This article analyzes the role of artistic dreams in the interpretation of the road, passenger, journey and address in the epics of Alisher Navoi, the poetic connection between these symbols and dreams, the importance of dreams in the plot and composition of the work. Each of the epics has been studied separately, and commonalities and differences in the use of dreams have been identified. In particular, the dreams in "Farhod and Shirin", "Layli and Majnun" and "Saddi Iskandariy" are mainly episodic, and we have classified them as "messenger dream", "auxiliary dream", "false dream" and "warning dream". We grouped the dreams in “Sab'ai Sayyar” as “author's dreams” and “heroes' dreams” and found that these dreams served as a prelude to the events of the work. In addition, it was revealed that the dreams in "Sab'ai Sayyar" and "Lisonu-t-tayr" serve as a motive for the heroes to take on new journeys and adventures, and the dreams in "Saddi Iskandariy" provide compositional integrity. The article examines the existing theoretical views on dreams in sciences such as folklore, mysticism, psychology. Appropriate views have been applied to Navoi's epics. Through the observation of dreams, Navoi's scientific views were compared with the achievements of Western science in this field, and it was determined which theoretical ideas of Eastern thinkers served as the basis for the interpretation of artistic dreams in his creative epics.