiy shakliy xususiyatlari ularda finikiy va oromiy harflarining kuchli darajada transformatsion holatini ko\u02bbrsatadi.<\/span><\/p>\n

Ta\u02bckidlash lozimki, ba\u02bczi sug\u02bbdiy yozma yodgorliklar juda qattiq shikast yetgan holda bizgacha yetib kelganki, ulardagi harflarning grafik shakllarini qayta tiklash hujjat mazmuni va uning tarixiy ahamiyati ochib berishda muhim hisoblanadi. Xususan, Pekin shahridagi Xitoy Renmin universiteti (Beyjing) olimlari tomonidan Xo\u02bbtan (SUAR janubiy g\u02bbarbidagi shahar uyezdi) viloyatida bir guruh sug\u02bbdiy hujjatlari mavjudligi aniqlangan. Ulardan 4 ta iqtisodiy mazmunga ega hujjat Amerika Sharqshunoslari Jamiyati jurnalida (Journal of the American Oriental Society) chop etilgan 130\/4 (2010). Bitta to\u02bbliq xat va bir nechta qisman saqlangan hujjatlar tahlilidan iborat. Ushbu maqola Taklamakon cho\u02bblining (SUAR\/g\u02bbarbiy Xitoy) janubidagi savdo yo\u02bbllarida sug\u02bbdiy tilda so\u02bbzlashuvchi aholi anchayin zich yashagani to\u02bbg\u02bbrisida bugungi kunda tobora ko\u02bbpayib borayotgan fikrlarni to\u02bbldirib, ushbu to\u02bbplam hujjatlarining nashr etishni yakunlaydi. E\u02bctiboringizga havola etilayotgan ushbu maqola esa to\u02bbplamda GXW 0114 raqam bilan ro\u02bbyxatga olingan Taxsich-Vandaning Anyangga maktubi hisoblanadi.<\/span><\/p>\n

32 qatordan iborat ushbu hujjat matnida quyidagi grafik holatlar ko\u02bbzga tashlanadi: asatrning oxiri bo\u02bbsh qoldirilgan, byoki shunchaki pr\u02bb\u03b3t?,c Sic,dnoaniq, ebirinchi harf w ga o\u02bbxshaydi, lekin o\u02bbqish faqat kontekstdan aniqlashadi, gk\u0161ym yoki\u02bb? ksym \u02bb? hyoki m\u02bbn,\u00a0 iSic, jyoki ny\u02bbty??, kdan tashqari, sjuda aniq, 1alohida harflar noaniq, ammo so\u02bbzni o\u02bbqish ehtimoli katta, mbirinchi uchta harfdan faqat ozgina izlarni ko\u02bbrish mumkin, ammo kdeyarli aniq, nyoki rymx \u02bb? RBmx \u02bb?, kbu yerda juda noaniq, pushbu so\u02bbz oxiridagi izlar juda noaniq, qyoki mn\u02bb, remas, s -ns- juda noaniq, tyoki \u02bbkrt\u02bbym?, ikkala holatda ham, oldingi xat yomon yozilgan, vushbu so\u02bbzlar 30- va 31-qatorlar orasida siqilgan; ularning qaysi qatorga mansubligi aniq emas, w noaniq; faqat boshlang\u02bbich t (?) va oxirgi \u0161 haqiqatan ham ko\u02bbrinadi.<\/span><\/p>\n

Mazkur holatlar ham sug\u02bbdiy yozuv grafik fondini tiklash, harflarning grafik shakllarini qiyosiy tahlil qilish, turli mintaqalarda topilgan va topilayotgan hujjatlar paleografiyasini tadqiq etish muammolarini muhim masala qilib qo\u02bbymoqda. Bu kabi holatlarning boshqa sug\u02bbdiy manbalar orqali uchrashi masalaning dolzarb ekanini ko\u02bbrsatadi.<\/span><\/p>\n

Mazkur manbadagi yozuvlarning grafik shakli ham boshqa sug\u02bbdiy manbalarga o\u02bbxshash. Ayniqsa, milliy sug\u02bbdiy yozuv harflarining aksariyatini takrorlaydi. Shuning uchun ham aytish mumkinki, milliy sug\u02bbdiy yozuvdagi umumiy unifikatsiya jarayoni sug\u02bbdiy yozma yodgorliklarning barcha turida ko\u02bbzga tashlanadi. Avvalo, shunisi muhimki, sug\u02bbdiy yozuv, u qanday materialda bo\u02bblmasin \u2013 yodgorlikning yozilgan vaqti bilan mutanosib holda yagona paleografik rivojlanish bosqichlaridan o\u02bbtgan. Bu hol, o\u02bbz navbatida, sug\u02bbdiy yozuvning monumental shakllari bo\u02bblmagan, degan xulosaga olib keladi. Masalan, sof monumental maqsadlarni ko\u02bbzda tutgan Bug\u02bbut yodnomasidagi yozuv (580-yillarga oid, Muxan hoqonning ukasi Maxan tegin qabriga qo\u02bbyilgan tosh epitafiya) [17:69-102], 808-832-yillarga oid Qorabolg\u02bbasun yodnomasidagi sug\u02bbdiy matn yozuvi [15:125-133], Tibetdagi Ladak manzilgohida saqlangan 841-yilga oid qoyatoshdagi sug\u02bbdiy yozuv [20:25-32], Yettisuv viloyati Talas daryosi vodiysidagi Teraksoy va Qulonsoy daralaridagi qoyatoshga bitilgan sug\u02bbdiy yozuvlar monumental yodgorliklar bo\u02bblishiga qaramay [9:368-388], paleografik jihatdan qo\u02bblyozma matnlardagi yozuv xususiyatlarini o\u02bbzida to\u02bbla mujassam etgan. Hatto, Bug\u02bbut yodnomasida mutaxassislar kitobiy kalligrafiya yoki \u201csutra\u201d sug\u02bbdiy yozuv elementlari bilan jiddiy yaqinlik va umumiylik topmoqdaki [23: 97-108], bu, o\u02bbz navbatida, sug\u02bbdiy yozuvning yuqori takomil bosqichi VII-X asr, sug\u02bbdiy-buddaviy diniy matnlarida kuzatilgan \u201csutra\u201d yozuvi an\u02bcanasi V-VI asrlardayoq shakllangan edi [7:121-146], degan fikrga kelish imkonini beradi. Tangalardagi yozuvlar ham paleografik jihatdan sug\u02bbdiy qo\u02bblyozmalardagi yozuvga o\u02bbxshash sug\u02bbdiy yozuvning unifikatsiyasiga intilish tendensiyasidan chetda emas.<\/span><\/p>\n

Xulosa sifatida shuni aytish mumkinki, sug\u02bbdiy yozuv, ayrim mahalliy xususiyatlardan tashqari, umumiy yagona rivojlanish tendensiyasini boshdan kechirgan. Bu ham bo\u02bblsa, sug\u02bbdiy yozuvning qo\u02bblyozma, kitobiy shakllari ta\u02bcsiri ostida bo\u02bblgani natijasidir. Yozuv monumental, kitobiy va oddiy kundalik ehtiyojlar uchun umumiy madaniy-tarixiy hodisaga aylangan va jamiyatda savodxonlik darajasi kutilganidan baland bo\u02bblgan, deyishga asos bor. Yodgorliklarning yozuvlaridagi husnixat an\u02bcanasining yuksakligi, xat turlarining xilma-xilligi, tashqi tafovutlarning umumiy yozuv madaniyati doirasida xronologik ketma-ketligi va izchilligi, individual xat namunalarining ko\u02bbpligi, hujjatlarning funksional jihatdan jamiyat hayotining ijtimoiy tartibi, boshqaruv va turli darajalardagi nazorat tizimiga xizmat qilishi, o\u02bbzaro xat (munshaot) almashuvi namunalari uslubiy xususiyatlarining qat\u02bciy qoidalarga bo\u02bbysunishi, hatto podsholik farmonlarida ham munshaot an\u02bcanalaridan foydalanish (hujjatning boshlov qismi: invokatsiya (hujjatdagi Yaratganning sifatlari bilan bog\u02bbliq qism), intitulyatsiya (hujjat kimning nomidan jo\u02bbnatilgani to\u02bbg\u02bbrisida ko\u02bbrsatma), inskripsiya (hujjat jo\u02bbnatilgan manzil \u2013 adresat), salyutatsiya (hujjatda keltirilgan tabrik va salom); hujjatning asosiy qismi: arenga (preambula \u2013 hujjatni tuzish uchun sabab), promulgatsiya (hujjat mazmuni haqida oldindan ogohlantirish), narratsiya (hujjat mazmuni haqida ma\u02bclumot berish), dispozitsiya (hujjat matnidagi gap va savollar), sanksiya (hujjatlarda keltirilgan shartlarni buzishni taqiqlash), korroboratsiya (hujjatning haqiqiyligini tekshirish, imzo va muhr); hujjat yakuni: datum (hujjat bitilgan joy va sana), apprekatsiya (hujjat xulosasi va minnatdorchiliklar); hujjat tuzilishi: eskordium (hujjatning ifoda tarzi, uslubi, bayon etish), publikatsiya (e\u02bclon, hujjat mazmunidan xabar berish), sigilla (hujjat mazmunini ochib berish uchun ishlatilgan qo\u02bbshimcha belgilar)larning munshaot va farmonlarda qo\u02bbllanish tartibining qat\u02bciy amal qilishi), hujjatlar formulyarlarining puxta ishlab chiqilgan standartlari mavjudligi \u2013 bular hammasi islom davriga qadar sug\u02bbdiy yozuv madaniyatining yuqori darajaga erishganidan dalolat beradi.<\/span><\/p>\n

Yozuv madaniyatning bunday yuksak darajasi tufayli Markaziy Osiyo xalqlari islom davri arab yozuviga o\u02bbtish jarayonida qiyinchilik sezmagan. Chunki arab yozuvining tipologik tuzilishi bilan sug\u02bbdiy va mahalliy oromiy ajdodli yozuvlar tipologik asoslari (ABIGIDI) bir xil edi. Masala arab yozuvining grafik asoslarini o\u02bbzlashtirishdan iborat edi. Biroq arab yozuvini mahalliy tillarga moslashtirish masalasi bir qadar muammoli edi. Lekin bu masalaning yechimini arab harflariga diakretik qo\u02bbshimchalar kiritish orqali osongina hal qilingan. Zero, ajdodlarimiz oromiy yozuvidan mahalliy tillarga o\u02bbtish alifbolari tajribasini unutmagan edi.<\/span>\u00a0<\/strong><\/span><\/p>\n

FOYDALANILGAN ADABIYOTLAR:<\/strong><\/span><\/div>\n
    \n
  1. \n
    \u0411\u0430\u0431\u0430\u044f\u0440\u043e\u0432 \u0413., \u041a\u0443\u0431\u0430\u0442\u0438\u043d \u0410. \u0414\u043e\u0438\u0441\u043b\u0430\u043c\u0441\u043a\u0438\u0435 \u043c\u043e\u043d\u0435\u0442\u044b \u0421\u043e\u0433\u0434\u0430: \u043d\u043e\u0432\u044b\u0435 \u0447\u0442\u0435\u043d\u0438\u044f \u0438 \u0438\u043d\u0442\u0435\u0440\u043f\u0440\u0435\u0442\u0430\u0446\u0438\u0438 \u043b\u0435\u0433\u0435\u043d\u0434 \/\/ O\u02bbzbekiston tarixining dolzarb muammolari yosh tadqiqotchilar talqinida. O\u02bbzR FA Arxeologiya institutida 2012-yil 6-7-aprelda o\u02bbtkazilgan yosh olimlar Respublika konferensiyasi materiallari. \u2013 Samarqand, 2012.<\/span><\/div>\n<\/li>\n
  2. \n
    \u0411\u0430\u0431\u0430\u044f\u0440\u043e\u0432 \u0413., \u041a\u0443\u0431\u0430\u0442\u0438\u043d \u0410. \u041c\u043e\u043d\u0435\u0442\u044b \u0417\u0430\u043f\u0430\u0434\u043d\u043e-\u0422\u044e\u0440\u043a\u0441\u043a\u043e\u0433\u043e \u043a\u0430\u0433\u0430\u043d\u0430\u0442\u0430 \u0441 \u0442\u0438\u0442\u0443\u043b\u043e\u043c \u0442\u044e\u0440\u043a-\u043a\u0430\u0433\u0430\u043d \/\/ \u042d\u0412. XXXI. \u2013 \u041c\u043e\u0441\u043a\u0432\u0430, 2015.<\/span><\/div>\n<\/li>\n
  3. \n
    \u0418\u0441\u0445\u0430\u043a\u043e\u0432 \u041c.\u041c. \u041f\u0430\u043b\u0435\u043e\u0433\u0440\u0430\u0444\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0435 \u0441\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u0438\u0445 \u043f\u0438\u0441\u044c\u043c\u0435\u043d\u043d\u044b\u0445 \u043f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u043e\u0432: \u0414\u0438\u0441\u0441. \u0434\u043e\u043a\u0442. \u0438\u0441\u0442. \u043d\u0430\u0443\u043a. \u2013\u0422., 1992. \u2013280 \u043b.<\/span><\/div>\n<\/li>\n
  4. \n
    \u0418\u0441\u0445\u0430\u043a\u043e\u0432 \u041c.\u041c. \u041f\u0440\u0435\u0435\u043c\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0441\u0442\u044c \u0432 \u0438\u0441\u0442\u043e\u0440\u0438\u0438 \u0434\u0440\u0435\u0432\u043d\u0438\u0445 \u0442\u044e\u0440\u043a\u0441\u043a\u0438\u0445 \u0441\u0438\u0441\u0442\u0435\u043c \u043f\u0438\u0441\u044c\u043c\u0435\u043d\u043d\u043e\u0441\u0442\u0438 (\u0441\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u043e-\u0442\u044e\u0440\u043a\u0441\u043a\u0438\u0435 \u043a\u043e\u043d\u0442\u0430\u043a\u0442\u044b) \/\/ \u040e\u0437\u0431\u0435\u043a\u0438\u0441\u0442\u043e\u043d \u0442\u0430\u0440\u0438\u0445\u0438. \u2013 \u0422., 2000. \u21164.<\/span><\/div>\n<\/li>\n
  5. \n
    \u0418\u0441\u0445\u0430\u043a\u043e\u0432 \u041c.\u041c. \u0426\u0435\u043d\u0442\u0440\u0430\u043b\u044c\u043d\u0430\u044f \u0410\u0437\u0438\u044f \u0432 \u0441\u0438\u0441\u0442\u0435\u043c\u0435 \u043c\u0438\u0440\u043e\u0432\u043e\u0439 \u043f\u0438\u0441\u043c\u0435\u043d\u043d\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b. \u2013 \u0422.: \u0423\u041c\u042d\u0414, 2008.<\/span><\/div>\n<\/li>\n
  6. \n
    \u0418\u0441\u04b3\u043e\u049b\u043e\u0432 \u041c., \u0492\u043e\u0439\u0438\u0431\u043e\u0432 \u0411. \u0422\u0443\u0440\u043a\u0438\u0439 \u0432\u0430 \u0441\u0443\u0493\u0434\u0438\u0439 \u0451\u0437\u0443\u0432\u043b\u0430\u0440\u0438 \u044f\u0440\u0430\u0442\u0438\u043b\u0438\u0448\u0438\u043d\u0438\u043d\u0433 \u0442\u0430\u0440\u0438\u0445\u0438\u0439 \u0431\u0438\u0440\u043b\u0438\u0433\u0438 \u0430\u0441\u043e\u0441\u043b\u0430\u0440\u0438 \/\/ \u040e\u0437\u0431\u0435\u043a\u0438\u0441\u0442\u043e\u043d \u0442\u0430\u0440\u0438\u0445\u0438. 2023\/<\/span><\/div>\n<\/li>\n
  7. \n
    \u041a\u043b\u044f\u0448\u0442\u043e\u0440\u043d\u044b\u0439\u0421.\u0413. \u041b\u0438\u0432\u0448\u0438\u0446\u0412.\u0410. \u0421\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u0430\u044f \u043d\u0430\u0434\u043f\u0438\u0441\u044c \u0438\u0437 \u0411\u0443\u0433\u0443\u0442\u0430 \/\/ \u0421\u041d\u0412. \u2013 \u041c\u043e\u0441\u043a\u0432\u0430, 1971. \u2013 \u0412\u044b\u043f. 10.<\/span><\/div>\n<\/li>\n
  8. \n
    \u041b\u0438\u0432\u0448\u0438\u0446 \u0412.\u0410., \u0425\u0440\u043e\u043c\u043e\u0432 \u0410.\u041b. \u0421\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u0438\u0439 \u044f\u0437\u044b\u043a \/ \u041e\u0441\u043d\u043e\u0432\u044b \u0438\u0440\u0430\u043d\u0441\u043a\u043e\u0433\u043e \u044f\u0437\u044b\u043a\u043e\u0437\u0430\u043d\u0438\u044f. \u0421\u0440\u0435\u043d\u0435\u0438\u0440\u0430\u043d\u0441\u043a\u0438\u0435 \u044f\u0437\u044b\u043a\u0438. \u2013 \u041c\u043e\u0441\u043a\u0432\u0430: \u041d\u0430\u0443\u043a\u0430, 1981.<\/span><\/div>\n<\/li>\n
  9. \n
    \u041b\u0438\u0432\u0448\u0438\u0446 \u0412.\u0410. \u0421\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u0430\u044f \u044d\u043f\u0438\u0433\u0440\u0430\u0444\u0438\u043a\u0430 \u0421\u0440\u0435\u0434\u043d\u0435\u0439 \u0410\u0437\u0438\u0438 \u0438 \u0421\u0435\u043c\u0438\u0440\u0435\u0447\u044c\u044f. \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433, 2008.<\/span><\/div>\n<\/li>\n
  10. \n
    \u041b\u0438\u0432\u0448\u0438\u0446 \u0412.\u0410., \u041a\u0430\u0443\u0444\u043c\u0430\u043d \u041a.\u0412., \u0414\u044c\u044f\u043a\u043e\u043d\u043e\u0432 \u0418.\u041c. \u041e \u0434\u0440\u0435\u0432\u043d\u0435\u0439 \u0441\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u043e\u0439 \u043f\u0438\u0441\u044c\u043c\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u0411\u0443\u0445\u0430\u0440\u044b \/\/ \u0412\u0414\u0418. 1954, \u21161.<\/span><\/div>\n<\/li>\n
  11. \n
    \u041b\u0443\u0440\u044c\u0435 \u041f.\u0411. \u041e \u0441\u043e\u0433\u0434\u0438\u0439\u0441\u043a\u0438\u0445 \u043e\u0441\u0442\u0440\u0430\u043a\u0430\u0445 \u0438\u0437 \u0440\u0430\u0441\u043a\u043e\u043f\u043e\u043a \u041f\u0430\u0439\u043a\u0435\u043d\u0434\u0430 2006 \u0433. \/\/ \u041c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u044b \u0411\u0443\u0445\u0430\u0440\u0441\u043a\u043e\u0439 \u0430\u0440\u0445\u0435\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u044d\u043a\u0441\u043f\u0435\u0434\u0438\u0446\u0438\u0438. \u0412\u044b\u043f. VIII. \u0421\u041f\u0431., 2007.<\/span><\/div>\n<\/li>\n
  12. \n
    \u041b\u0443\u0440\u044c\u0435 \u041f.\u0411. \u041c\u0435\u0442\u043e\u0434\u044b \u041b\u0438\u0432\u0448\u0438\u0446\u0430 \/\/ \u041f\u0438\u0441\u044c\u043c\u0435\u043d\u043d\u044b\u0435 \u043f\u0430\u043c\u044f\u0442\u043d\u0438\u043a\u0438 \u0412\u043e\u0441\u0442\u043e\u043a\u0430. \u0422\u043e\u043c 15. \u21161. \u0412\u0435\u0441\u043d\u0430, 2018.<\/span><\/div>\n<\/li>\n
  13. \n
    \u0422\u0443\u0433\u0443\u0448\u0435\u0432\u0430 \u041b.\u042e. \u0423\u0439\u0433\u0443\u0440\u0441\u043a\u0430\u044f \u0432\u0435\u0440\u0441\u0438\u044f \u0431\u0438\u043e\u0433\u0440\u0430\u0444\u0438\u0438 \u0421\u044e\u0430\u043d\u044c \u0426\u0437\u044f\u043d\u0430 (\u0444\u0440\u0430\u0433\u043c\u0435\u043d\u0442\u044b \u0438\u0437 \u041b\u0435\u043d\u0438\u043d\u0433\u0440\u0430\u0434\u0441\u043a\u043e\u0433\u043e \u0440\u0443\u043a\u043e\u043f\u0438\u0441\u043d\u043e\u0433\u043e \u0441\u043e\u0431\u0440\u0430\u043d\u0438\u044f \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442\u0430 \u0412\u043e\u0441\u0442\u043e\u043a\u043e\u0432\u0435\u0434\u0435\u043d\u0438\u044f \u0410\u041d \u0421\u0421\u0421\u0420). \u2013 \u041c\u043e\u0441\u043a\u0432\u0430: \u041d\u0430\u0443\u043a\u0430, 1991.<\/span><\/div>\n<\/li>\n
  14. \n
    \u0428\u0438\u0448\u043a\u0438\u043d \u0412.\u0410. \u0412\u0430\u0440\u0430\u0445\u0448\u0430. \u2013 \u041c\u043e\u0441\u043a\u0432\u0430: \u0418\u0437\u0434. \u0410\u041d\u0421\u0421\u0420, 1963.<\/span><\/div>\n<\/li>\n
  15. \n
    Hamilton J. L\u2019inscription trilingue de Qara Balgasun d\u2019apr\u00e8s les estampages de Bouillane de Lacoste \/\/ A. Haneda, ed.,\u00a0Documentset archives provenant de l\u2019Asie Centrale. \u2013 Kyoto, 1990.<\/span><\/div>\n<\/li>\n
  16. \n
    Henning W.B. Mitteliranisch. Handbuch der Orientalistik, 1. Abt., Bd IV: Iranistik. Abschnitt l: Linguistik. \u2013 Leiden\u2013 K\u00f6ln, 1958.<\/span><\/div>\n<\/li>\n
  17. \n
    Klja\u0161tornyj S.G., Liv\u0161ic V.A. The Sogdian inscription of Bugut reviced \/\/ AOASH. \u2013 Budapest, 1972. \u2013 Tom. XXVI (1).<\/span><\/div>\n<\/li>\n
  18. \n
    Kudara K., Sundermann W., Yoshida Y. Iranian Fragments from \u00d4tani Collection: Iranian Fragments unearthed in Central Asia by the \u00d4tani Mission and kept at the Library of Ry\u016bkoku University. Facsimile Volume. Text Volume. \u2013 Kyoto, 1997. (in Japanese).<\/span><\/div>\n<\/li>\n
  19. \n
    Reck C. The Sogdians and their religions in Turfan: Evidencein the Catalogue of the Middle Iranian fragments in sogdian script of the Berlin Turfan Collection \/\/ Entangled religions 11.6 (2020) https:\/\/er.ceres.rub.de\/index.php\/ER\/<\/a> article\/view\/9222<\/span><\/div>\n<\/li>\n
  20. \n
    Sims-Williams N. The Sogdian Merchants in China and India. Cina e Iran. Da Alessandro Mango alla Dinastia Tang, a cura di Alfredo Cadonna e Lionello Lanciotti. \u2013 Firenze., 1996.<\/span><\/div>\n<\/li>\n
  21. \n
    Yoshida Y. Sogdian miscellany IV. Studies in the Inner Asian languages X (1995).<\/span><\/div>\n<\/li>\n
  22. \n
    Yoshida Y. When did sogdians begin to wrety wertically? \/\/ Tokyo university linguistic papers (TULIP), 2013, 33.<\/span><\/div>\n<\/li>\n
  23. \n
    Yoshida Y. Sogdian version of the Bugut inscription revisited \/\/ Journal Asiatique. 307 (1).<\/span><\/div>\n<\/li>\n<\/ol>\n
    MIRSODIQ IS\u02bcHOQOV,<\/span><\/strong><\/div>\n
    tarix fanlari doktori, TDSHU professori,<\/span><\/strong><\/div>\n
    BOBIR G\u02bbOYIBOV,<\/span><\/strong><\/div>\n
    tarix fanlari doktori, SamDU professori<\/span><\/strong><\/div>\n","protected":false},"excerpt":{"rendered":"

    Markaziy Osiyo tarixi qadim tarixga ega mintaqa hisoblanadi. Mintaqa tarixiga doir ma\u02bclumotlar yunon-rim, arman, fors, pahlaviy, hind, elam, xitoy, turkiy, baqtriy, arabiy tilli ko\u02bbplab manbalarda yetib kelgan. Ushbu manbalarning katta qismi Markaziy Osiyo xalqlari muhitidan tashqarida yoki bir necha asrlar keyin yozilgan. Shu bois, Markaziy Osiyo, xususan, O\u02bbzbekiston xalqlari tarixini o\u02bbrganishda qo\u02bbshimcha isbot talab etiladi. …<\/p>\n","protected":false},"author":1,"featured_media":40415,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[639],"tags":[],"yoast_head":"\nSUG\u02bbDIY YOZMA YODGORLIKLAR GRAFIK FONDINI YARATISH MASALASI - Imom Buxoriy xalqaro ilmiy-tadqiqot markazi<\/title>\n<meta name=\"description\" content=\"SUG\u02bbDIY YOZMA YODGORLIKLAR GRAFIK FONDINI YARATISH MASALASI\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bukhari.uz\/?p=40414&lang=oz\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SUG\u02bbDIY YOZMA YODGORLIKLAR GRAFIK FONDINI YARATISH MASALASI - Imom Buxoriy xalqaro ilmiy-tadqiqot markazi\" \/>\n<meta property=\"og:description\" content=\"SUG\u02bbDIY YOZMA YODGORLIKLAR GRAFIK FONDINI YARATISH MASALASI\" \/>\n<meta property=\"og:url\" content=\"https:\/\/bukhari.uz\/?p=40414&lang=oz\" \/>\n<meta property=\"og:site_name\" content=\"Imom Buxoriy xalqaro ilmiy-tadqiqot markazi\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/bukharicenter\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-02-20T04:32:06+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-17T06:46:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/bukhari.uz\/wp-content\/uploads\/2025\/02\/sugdiy2002.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"660\" \/>\n\t<meta property=\"og:image:height\" content=\"414\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Markaz\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@www_bukhari_uz\" \/>\n<meta name=\"twitter:site\" content=\"@www_bukhari_uz\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Markaz\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/bukhari.uz\/?p=40414&lang=oz\",\"url\":\"https:\/\/bukhari.uz\/?p=40414&lang=oz\",\"name\":\"SUG\u02bbDIY YOZMA YODGORLIKLAR GRAFIK FONDINI YARATISH MASALASI - 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