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Journal articles on the topic 'Sufi poets'
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1
Wachid B.S., Abdul. "Lukisan Peleburan Cinta yang Erotik: Puisi Sufi di antara Estetika dan Etika Cinta Ilahiyah." Al-Jami'ah: Journal of Islamic Studies 43, no. 2 (November 30, 2005): 475. http://dx.doi.org/10.14421/ajis.2005.432.475-499.
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The ecstatic experience of a Sufi often drives him or her to producing such unusual sayings ordinarily called as shathiyya, which are sometimes problematic for common people. This is due to the fact that the expressions are not in common language; they are articulated in “the language of heart”, which is figurative and symbolic, since they state conative experiences. In this regard, love poems with their erotic expressions are chosen as a media for a Sufi’s reflection. In addition, the writer discusses the rationale of Sufis in connection with their erotic-love poetic illustrations. Some poems of Sufi Poets, such as those of Sana’i, Rabi‘a al-Adawiyya, Sa‘di, Jami‘,and Amir Hamzah, are elaborated for a further appreciation of the Sufis’ shathiyya.
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Khalid Saifullah. "Discourse Analysis." Linguistics and Literature Review 2, no. 1 (March 31, 2016): 29–38. http://dx.doi.org/10.32350/llr.v2i1.245.
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The present study aims at analyzing the discourse of Sufi poetry, a prominent genre of Sufi Literature. Sufi poets have been publicizing Sufism and their philosophy through poetry. Text and language is central to Sufi literature therefore Sufi poets use poetic language to mesmerize the hearts of people. In this study thematic discourse analysis of Sufi poetry is conducted in qualitative research paradigm whereas Post-structuralism is used as theoretical framework epistemologically. Textual data in form of poetry verses is collected purposively from online resources. The study concludes that poetry of two Sufi poets, Bulleh Shah and Rumi holds common themes of universal love, purification of soul and humility.
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Hajriansyah, Hajriansyah. "PENGALAMAN BERAGAMA SUFI JALALUDDIN RUMI DALAM PERSPEKTIF PSIKOLOGI." Jurnal Ilmiah Ilmu Ushuluddin 14, no. 1 (March 1, 2016): 49. http://dx.doi.org/10.18592/jiu.v14i1.684.
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Sufis poetry or the poetry of Islamic Mysticism is part of the cultural heritage of Islam. If the mention of the manynames of Sufi poets, the most commonly known and easily referred to is the name of Maulana Jalaluddin Rumi orRumi. This writing wants to frame the religious experience of Rumi, through his poetries that reflects the attitude ofSufis doctrine, in the perspective of Sufi psychologhy. The conclusion was obtained that Rumi was from the type ofprophetic religion, so that his attitude of the religion did not leave Syariat aspects which part of Islamic doctrine,although he put a lot of mystical attitude in his eccentric poems since his meeting with Syams Tabriz.
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Drozdov, V., and A. Šela. "Problem of the Authorship of the ‘Ishq-name (“The Book of Love”) Poem Attributed to Sana’i from the Regard of Academic Oriental Studies and Modern Computer Technologies." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 27, no. 2 (December 2021): 53–62. http://dx.doi.org/10.31250/1238-5018-2021-27-2-53-62.
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One of the greatest Persian Sufi poets of the 12th century Sana’i (d. 535/1140 or 545/1150) is founder of the Sufi didactical mathnawi poem in Iran. His works exerted enormous influence upon many posterior authors in the Persian Sufi and secular poetry. But the problem of the authorship of Sana’i in regard to the short poems has been debated among the scientists during 20th century and right up to the nowadays. The paper covers the history of studying of the short poems attributed to Sana’i , special attention is devoted to ‘Ishq name (“The Book of Love”), one of the main Sufi writing in the Persian literature on the subject of Mystical Love. For the definition of the authorship of this poem the paper proposes the using of the latest computational methods in particular digital stylometry. The paper tries to answer the question, who is the author of ‘Ishq name poem: Sana’i or the Sufi shaykh and author of the 14th century ‘Izz al Din Mahmud Kashani (d. 735/1334–35).
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Al zhery, Dr Nahy Abid Ibrahem. "Symbols of Sufism and Gratitude (Al-Irfan)in the poetry of Igbal Al-Lahouri." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 225, no. 1 (September 1, 2018): 247–82. http://dx.doi.org/10.36473/ujhss.v225i1.121.
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The Indiana poet Mohammad Iqbal Al-Lahouri is one of the great poets who shined Like as star in the Indian subcontinent in the past 100 years. He became a distinguished literary phenomenon in today's world. Many literary works and were written about him. One of the important aspects of Iqbal's poetry is the reflection of mystical concepts and knowledge in his poems as was the case of Sufi scholars one of which is the great persian Sufi poet (JalaluddinAl-Roumi). That is why the current research came under this title.
(symbols of Sufism and Gratitude (Al-Irfan)in the poetry of Igbal Al-Lahouri).
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Sabir qızı Abdullayeva, Gülər. "Fuzuli and Galib poetry in similar genres." SCIENTIFIC WORK 80, no. 7 (July 17, 2022): 62–66. http://dx.doi.org/10.36719/2663-4619/80/62-66.
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XVIII əsr Türk sufi şairi Şeyx Qalib Fizuli ənənələri davam və inkişaf etdirən şairlərdən biri olmuşdur. Bu iki sənətkarı birləşdirən ortaq xüsusiyyət onların eyni mövzu və janrlarda şeirlər yazmasıdır. Qalibin qəzəl janrında yazdığı şeirlər Füzulinin qəzəllərini xatırladır. Şeyx Qalib divanında Füzuliyə həsr olunmuş şeirlər arasında təxmislərlər xüsusi yer tutur. Bu onu göstərir ki, hər iki şairin əsərlərində forma və məzmun baxımından ortaq xüsusiyyətlər vardır. Mövzu baxımından hər iki şairin yaradıcılığında məhəbbət mövzusu öndə gedən yerlərdən birini tutur. İlahi eşqi sonsuz məhəbbətlə tərənnüm edən bu şairlər dünya eşqinin əzabını yaşamış və tale yüklü bir ömür yaşayaraq ilahi eşq yaşantılarını şeirə çevirə bilmişlər. Məqalədə hər iki şairin qəzəl janrında yazdığı şeirlər müqayisəli şəkildə təhlil olunur. Açar sözlər:Məhəmməd Füzuli,Türk ədəbiyyatı, Şeyx Qalib, qəzəl, ilahi eşq Gular Sabir Abdullayeva Fuzuli and Galib poetry in similar genres Abstract The eighteenth-century Turkish Sufi poet Sheikh Galib Fuzuli is one of the poets who continued and developed the traditions. The common denominator that unites these two artists is their theme in terms of both theme and genre. His poems in the ghazal genre are reminiscent of Fuzuli's ghazals. Among the poems dedicated to Fizuli in Sheikh Galib's divan, takhmis have a special place. This shows that both poets have common features in their work in terms of form and content. From the point of view of the theme, the theme of love occupies a leading place in the works of both poets. These poets, who sang of divine love with infinite love, experienced the sufferings of worldly love and were able to turn their emotional turmoil into poetry by living a life full of destiny. The article describes in detail the subject matter of the ghazals of both poets. Key words: Turkish literature, Sheikh Galib, Muhammad Fuzuli, divine love, ghazal
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Aitken, Molly Emma, and Allison Busch. "The Transcultural Eros of the Manchester Cāndāyana." Comparative Studies of South Asia, Africa and the Middle East 42, no. 2 (August 1, 2022): 293–308. http://dx.doi.org/10.1215/1089201x-9987749.
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Abstract This essay explores a single illustrated manuscript of Maulana Daud's Sufi narrative the Cāndāyana from the Rylands Library, Manchester, to help make sense of how Sufi poets and the sultanate-period painters who illustrated their verses realized the indigenous aesthetics of eros and the nāyikā.
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Hamed Ezzeldin, Hend. "A Flight Within: Keat’s Nightingale In Light of the Sufis." Advances in Language and Literary Studies 9, no. 3 (June 30, 2018): 121. http://dx.doi.org/10.7575/aiac.alls.v.9n.3p.121.
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Sufism is the mode of religious life in Islam in which emphasis is placed on the activities of the inner self than external rituals and performances. The essence of Sufism lies in its internal transcendental experience. The aim of Sufis is to delve into the human soul and see through its darkness in order to reach the ultimate truth. Sufi poetry is abundant with images that present the human soul as a mystery that could be decrypted via contemplation, meditation, and inner vision. The target of Sufis is to reunite with the Universal Self that is the ‘truer’ self of every human (i.e. God). Likewise, Romanticism is founded on the doctrine that all creation began in harmonious unity. Romantic poets share Sufis’ quest for truth and an illuminating path towards reaching the essence of the Divine. A renowned Romantic poet, John Keats, contrary to his fellow Romantics, never alluded to sharing any interest with the orient or the spirituality it incarnates. However, by attempting a Sufi reading of his poem ‘Ode to a Nightingale’, this research paper will attempt to highlight the underlying philosophy and uncover the spiritual implications hidden within Keats’ ode and propound a solid connection between Sufi and Romantic ideologies.
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Elhariry, Yasser. "Abdelwahab Meddeb, Sufi Poets, and the New Francophone Lyric." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 255–68. http://dx.doi.org/10.1632/pmla.2016.131.2.255.
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This is the first work of criticism to read Abdelwahab Meddeb as a poet. Selfconsciously indeterminate from philosophical and poetic perspectives, Meddeb's poetry is indebted to European, especially French, high poetic modernism; to the French literary turn to the United States; and to the author's desire to be read in the lineage of the major Sufi poets of classical Arabic literature. Turning his back on the hegemony of postcolonial literary prose with the 1987 chapbook Tombeau d'Ibn Arabi, Meddeb generates a new francophone lyric infused with the Sufi traditions of al-Andalus, North Africa, and the Near and Middle Easts. His new lyric rewrites itself as a Sufi consciousness in search of what lies beyond its knowledge of its current state, and his tonguing of the new francophone lyric leads us to a long overdue analytical paradigm.
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Fatma, Zaitoon, and Saadia Imtiaz. "The Great Poet of Today’s Kafi: Afzal Hussain Gilani." Negotiations 1, no. 2 (October 18, 2021): 35–40. http://dx.doi.org/10.54064/negotiations.v1i2.20.
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اجوکی کافی دا وَڈا شاعر:افضال حسین گیلانی
Kafi is a genre of Poetry that is found in the poetry of Sufis. It contains accessories such as Naat, Manqabat, and Qasida where the state of distance and the pleasure of connection are maintained. Kafi began with Shah Hussain and many Sufi poets experimented with it. One of them is Syed Afzal Hussain Gilani who has described Kafi as a classical tradition as well as a contemporary one. This article discusses Syed Afzal Hussain Gilani's Kafies.
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iraj, Fuad Mahbub, Ridwan Arif, M. Syadli, and Amril Amril. "The Existence and the Challenges of Sufi Literature in Indonesia." Jurnal Akidah & Pemikiran Islam 24, no. 1 (June 30, 2022): 243–70. http://dx.doi.org/10.22452/afkar.vol24no1.7.
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The article is aimed at elaborating on the challenges of Sufi literature in Indonesia. This research is library research using a historical approach to obtain data and conducting content analysis. This research shows that Sufi literary treasures are the largest and most important part of the Islamic literature treasury. Sufi poets are not only pioneers in the revival of national literature in their countries, but they are also pioneers of the rise of the Islamic world. Sufis did not write mystical and transcendental works which are individualistic in nature. Their works are also associated with a social life that appeared in political allegory and literary whit history patterns. Sufism has influenced Indonesian literature since the early era of the spread of Islam in the Archipelago, i.e., in the 13th century. The emergence and development of Sufi literature in Indonesia is a direct impact on the swift process of Islamization, in which among the main actors are saints, scholars, teachers, and Sufi scholars. The works of the 16th-18th centuries have their position in the overall history of Islamic intellectuals in Indonesia. There are many important aspects in these works, especially those related to the way of life, the picture of the world (weltanschauung), and the value system of society. Even these Sufi works influence modern Indonesian literature. The existence of Sufi literature in Indonesia in this modern era is being challenged. The technical issues such as difficulty in obtaining theory and material resources, as well as references for Islamic aesthetics, literature, and culture, were often propounded as a reason for the less attention to the study of Sufi literature. In reality, the real reason is not purely technical; it is caused by the domination of Western theory in their minds, especially from the philosophy of neo-positivism also there is an assumption that non-Western theory has never grown the relevant theory of literary and aesthetics.
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Othman, Arbak. "Malay Authorship in Landskap Ungu: From Artistic Source to Intellectual Impact." Malay Literature 30, no. 1 (June 1, 2017): 140–58. http://dx.doi.org/10.37052/ml.30(1)no6.
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This article discusses the contribution of Dato’ Ahmad Kamal Abdullah or Kemala regarding the development of Malay poetry in Malaysia and the history of Malay poetry in the archipelago. This article is based fully on the essays compiled in Landskap Ungu (2010). It examines Kemala’s contribution to the Malay art of poetry composition, the approach or the evaluation used in analyzing Malay poetry, specifically in interpreting Islamic poetry and the country’s sociopolitical landscape, as well as comparing the quality of the art of poetry of international poets with that of some of Malaysia’s poets. Apart from that, other issues are also discussed, such as the art concept of sufi poetry which is the basic expression of some Malay poets, either in Indonesia or Malaysia. Kemala’s contribution is exceptional and has proven to be very significant in the development of Malay poetry with regard to his capability as a critic and a disciplined researcher, especially in the world of Malay poetry. His level of thought and intellectualism boost the quality of the art of expression of creative thinking locally or universally. Keywords: epistemology, aesthetics, hermeneutics, irony, critiques, literature, mystique, thinker, sufi, sufi poetry, semiotic, symbolism, theory of literature Abstrak Makalah ini menghuraikan sumbangan Dato’ Ahmad Kamal Abdullah atau Kemala terhadap perkembangan puisi Melayu di Malaysia dan sejarah puisi Melayu di Nusantara. Penulisan makalah ini berlandaskan hasil tulisan beliau sepenuhnya, iaitu esei yang terkumpul dalam karya terbaik beliau, Landskap Ungu (2010) terbitan Penerbit UPM. Makalah ini meneliti sumbangan Kemala dalam dunia perpuisian Melayu, seni dan gubahan puisi, pendekatan atau ukuran kualiti yang digunakan dalam penganalisisan puisi Melayu, khususnya untuk mentakrif puisi Islam dan sosiopolitik tanah air, serta perbandingan kualiti seni pengungkapan puisi penyair antarabangsa yang dibandingkan dengan puisi beberapa penyair tanah air. Selain itu, beberapa kecenderungan lain turut dibicarakan seperti konsep seni puisi sufi yang menjadi asas pengucapan beberapa penyair Melayu, baik di Indonesia mahupun di Malaysia. Sumbangan Kemala amat istimewa dan terbukti sangat besar dalam perkembangan perpuisian Melayu kerana keupayaan beliau sebagai pengkritik dan pengkaji yang berdisiplin, terutamanya dalam dunia kepenyairan Melayu yang dikatakan sudah mencapai tahap kematangan yang boleh dibanggakan. Tahap pemikiran dan keintelektualan beliau meningkatkan kualiti seni pengucapan fikiran yang kreatif sama ada bersifat setempat mahupun universal. Kata kunci: epistemologi, estetik, etika, hermeneutik, kritikan, kesusasteraan, mistik, pemikir, sufi, puisi sufi, semiotik, simbolisme, teori kesusasteraan
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Verma, Ishita, and Nirban Manna. "Celebrating Emotion: A Study of Rasa in Qutban Suhravardi’s Mirigavati or The Magic Doe." Medieval History Journal 25, no. 2 (October 30, 2022): 231–51. http://dx.doi.org/10.1177/0971945820977037.
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Sufism began as a movement in Indian literature during the medieval period. It was during this period that a number of Sufi poets began writing in the vernacular and a new genre known as the ‘Prema kahāni’ or love story was developed. This genre, written in Hindavi, was a major development in the field of Sufi romances and marks the beginning of a new movement in the literary and devotional culture of the regional language. One of the most important features of these romances is that they are replete with emotions of love and devotion towards God. Sufi writers express these emotions through what the Sanskritic theory refers to as rasa or bhāva. The present article aims to bring out the various rasas or emotions generated by the Sufi romance Mirigavati or The Magic Doe by Qutban Suhravardi in the minds of the readers as they read this romance.
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Parman, Mazlina, and Nurazmallail Marni. "Sufi Symbols In Poems Of Ibn ᶜArabi And Hamzah Fansuri." UMRAN - International Journal of Islamic and Civilizational Studies 8, no. 2 (June 29, 2021): 21–38. http://dx.doi.org/10.11113/umran2021.8n2.498.
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As a way of communication, poetry is used by the Sufis to portray their knowledge and experiences in searching for God. However, the use of words in describing immaterial experiences spurs misconceptions among readers. Nevertheless, signs such as symbols are still being used in Sufi’s poetry. It plays a key role in expressing mystical thoughts, myriad of emotions, and even uplifting our mundane spirits. This article explores the meaning of symbols in Ibn ᶜArabi’s and Hamzah Fansuri’s poems. Both were known as prominent and controversially Sufi’s figures in two different regions, the Arab World and the Malay Archipelago. In studying it, a semiotic approach is used whilst a comparative approach is carried out to differentiate the existence of influence between the two figures as the latter is influenced theologically with the first. The finding shows that there is a likeness in the use of symbols and meaning connotations brought about by Ibn ᶜArabi and Hamzah Fansuri which proves the existence of influence between them, but variations are exhibited in the designation of the symbols which adhering to the different milieu, culture, and geographical places. Therefore, this study significantly indicating the authentication of Sufi poets in using symbols that portray the nation's culture and background. It also emphasizes the importance of interconnection between different cultures of Islam.
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Saddam, Widad Allawi, and Zainab Ibrahim Abbas. "Love that Binds." Al-Adab Journal 1, no. 132 (March 15, 2020): 105–12. http://dx.doi.org/10.31973/aj.v1i132.608.
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Rumi is endorsed for being one of the most famous Persian Sufi poets. He is considered a poet of love for all creation. In his poetry, one finds a close admiration of natural world that comes from love and results in even a greater love for the creator of the natural forces. This study aims to analyze selected poems of Rumi to inspect his views on environment and nature knitted closely with love and spirituality. Ecospirituality, a rather new approach to inspect the relationship of the environment and literary works from a spiritual point of view was employed to comment on Rumi’s dealing with creation and love for God in his poetry.
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Rind, Ayaz Ahmad, and Sohail Akhtar. "http://habibiaislamicus.com/index.php/hirj/article/view/196." Habibia Islamicus 5, no. 2 (June 17, 2021): 53–59. http://dx.doi.org/10.47720/hi.2021.0502e05.
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Sufi poetry have great influence on the lives of the people of Punjab in Pakistan and among the several important Sufis are famous due to their literary services which they have contributed in the reconstruction of the society. In South Punjab, from Dera Ghazi Khan Division one of the famous Sufi poets is Khawaja Ghulam Farid. His Shire is located at Kot Mithan. Khawaja Fareed is considered important mystic Saraiki poet of South Punjab. His poetry provided oxygen to the society and source of inspiration. The teachings of Khawaja Farid guided the people of the region during colonial Period. He was great critic of Colonial Government and he highlighted the worst aspects superstitious of colonial system. He tried his best to awaken the people through his poetry۔. So that the social and political position of the people can be improved by giving them awareness and they can be saved from humiliating slavery. Although he had mastery of languages as called a poet of seven languages but he is famous for Saraiki poetry and many scholars called him “Ghalib of Saraiki Language’” This research paper covers his socio-political contribution and literary services through Saraiki Poetry for the society during colonial era.
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MCGREGOR, RICHARD J. A. "New sources for the study of Sufism in Mamluk Egypt." Bulletin of the School of Oriental and African Studies 65, no. 2 (June 2002): 300–322. http://dx.doi.org/10.1017/s0041977x02000113.
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This article is an introduction to the writings of two significant but little-studied Sufi thinkers of fourteenth-century Cairo. Muhammad Wafā' and his son ‘Alī were poets and mystical philosophers. They founded a new branch of the Shādhiliyya Sufi order, and their descendants went on to become one of the most important families in Egypt. The numerous writings of this father and son, in the tradition of Muhy al-Dīn Ibn ‘Arabī, have as yet received little attention from scholars of Islamic thought. This study introduces these thinkers and surveys their extant writings, almost all of which remain in manuscript form. Beyond describing the contents, the article also seeks to position their thought within the wider context of Islamic mysticism.
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Shayakhmetova, Alfiia K. "Philosophical Understanding of Music and Poetry in Sufism." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 103–14. http://dx.doi.org/10.17516/1997-1370-0880.
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The role of music and words in Sufi practice is very high. It is through the musical component and the sounding word that the main attributes of the mystical direction in Islam are given, becoming a powerful sacred instrument in comprehending the truth. Sufism is a philosophical, aesthetic, religious, ethical doctrine and lifestyle. In the past, it had embraced all spheres of social life, influenced, and often determined the creative thinking of poets, musicians, architects, artisans, and other creators. Nowadays Sufism is an active practice of religious life in an unorthodox Islam. It is becoming a source of inspiration for contemporary composers and poets. Many ideas of Sufism were in conflict and opposition with the official line of the orthodox faith. Among these ideas was music, for which the Sufis use the term «sama» (literally «listening»). In Sufism, music as one of the ways to comprehend God, had special power. This study presents the theoretical aspect of the music and poetry influence on the aesthetic side of Sufism. Based on the research of Islamic scholars, and most importantly on the literary, philosophical works of the Sufis, previously not used with scientific intentions; Let us present a picture of the vision and understanding of the musical and aesthetic side of unorthodox Islam. It is also important to rediscover the relationship between the emergence and introduction of the musical aesthetics of Sufism into the modern musical ritual practice of an unorthodox Islam
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Soltan Beyad, Maryam, and Mahsa Vafa. "Transcending Self-Consciousness: Imagination, Unity and Self-Dissolution in the English Romantic and Sufis Epistemology." International Journal of Linguistics, Literature and Translation 3, no. 8 (August 30, 2021): 08–18. http://dx.doi.org/10.32996/ijllt.2021.4.8.2.
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English Romantic literature of the late eighteenth and early nineteenth centuries often recounts an individual life journey which depicts physical and spiritual pilgrimage and traverses both the inner and outer world to liberate the self and reach a revelatory moment of unification where the division between human mind and the external world is reconciled. For the Romantic poets this reconciliatory state cannot be achieved through rational investigation but via the power of imagination. In this regard, there is striking resemblance between the mystical and philosophical thought of Sufism and the idealistic thought of the English Romantic poets as they both strive for a sense of unification with the Divine or the Ultimate reality, and they both rely on imagination and intuitive perception to apprehend reality. Applying an analytical-comparative approach with specific reference to Northrop Frye’s anagogic theory (1957) which emphasizes literary commonalities regardless of direct influence or cultural or theological distinctions, this study endeavors to depict that certain Romantic poets’ longing for the reconciliation of subject and object dualism via imagination and its sublime product, poetic language, echoes the mystic’s pursuit of transcendental states of consciousness and unification with the divinely infinite. Through analysis of the concept of self-dissolution (fana) in Islamic mysticism and Sufi literature, particularly the poems of Jalal ad-Din Mohammad Balkhi (1207-1273) known in the West as Rumi, the outcome of this study reveals that the Romantics’ yearning for a state of reconciliation, which is prevalent in the major works of the Romantic poets such as William Blake (1757-1827), William Wordsworth (1770-1850), Samuel Taylor Coleridge (1772-1834), Percy Bysshe Shelley (1792-1822), and John Keats (1795-1821), corresponds to the mystic’s pursuit of unity or the Sufi’s concept of self-annihilation or fana.
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Hafeez, Muhammad, and Dr Muhammad Rizwan Yunus. "An Analytical Study of Qualities of Sufism; In Light of Si Harfi of Peer Naik Alam Shah." Al Khadim Research journal of Islamic culture and Civilization 3, no. 1 (March 31, 2022): 94–109. http://dx.doi.org/10.53575/arjicc.v3.01(22)u8.94-109.
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Sufism has put great impact on human nature. By educating the masses and deepening the spiritual concerns of the Muslims, Sufism has played an important role in the formation of Muslim society. Sufism shares some important spirit and has a great impact of its internal spirit on human. Peer Naik Alam Shah is one of the greatest Sufi poets of Azad Jammu and Kashmir. He lived a life of saint and served humanity through his teachings and poetry. In his poetry, Peer Naik Alam Shah discussed different qualities of Sufism. He discussed different terms related to love of Allah, love of Holy Prophet, Devotion, Respect and other similar terms. He discussed all these in light of Sharia. His book “Si Harfi” ( in light of 30 letters of alphabets of Arabic Language) is replete with sufi related terms.
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Wardah, Eva Syarifah, and Siti Rohayati. "Peranan Jalaluddin Rumi dalam Mendirikan Tarekat Maulawiyah di Konya Tahun 1258-1273 M." Tsaqofah 18, no. 1 (June 30, 2020): 86. http://dx.doi.org/10.32678/tsaqofah.v18i1.3183.
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Jalaluddin Rumi is a teacher, poets, and famous Sufi order which came from Persia. Besides his famous works, Jalaluddin Rumi also founded Tarekat Maulawiyah in the year of 1258 M, based in Konya. Based on history, Tarekat Maulawiyah born since the establishment friendship between Jalaluddin Rumi with this teacher, Syamsuddin At-Tabrizi. Sama’ (spinning dance) from teachings Tarekat Maulawiyah raises pros and cons in the Konya community, because the teachings are considered strange. In developing Tarekat Maulawiyah, Jalaluddin Rumi make efforts like teaching, making Sama’ a basic characteristic Tarekat Maulawiyah, and writing poetry.
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Sourki, Babak Kaviani, and Nasrallah Emami. "Dūlāb: From Imagery to Actual Musical Instrument." International Journal of Persian Literature 7 (September 2022): 77–100. http://dx.doi.org/10.5325/intejperslite.7.0077.
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Abstract Using various sources such as scores, literature, photos, interviews, and other pertinent data, this study examines the evolution of Dūlāb into a musical instrument.1 Dūlāb evolves from the concepts of Dūlāb Āsiyāb (mill wheel), Dūlāb Chāh (well wheel), and Dūlāb Falak (celestial sphere). Irrigation, mills, together with knowledge of astronomy and, finally, the conceptualization of the image in the mind of the writers and poets certainly were also the fledglings of Dūlāb in Persian culture. Here are the stages of note in the development of this musical instrument: (1) Poets’ broad employment of the word Dūlāb, although under different auspices; (2) compilation of views by Brethren of Purity (Ikhwān al-Ṣafā) as per their association of sounds with heaven by means of Dūlāb; (3) Rumi’s weaving of Dūlāb into his uber-mystical context whereby the symbolic discourse regarding it is systematically developed; (4) well wheels, mill wheels, and celestial sphere (falak) as well as spinning wheels and spinning Sufi rituals (samā‘).
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Fayyaz, Parwana. "Jami’s Rhetoric of Old Age and Aging in Salaman va Absal." Afghanistan 5, no. 1 (April 2022): 30–59. http://dx.doi.org/10.3366/afg.2022.0083.
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Between the years 1480 and 1484 AD, Jami wrote a long and extraordinary narrative poem, the masnavī of Salaman va Absal. At the time of its completion, Jami was about seventy years old. In this article, I discuss the significance of the poet’s age at the time he wrote this poem, while also examining the Sufi–Neoplatonic interpretations of old age embedded in the poem itself. I argue that Jami uses old age as a rhetorical device, and aging as an induction into a new mode of thinking. This allows the poet to emancipate himself from the poem’s aesthetics and its aesthetic constraints, to focus instead on its metaphysical purpose and potential. In so doing, the poet elevates his poetry to the status of a kind of perfection, which involves transforming the poetic form. Only then does Jami complete his treatise on the unity of oneness (as opposed to duality) from the perspective of an elderly poet. The unusual, passionate love between Salaman and Absal is presented as a Sufi–Neoplatonic interpretation of transcendence and sublimation. Using an interdisciplinary research methodology, this article examines these ideas through a close reading and analysis of the three chapters of the poem in which Jami draws particular attention to images of old age and aging. With this article, I hope to demonstrate the importance of old age studies within Persianate Studies more broadly. This shift in focus prompts a re-evaluation of the late works of classical and medieval Persian poets and their discussions of creativity, imagination, and memory in old age.
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Sujarwoko, Sujarwoko. "Imaji Sufistik Alam dan Binatang dalam Puisi-Puisi Abdul Hadi W.M., Sutardji Calzoum Bachri, dan Kuntowijoyo." ATAVISME 23, no. 1 (June 30, 2020): 89–103. http://dx.doi.org/10.24257/atavisme.v23i1.627.89-103.
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Puisi sufistik sebagai abstraksi kehidupan dunia sufi dapat digunakan untuk melihat jatuh bangunnya seorang sufi dalam pendakian rohani. Untuk melukiskan pendakian rohani, puisi sufistik menggunakan imaji alam dan binatang. Tujuan penelitian ini adalah mengungkapkan makna dan mendeskripsikan imaji sufistik alam dan binatang dalam puisi-puisi Abdul Hadi W.M., Sutardji Calzoum Bachri, dan Kuntowijoyo. Penelitian ini menggunakan teori estetika sufistik puisi Braginsky dan metode deskriptif kualitatif dengan data karya-karya ketiga penyair tersebut. Hasil penelitian menunjukkan puisi sufistik karya ketiga penyair tersebut menggunakan berbagai imaji alam: cahaya, gelombang, batu, rumput, pohon, dan angin. Imaji binatang yang digunakan, meliputi: kupu-kupu, kucing, cengkerik, gajah, semut, dan singa. Imaji sufistik alam sebagai sarana untuk menggambarkan kedekatan dan penyatuan diri dengan Tuhan, sedangkan imaji sufistik binatang untuk melukiskan hakikat salik dan liku-liku perjalanan rohani yang dialami pejalan yang sedang mengalami hambatan dan ancaman dalam upaya menuju keindahan rohani sebagai puncak keriangan spiritual.[Natural and Animal Sufistic Images in Abdul Hadi W.M., Sutardji Calzoum Bachri, and Kuntowijoyo Poetries] Sufistic poetry as an abstraction of sufi’s life can be used to see the rise and fall of a sufi in spiritual ascent. To describe spiritual ascent, sufistic poetry uses natural and animals images. The purposed of this research were to reveal the meaning and describe the sufistic images of nature and animal s in Abdul Hadi W.M., Sutardji Calzoum Bachri, and Kuntowijoyo poetries. This research used the sufistic poetry aesthetic theory of Braginsky and qualitative descriptive methods with data on the works of the three poets. The results of the research showed that the poetic works of the three poets used a variety of natural images: light, waves, stone, grass, trees, and wind. Animals imagesthat were used includ: butterflies, cats, cloves, elephants, ants, and lions. Natural sufistic images as a means to describe closeness and union with God, while sufistic imagery of animals were used to describe the nature of salik and the intricacies of the spiritual journey experienced by travelers who were experiencing obstacles and threats in an effort to reach spiritual beauty as the peak of spiritual joy.Keywords: sufistic poetry; sufistic images; natural sufistic images; animals’ sufistic images
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Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (January 1, 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.
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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...
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Farda, Sima. "A brief look at the flow of mystical thoughts in Turkish literature and mention of the famous Sufis of this literature." International Journal of Innovative Research and Scientific Studies 2, no. 2 (May 20, 2019): 13–17. http://dx.doi.org/10.53894/ijirss.v2i2.15.
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To date, the contribution of the Turkish Sufis in the expansion of civilization, wisdom and Sufism are so great and effective in the Islamic world. In this area, many leaders in the golden banners of history have come up with a suitable place for themselves. It should be noted that the evaluation and study of the concepts such as Sufi and Sufism is one of the topics where all their profound and profound learning is essential for any literary worker, and they must investigate it, as it is one of their fundamental duties. The prominent poets of the Uzbek literature such as Khawajah Ahmad Yusawi, Baba Rahim Moshreb, Ibrahim Adham, Yusuf Amdani and others, have left valuable, influential and attractive works in the history of literature of this language, they also uncovered the imperfections of feudalism, the actions of religious hypocrites and unpleasant characteristics of vile leaders. They had a graceful role in deepening of world literature from the viewpoint of language formation and enriching. They have also played a significant role in the use of literary language, instead of colloquial language beside in the improvement of expression technique in this literature. Besides, they had a graceful role in expansion of Uzbek classical literature. The purpose of this article is to motivate learners of Uzbek language and literature in relation with the identification of mystical literature and poets, as well as their role in developing their thoughts and ideas in the right direction. The significance of this paper is to strengthen the worldly and eternal thoughts of peoples and the development of love, affection, intimacy, brotherhood and humanity that lies within their nature and character.
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Ni`am, Syamsun. "Maqāmāt Dalam Manthiq Al-Thayr Al-Attār." Kanz Philosophia : A Journal for Islamic Philosophy and Mysticism 5, no. 1 (December 24, 2015): 59. http://dx.doi.org/10.20871/kpjipm.v5i1.87.
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<p><strong>Abstract</strong> : Attār is one to be accounted amongst the greatest sufi poets of Persia sufis in the history of Sufism who has notable contibution to the esoteric Islam (Sufism). He packed his mystical teachings in the form of poetry and verse, -to be more interactive and expressive- though his teachings are not different with his predecessors, particularly of those who inspired by the principle of mystical union; and Attār is among the Sufis who have managed to reach the highest peak in the mystical journey. According to Attār , there are seven valleys that must be passed by spiritual traveler (<em>sālik</em>) in his mystical journey, as mentioned in <em>Manthiq al-Thayr</em>. In this work he use the language of poetry to reveal the process of a servant to God through the stages (<em>maqāmāt</em>), and Attār gives the parable <em>maqāmāt </em>is like a bird -burung flying looking for the king. Attār call <em>maqāmāt </em>is the term valleys, of which there are seven valleys.</p><p><strong>Ke</strong><strong>ywords : </strong><em>Maqāmāt, seven valleys, fanā’, </em><em>divine love</em></p><p><em><br /></em></p><p><strong>Abstrak</strong> : Attar adalah salah satu sufi besar Persia yang pernah dikenal dalam sejarah tasawuf. Attār telah banyak memberikan kontribusi pemikirannya dalam khasanah keilmuan Islam esoteris (tasawuf). Ia mengemas ajaran tasawufnya dalam bentuk puisi dan syair, —sehingga tampak lebih menarik— meskipun ajaran-ajaran yang disampaikan kurang lebih sama dengan para sufi pendahulunya, terutama yang menganut paham <em>mystical union</em>; dan Attār adalah di antara sufi yang telah berhasil mencapai puncak tertinggi dalam perjalanan mistisnya itu. Menurut Attār, ada tujuh lembah yang harus dilalui <em>sālik </em>dalam menempuh perjalanan mistisnya, sebagaimana disebutkan dalam <em>Manthiq al-Thayr</em>. Dalam karyanya ini, Attār menggunakan bahasa puisi dan syair untuk mengungkap proses seorang hamba menuju Tuhan melalui tahapan-tahapan (<em>Maqāmāt</em>), dan Attār memberikan perumpamaan <em>maqāmāt </em>tersebut seperti burung-burung yang terbang mencari rajanya. Attār menyebut <em>maqāmāt </em>tersebut dengan istilah lembah-lembah, yang jumlahnya ada tujuh lembah</p><div class="WordSection1"><p><strong>K</strong><strong>ata-kata Kunci: </strong><em>Maqāmāt, </em><em>tujuh lembah, fanā’, cinta ilahi<br /></em></p></div>
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Zulyeno, Bastian. "Sastra Sufistik Persia; Citra Kehidupan dalam Masnawi Maknawi Karya Jalaluddin Rumi." EDUCULTURAL: International Journal of Education, Culture and Humanities 1, no. 1 (August 21, 2018): 40–45. http://dx.doi.org/10.33121/educultur.v1i1.28.
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Persian literature has been developing since hundreds of years BC, this can be seen from the Zoroastrian or "Avesta" holy books. This book contains mostly about the praise and greatness of the Lord "Ahuramazda" written in the form of poetry. The name Avesta itself comes from the name of the writing and the language used in this book, therefore the researchers named this holy book with the name Avesta. Avesta is the root of ancient Persian before Parthi, Soghdi and Pahlavi. One of the scientific traditions inherited by the Persians is the science of Tasawwuf and Sufistic literature is the biological child born of him. Persian land has long been fertile with Sufism thought with its typical eastern imagination. One of the Persian maestros whose thinking was global was Jalaluddin Muhammad ibn Sultan al Ulama Bahauddin Muhammad ibn Huasain ibn khatibi Bakri Balkhi who was better known as Rumi and all the works he left behind used Persian. Sufistic or mystical literature is a work produced by Sufi poets or a wise person whose poetry is based on his Sufistic experience. This paper discusses the main theme based on several verses of poetry contained in the Masnawi Maknawi of the great works of the great Persian Sufi of the 13th century.
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Safa, Mohammad Mustafa, and Ezatullah Sahand. "An Investigation of Philosophical Thoughts in Ghani Khan Poems." Randwick International of Education and Linguistics Science Journal 3, no. 1 (March 24, 2022): 128–35. http://dx.doi.org/10.47175/rielsj.v3i1.415.
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Ghani Khan who lived from 1914-1996 is considered as one of the influential poets in Pashto literature who could speak five languages. He was a drawer and politian as well. We can imply from Ghani Khan’s several poems that he has discussed about philosophy. Ghani Khan has a passion to discuss about philosophical conceptions which philosophy talks about such as death, rationality, social values, individual freedom, and other topics. He has shown compromise to some of the Western and Eastern philosophical values hence evident from discussing in his poems. Specifically, there are signs of Western Existentialism and Eastern Sufi Metaphysics in his poetry. However, there is a contradiction in his and those of other philosophical views. Ghani views all those philosophical views according to his own view while different from those of other philosophers. For instance, believers of existentialism view life as sorrow, fright, and Nihilism whereas for Ghani Khan life is itself a joy and what he can do and should do is to spend a pleasant time. He depends everything in the universe on his lord Allah. The most important part of his view is that he considers life as a blessing from the lord thus trying to lessen the human fear from death. Consequently, most of his poetry is for the betterment of humans and establishing good relationships between them.
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Hasson, Michal. "Taking Laila’s Name: Reimagining the Laila-Majnun Story in Brajbhasha." Journal of South Asian Intellectual History 4, no. 2 (December 9, 2022): 146–80. http://dx.doi.org/10.1163/25425552-12340033.
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Abstract The story of Laila and Majnun served numerous poets in the Persian cosmopolis with an occasion to comment on love, both earthly and divine, and its transformative power. This essay examines an early modern Brajbhasha version of this famous love story and the ways in which a seventeenth-century Rajput-Muslim poet navigated register, idiom, plot, and literary devices so as to create a tale that addressed as wide an audience as possible, comprised of different religious sects, without losing sight of the Sufi message of the work. This, in turn, points to the need to study religious communities in early modern South Asia not as isolated islands but as part of a loosely connected network in which interaction, shared motifs, stories, and concepts were commonplace.
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Professor Sagheer Ifraheem. "Followers Of Humanity: Khusrao And Kabir." Dareecha-e-Tahqeeq 2, no. 4 (March 21, 2022): 1–12. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i4.27.
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The conflict between religion and the world has intensified man's curiosity about the true purpose of life. This credit has been with the people and the properties, both Hindu and Muslim, and when the followers of both the Dharmas have focused on one center, it has been the center of humanity. This axis has given the idea of unity in abundance. Mixed civilization has been given priority and spirit of equality has been nurtured. This conflict may be between Aryans and Dravidians, Buddhists, Jains, Brahmins or Hindus, Muslims but this conflict has also paved the way reconciliation and unity. Human love, tolerance and brotherhood have been promoted..One of the most popular saint poets of India, Hazrat Amir Khusrau was a truly multifaceted creative genius. While it is common knowledge that he created Khayal and Qawwali not many know that he wrote in more than a dozen styles of creative expressions. Till date he remains a great mystic, a Sufi saint, a Sufi poet. His works were source of pride and happiness for many. On the other hand, one of the most loved and revered mystics of India, Saint Kabirdas was a fearless poet, reformer, critic, devotee and spiritual master all rolled into one. His works continue to inspire people from all walks of life beyond the divides of age, nationality, religious preferences and cultural differences.
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Mavrina, O. "“Asia Minor Sufi Poets” of the Late 13th – Mid 14th Centuries in the Scientific Heritage of A. Krymsky." World of the Orient 2021, no. 2 (June 30, 2021): 39–48. http://dx.doi.org/10.15407/orientw2021.02.039.
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Werner, Christoph. "The Kujujī Poets: Families, Poetry and Forms of Patronage in Azerbaijan and beyond (Fourteenth to Seventeenth Centuries)." Eurasian Studies 15, no. 2 (April 26, 2017): 250–79. http://dx.doi.org/10.1163/24685623-12340038.
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Abstract Tracing the extended Kujujī family unit, originally from Western Azerbaijan, through the fourteenth up to the seventeenth century, I am especially interested in the interplay between members of the Kujujī family, their professional background, and the poetry they composed. Poetry is interpreted as a mode of transmission, understanding panegyric and mystical forms of poetry as a means to shape and reinforce family identities in reciprocal relationships – in our case the relationship between the local Sufi-notable family network of the Kujujīs with the respective ruling families of the Jalayirids and Safavids. The article explores their poetry, the poets as actors of transmission and the links that are created between distant members of the “imagined” family of the Kujujīs as expressed in literary anthologies (taẕkiras). Moving beyond traditional perceptions of one-on-one, client-patron relations in the production of court poetry and emphasizing the role of families creates a long-term perspective and re-evaluates classical Persian poetry as intra-generational cultural bond.
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Жумаева, Г. "DIDACTIC REFLECTIONS IN THE VERSES OF KUL KOJO AHMED YASSAWI." Vestnik Bishkek state university af. K. Karasaev 1, no. 59 (April 28, 2022): 48–51. http://dx.doi.org/10.35254/bhu/2022.59.48.
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This article discusses the life and work of Kul Kojo Ahmed Yassawi, a medieval (10-12th century) "holy poet". First of all, the opinions of Turkologists who pay attention to the issue of clarifying the place of birth and residence of Kul Kojo Ahmed Yassawi will be given. In particular, one of the folk tales about the poet's childhood was cited as an example. The only surviving work - "Collection of poems" ("Divani kikhmet") - is of a religious and mystical nature, the philosophical and didactic thoughts of the Sufis based on Islam are analyzed in the literature. This proves by example that Kul Kojo Ahmed Yasawi was a Sufi poet who founded the medieval Sufi movement. It is emphasized that the didactic ideas in his poems are still relevant today.
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BORODOVSKAYA, LILIYA. "MUSICAL AND POETIC GENRE MUNADJAT IN ISLAMIC CULTURE OF DIFFERENT PEOPLES OF THE WORLD." Культурный код, no. 2022-3 (2022): 87–99. http://dx.doi.org/10.36945/2658-3852-2022-3-87-99.
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The relevance of the study of the ancient musical and poetic genre munajat is due to the revival of interest in the folklore of the Tatars in the context of world Islamic culture. The images and symbols permeating the texts of these chants are difficult for modern understanding. A brief review of world examples of munajat in the work of professional poets and in folk art is made. The main feature of the munajat genre is the ability to offer a prayer to the Almighty in the native language. The article contains a hermeneutical analysis of some fragments of Persian and Tatar munajats. Common Muslim, Sufi ritual and esoteric symbols were found in their texts. The materials of the article will be useful to the leaders of vocal groups, teachers of folklore disciplines and all those interested in the Islamic culture of the Middle Ages.
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Abzhet, B. S., М. М. Bakhtybayev, and К. М. Zhetibayev. "Legends, Traditions and Written Information about Syganak." Iasaýı ýnıversıtetіnіń habarshysy 125, no. 3 (September 15, 2022): 48–58. http://dx.doi.org/10.47526/2022-3/2664-0686.04.
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The article will focus on written sources and folk tales about the medieval city of Syganak. Syganak, which was a city of the Oguz tribes, later passed into the jurisdiction of the Kipchak tribes. After the invasion of the Mughals led by Genghis Khan, Syganak was restored and became a religious center during the Golden Horde. After Berke Khan accepted Islam from the sages, the Yasaviya tariqa was revived in the city of Syganak. Relying on the hikmet of Khoja Ahmed Yasawi, one can see the revival of the Zhyrau oral literature of the Kazakh people on the basis of strengthening Sufi literature. In this study, based on the Sufi literature of poets and zhyrau, born in the era of Nogaili and the Kazakh Khanate, the formation of genres such as «terme», «tolgau», characteristic of oral literature, is analyzed. The development of the city of Syganak and the role of the indigenous population living in it in the spread of Islam since the adoption of Islam are mentioned, as well as the work of religious scholars from this city to convert the conquered Mughal tribes to Islam. In addition, the historical significance of the city of Syganak for the Kazakh people and its influence on the formation of culture is noted. It also emphasizes the importance of recording folk tales about the once spiritual and cultural city of Syganak, which are still preserved in the memory of the people, in light of the disappearance of legends that were passed from mouth to mouth.
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الخوالدة, سميرة. "محمد إقبال والقلق الصوفي." الفكر الإسلامي المعاصر (إسلامية المعرفة سابقا) 21, no. 84 (April 1, 2016): 222–193. http://dx.doi.org/10.35632/citj.v21i84.619.
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تتناول هذه الدراسة بالتحليل موقف إقبال من الفكر والتراث الصوفي؛ وتلقي الضوء على المؤثرات التي ساهمت في تشكيل هذا الموقف والتطورات التي مر بها، ويمكن تحديدها بثلاث مراحل؛ الأولى: من البدايات وحتى عودته من دراسته في أوروبا، وهي مرحلة أعجب فيها بشعراء الصوفية ومعظمهم قد كتب بالفارسية. وفيها يظهر تأثير المستشرقين الذين درس معهم في تلك الفترة. والمرحلة الثانية: تمثل ظهور الوعي المستقل لديه، فتتحول نظرته من الإعجاب الطاغي إلى إعجاب ناقد انتقائي، ويتشكل لديه وعي بواقع العالم الإسلامي وبالعلاقات الحقيقية بين الشرق والغرب المبنية على التفوق والاستعمار. أما المرحلة الثالثة؛ فتتمثل في كتابه "تجديد الفكر الديني في الإسلام"، ففيها قدم إقبال فلسفته في إعادة البناء الروحي البديل لصوفية الماضي، مؤكداً أن عملية إعادة البناء الروحي هذه المستمدة من القرآن والسنة النبوية هي علاج التخلف في المجتمعات المسلمة، وسبيل استعادة مجدها في الحاضر.
The purpose of this study is to investigate Muhammad Iqbal's position on Sufi thought and heritage, and to illuminate the factors that have helped to shape this position and its development. Three phases can be discerned: the first extends from the beginning to his return from Europe, in which he admired Persian Sufi poets, and showed some influence of Orientalist scholars on him. The second demonstrates independence of thought, where admiration is disciplined by the adoption of a selective, critical approach, where he built an awareness of the true nature of the relations between the East and the West, founded on West supremacy and colonialism. In the third phase Iqbal presents his own reformative conception of spiritual reconstruction derived from the Holy Qur'an and Prophetic Tradition.
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Moiseeva, Anna V. "Prophet Sulaymān in Classical Persian Poetry: Semantics and Structure of the Image." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 398–414. http://dx.doi.org/10.21638/spbu13.2020.306.
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The article discusses structure, semantic content, and functioning of the image of the Qur’anic prophet Sulaymān (Biblical Solomon) in Persian medieval poetry. Analysis of the poetic material leads to a conclusion about the main spheres of application of this image and its semantic connotations both in eulogistic and religious-mystical poetry. The article defines the main motifs of the Qur’anic story of this prophet that became a part of Persian poetic tradition and how they relate to the various themes that poets touch upon. For instance, motives of Sulaymān’s power over winds and demons, as well as images of his throne and the ring that gave him that power, were used primarily in eulogies when poets compared their patrons to the legendary king. A special place in Sufi poetry is occupied by the image of the hoopoe and the motif of the bird’s language that reveal topics of a disciple-mentor relationship and leadership in the path of mystical knowledge. As a global characteristic of Sulaymān’s image, we can outline its ambivalence which has its roots in the biblical narrative, where along with wisdom one can find mention of Solomon’s arrogance. Further exegetical tradition speaks of dethronement of Sulaymān by a demon as a punishment for arrogance. Later on, these themes can be found in Persian literature in the form of motifs of humility and frailty of the earthly life, which gained special meaning in the context of didactic and mystical poetry.
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Ali, As’adi. "Ulama Perintis Syair Melayu." JURNAL ISLAM NUSANTARA 1, no. 1 (January 7, 2018): 53. http://dx.doi.org/10.33852/jurnalin.v1i1.12.
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Poetry is an old Malay literary work that rhymes after pantun, seloka, and gurindam. Appeared at the end of the 17th century AD. Pioneered by an Indonesian Sufi cleric. He is from Barus City (present: Singkil, Aceh), living in the late 17th and early 18th centuries. In his lifetime he is a mufti Kesuthanan Islam Aceh Darussalam. The most important element that distinguishes poetry with other old Malay literature is the final sound of his poetry. If the pantun uses the A-B-A-B, and the A-A-B-B cultivation, the verse is A-A-A-A. Another thing that distinguishes it from its predecessor on the content format. Where, pantun or gurindam on the first and second lines in a stanza contains a sentence (introductory) sentence, and the third and fourth lines are the content or message content. While the verse, the four lines in one stanza are all contents, or the content of the message the poet wishes to convey. In addition, in poetry, in a single line can be composed of three words, while in pantun never got a model like this. The inspired verse of the Arabic literary form, syi'ir, the structure and style can not be separated from the influence of the Arab syi'ir. Some of the direct influences of Arabic syi'ir include the ending sounds of poetry, containing the da'wah and teachings of Islam, writing at the beginning of its emergence using Arabic letters in Malay, many using Arabic terms and quotations, and decorated by natural symbolic words which is often used by Arabic Sufi poets.
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Nazra Zahid Shaikh, Farhana Yasmeen Qadri, Muhammad Safdar Bhatti, and Handoko. "Exploring the Mystical Universe!" Andalas International Journal of Socio-Humanities 4, no. 2 (December 24, 2022): 80–91. http://dx.doi.org/10.25077/aijosh.v4i2.40.
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Islam is the religion of peace and harmony as its name suggested by Allah. It is rooted in purity, submission, and obedience. Historically, modern researchers claim Islam is 1400 years old; the youngest religion in the world which was introduced by Prophet Muhammad (PBUH) in 610 A.D. But Muslims believe that this is the oldest and first entered the religion of the world and stepped onto this world with Hadrat Adam (A.S) And Hadrat Hawa (A.S). Contrary to this, Islam has also seen many twists and turns due to its followers and critics. Its original teachings are somehow forgotten by Muslims and misconstrued by other religions. This religion of peace is frequently questioned on ‘peace’ and ‘tolerance’ and is always misunderstood and misinterpreted by the ‘west’, specifically. In recent times, Islam is commonly pigeonholed with ‘extremism’ and ‘terrorism’ and Muslims with ‘terrorists’ and extremists’; without feeling any need to find the truth. Although Islam is the center for spirituality and humanity in real, its general perception is the opposite to it. The purpose of this study is to find out the similarities and differences between the two big religions of the world (as portrayed in scholarly specific poetries) to provide some core similarities in philosophical teachings/understandings. This comparative study has been designed between the works of the two legendary figures of the Islamic & Christian world i.e., Maulana Rumi and Geoffrey Chaucer, respectively. Maulana Rumi is majorly known as a phenomenal Sufi poet/scholar of the 13th century and Chaucer is considered ‘the father of English literature’ and belongs from the 14th century. This qualitative comparison is embedded in the similarities in religion, tolerance, honesty, truth, love, and humanity. It suggests that both poets have used the concept of tolerance as a policy to discover the ‘self’, ‘spirit’, and ‘liberalism’. This study provides evidence based on Islam that peace and tolerance are the soul and blood of this religion. It is also a defense of the evidence that these renowned poets are far more inclusive than most early modern poets of toleration.
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Rohmana, Jajang A. "A Sundanese Story of Hajj in the Colonial Period: Haji Hasan Mustapa’s Dangding on the Pilgrimage to Mecca." Heritage of Nusantara: International Journal of Religious Literature and Heritage 4, no. 2 (January 18, 2016): 273–312. http://dx.doi.org/10.31291/hn.v4i2.88.
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The paper discusses a Sundanese story of hajj or pilgrimage to Mecca during the Dutch colonial period. It was expressed in the form of Sundanese metrical verse which was called dangding or guguritan. The author of the dangding was Haji Hasan Mustapa (1852-1930). He is one greatest Sundanese poets as he wrote more than 10 thousand cantos on Sufism from 1900-1902. He went to Mecca three times (1860-1862, 1869-1873, 1880-1885). One of his hajj stories was Kinanti Munggah Haji. Mustapa told about the hajj journey route, his experiences of suffering, and he also provided an interpretation of inner meaning of hajj according to the Sufi perspective. The paper uses an intertextual approach with an analysis of social history and Sufism. It shows that hajj in the colonial period was very difficult. In addition to the storm in the sea, the pilgrims found other difficulties in the Holy Land. However, Mustapa assumed that the meaning of hajj was not only the hajj ritual physically but also the inner-side of feeling (alaming rasa). Hajj will led to the true happiness. Beware if your hajj is just a physical matter. It can be nothing. The paper tries to confirm both van Dijk and Chambert-Loir’s works on other Sundanese stories of hajj such as Raden Panji Nagara, Moehammad-Hoesen, and R.A.A. Wiranatakoesoema. Mustapa’s interpretation of the mystical meaning of hajj shows his peculiarities as a sufi. His willingness to endure some difficulties in the journey is not just associated with his internal feeling in the sense of spiritual life, but also his satisfication to join in what Habermas called as a "public space" where Muslims could create a community without being constrained by Colonial rule.
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Salikhov, Akhat G. "Arabic Script Monuments of the Fedorovka District of the Republic of Bashkortostan: The 15th – 19th Centuries." Herald of an archivist, no. 3 (2021): 879–90. http://dx.doi.org/10.28995/2073-0101-2021-3-879-890.
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Archaeographic research makes it possible to expand the source base of scientific research, to introduce into scientific use new materials on the history in general and on the history of written language and literature. The article is to study the Oriental written monuments of the Fedorovka district of the Republic of Bashkortostan stored in the manuscript fond of the Institute of History, Language, and Literature of the Ufa Federal Research Center of the Russian Academy of Sciences. The research has used the major methods of historical research: comparative/historical, systemic, and historical/typological. Monographic studies, catalogues of manuscript collections, manuscripts and early printed editions from the fonds of manuscripts and rare editions of the city of Ufa have been drawn for comparative analysis, establishing of names, identifying distinctive features, identification of the place and role of handwritten manuscripts. The article presents some of the more valuable Arabic script monuments written in Arabic and Turkic languages. It reviews literary, religious works, historical documents, texts of business and mundane nature. The chronological frameworks cover the 19th – first half of the 20th century. Many documents were used as teaching aids in the pre-revolutionary Muslim educational institutions. Of most interest are materials collected by M. Sultangulov from the village of Stary Chetyrman. Among them there are manuscripts containing poems: Sufi Allayar’s (died in 1723) Sabat al-Gajizin and Muhammad Chelebi’s (died in 1451) Muhammadiya, both rewritten in the first half of the 19th century. The handwritten curriculum for 1911 for studying in the madrasah in the town of Orsk in the Orenburg gubernia reveals the peculiarities of the Muslim education system in the region. Arabic script documents of the period of struggle against religion reveal the nature of relations between the believers and state agencies. Also, manuscripts of poems by Bashkir poets of the 19th century have been identified and studied: Khibatullah Salikhov (1794–1867), Shamsetdin Zaki (1822–65), Miftakhetdin Akmullah (1831–95). Thus, the article has examined handwritten Arabic script documents that are valuable for researchers of history, language, and literature. The revealed materials permit to present the studied region as one of cultural centers of Bashkortostan, where the works of famous Oriental authors, as well as local writers and poets, existed. They demonstrate that in Bashkortostan, despite the repeated change of alphabets in the first half of the 20th century, Arabic script written monuments continued to be used and stored. The identified and attributed documents can be used as sources for scientific research.
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Rosdin, Ali. "ASPEK KULTURAL “BISMILLAHIRRAHMÂNIRRAHIM” DALAM KEISLAMAN ORANG BUTON: KAJIAN TERHADAP KABANTI AJONGA INDA MALUSA." El-HARAKAH (TERAKREDITASI) 16, no. 1 (June 30, 2014): 81. http://dx.doi.org/10.18860/el.v16i1.2770.
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This study aimed at describing to what extent expression bismilllahirrahmânirrahim influenced Islamic lives of Buton people in the past. The object of the study is script kabanti Ajonga Inda Malusa as H. Abdul Ganiu’s work. The study focuses on understanding the meanings constructed in kabanti Ajonga Inda Malusa by looking at its relationship with cultural elements and historical background of Buton people. In understanding the phrase bismilllahirrahmânirrahim, it used hermeneutic method supported with the sociological theory of literature, that views literature as (1) a reflection of its supporting society, (2) a document that records cultural social reality and the bias of the reality of society in its time, and (3) other aspects related to a society in accordance with conventions and historical background in its cultural social framework. The results showed that the statement bismilllahirrahmânirrahim is a tradition of Sufi poets in the past Buton Sultanate to start their work, which can be interpreted as a form of practice of Islamic refinement that always refers to the al Quran and Hadis. In the Islamic context of Buton people, the phrase bismilllahirrahmânirrahim then explored and elaborated into whole aspects of life, the world and the hereafter.
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Ertek Morkoç, Yasemin. "He Ottoman female poets that differ from Divan literature with their voice and with their distinctive expressionsOsmanlı kadın şairlerinin Divan edebiyatı geleneğinden ayrılan sesi ve farklı ifade biçimleri." Journal of Human Sciences 14, no. 4 (November 13, 2017): 3456. http://dx.doi.org/10.14687/jhs.v14i4.4907.
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Divan literature is described as "a certain tradition literature with its rules and boundaries" in the most general form. These rules and boundaries have enabled the formation of common expressions in religion and in Sufi intellection in particular and in poetry by the influence of Persian literature, and they have made it traditional in time. In this context, in classical Turkish poetry, whose male poets are predominant in quality and quantity, patriarchal rhetoric presents an outlook that its frame has been established by common tropes, metaphors, poetic themes and in short by similar imaginations and ideas.Our work aims to reveal the distinctive way of the voice of female divan poets in the Ottoman poetry, which, when viewed from the outside, gives a completely male voice and perspective in the first place. In this respect, the divan of Lady Mihri (died after 1512), Lady Leyla (died in 1848) and Lady Şeref (1809-1861) were chosen and examined.Extended English abstract is in the end of PDF (TURKISH) file. ÖzetDivan edebiyatı en genel şekliyle “ Kuralları ve sınırları belli bir gelenek edebiyatı” olarak tanımlanır. Bu kural ve sınırlar zaman içinde başta din ve tasavvuf anlayışı olmak üzere, Fars edebiyatının da tesiriyle şiirde ortak ifade biçimlerinin belirmesini ve bunun gelenekselleşmesini sağlamıştır. Bu bağlamda nitelik ve nicelik olarak ağırlığını erkek şairlerin oluşturduğu klasik Türk şiirinde ataerkil söylem, ortak mecazlar, metaforlar, mazmunlar, kısacası benzer hayal ve imgelerle çerçevesi belirlenmiş bir görünüm arz eder. Çalışmamız, dıştan bakıldığında ilk etapta tamamen erkek sesini ve bakış açısını verdiğini düşündüren Osmanlı şiirinde, kadın divan şairlerinin sesinin ayırıcı yönünü, farklı ifade biçimlerini ortaya koymayı hedeflemektedir. Bu konuda Mihrî Hatun (ölm. 1512 sonrası), Leyla Hanım (ölm.1848) ve Şeref Hanım (1809-1861)’ın divanları seçilerek incelenmiştir.
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Averianov, I. A. "CULTURAL INTERACTION BETWEEN SAFAVID IRAN AND OTTOMAN TURKEY IN 16TH CENTURY." Journal of the Institute of Oriental Studies RAS, no. 4 (14) (2020): 136–48. http://dx.doi.org/10.31696/2618-7302-2020-4-136-148.
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Сoming to power of the Safavids Sufi dynasty in Iran (in the person of Shah Ismail I) in 1501 caused noticeable transformations in the political, social, cultural and religious life of the Near and Middle East. This dynasty used the semi-nomadic tribes of the Oguz Turks (‘Kyzylbash’) as its main support, which it managed to unite under the auspices of military Sufi order of Safaviyya. However, the culture of the Safavid state was dominated by a high style associated with the classical era of the Persian cultural area (‘Greater Iran’) of the 10th–15th centuries. The Iranian-Turkic synthesis that emerged in previous centuries received a new form with the adoption by the Safavids of Twelver Shiism as an official religious worldview. This put the neighboring Ottoman state in a difficult position, as it had to borrow cultural codes from ‘heretics’. Nevertheless, the Ottomans could not refuse cultural interaction with the Safavids, since they did not have any other cultural landmark in that era. This phenomenon led to a number of collisions in the biographies of certain cultural figures who had to choose between commonwealth with an ‘ideological enemy’ or rivalry, for the sake of which they often had to hide their personal convictions and lead a ‘double life’. The fates of many people, from the crown princes to ordinary nomads, were broken or acquired a tragic turn during the Ottoman-Safavid conflict of ‘spiritual paths’. However, many other poets, painters, Sufis sometimes managed to transform this external opposition into the symbolism of religious and cultural synthesis. In scholarly literature, many works explore certain aspects of the culture of the Ottoman Empire and the Safavid state separately, but there are almost no works considering the synthesis of cultures of these two largest Muslim states. Meanwhile, the author argues, that understanding the interaction and synthesis of the Ottoman and Safavid cultures in the 16th century is a key moment for the cultural history of the Islamic world. The article aims to outline the main points of this cultural synthesis, to trace their dependence on the ideology of the two states and to identify the personality traits of a ‘cultured person’ that contributed to the harmonization of the culture of two ideologically irreconcilable, but culturally complementary empires. A comparative study of this kind is supported by Ottoman sources. In the future, the author will continue this research, including the sources reflecting the perception of the Ottoman cultural heritage by the Safavids.
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GÖKDEMİR, Atila. "Poetic Naqshi-Khalidi Silsilename of Yanyalı Hafız Refîʽ Efendi." Turkish Academic Research Review - Türk Akademik Araştırmalar Dergisi [TARR] 7, no. 3 (September 29, 2022): 656–76. http://dx.doi.org/10.30622/tarr.1151957.
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Silsilenames are written documents pointing out the hierarchical structure of a dynasty, generation, professional or the genealogy of a sect. Poets in the field of Turkish Islamic literature wrote works in verse silsilename, although not as intense as other literary genres. Poets who were in the position of sheikh or who belonged to a sect showed more interest in this literary genre. While some of the verse silsilenames, which are mostly written in mathnawi, qasida or qitʽa style, are standalone works, some of them are included in a sufi book or a diwan. Although there are silsilenames containing the successions of sultans, viziers, sayyids and sheriffs and various professionals, it is seen that these poems mostly have a mystical content. In this respect, silsilenames are among the biographical works of Turkish Islamic literature and serve as the main source that sheds light on the history of Sufism in particular. The purpose of writing the silsile-names, which are included in the religious-mystical-didactic works group, is to inform the followers about the followers of the sect, and since the effort to arouse artistic concerns and aesthetic feelings remains in the background, it is often encountered that there are defects in aruz prosody. In this study, the verse Nakşibendî-Hâlidî silsilename, which is included in 19th century author and mystic Mekteb-i Sultani teacher Yanyalı Hâfız Abdussamed Refîʽ Efendi’s mystical book named Rehber-i Hak, will be examined. In the study, first of all, the name of the poem, the date of its writing and the reason will be discussed. The identifications about the life and mystical personality of Yanyalı Hâfız Abdussamed Refîʽ Efendi, who came to the forefront with the books he wrote in the fields of sufism, creed, tajwid, sarf, etc.and his guidance activities, will be shared. Afterwards, the form and content of the silsilename, which was written with the aim of teaching the followers of Naqshi/Khâlidî sheiks by emphasizing their distinctive features, will be examined. Finally, the transcript of the verse will be given. This study, which contains important information about Khalidiyya and is thought to contribute to the studies on the history of Sufism in the 19th century, is important in terms of revealing a poem belonging to the silsile-name type.
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Brigaglia, Andrea. "Sufi Poetry in Twentieth-Century Nigeria." Journal of Sufi Studies 6, no. 2 (January 30, 2017): 190–232. http://dx.doi.org/10.1163/22105956-12341302.
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Abstract This article presents the translation and analysis of two poems (the first in Arabic, the second in Hausa) authored by one of the most famous twentieth-century Islamic scholars and Tijānī Sufis of Kano (Nigeria), Abū Bakr al-ʿAtīq b. Khiḍr (1909–74). As examples of two genres of Sufi poetry that are rather unusual in West Africa (the khamriyya or wine ode and the ghazal or love ode), these poems are important literary and religious documents. From the literary point of view, they are vivid testimonies of the vibrancy of the Sufi qaṣīda tradition in West Africa, and of the capacity of local authors to move across its various genres. From the religious point of view, they show the degree to which the West African Sufis mastered the Sufi tradition, both as a set of spiritual practices and techniques and as a set of linguistic tools to speak of the inner.
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Bulut, İhsan, and Elif Derya Özdemir. "İSKÂT-I İZÂFÂT TEVHÎDİ-II." International Journal of Social Sciences 5, no. 23 (November 4, 2021): 233–72. http://dx.doi.org/10.52096/usbd.5.23.5.13.
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“At-tawheedu isqāt al-idhāfāt”, which is a definition of tawheed, that states “tawheed is to deny the attributes” is a concept of tawheed belonging to high mysticism. One of the evaluations made about the tawheed of “isqāt al-idhāfāt” attributed to Junaid Baghdadi, is that it is the tawheed of true tawheed and havâssu'l-havâss. Isqāt al-idhāfāt tawheed is also presented as a benchmark, which is an important criterion of true tawheed in sufi literature. The fact that havâssu'l-havâss is a definition of tawheed is sufficient evidence to express its difficulty. It is for this reason that it is said that “ isqāt al-idhāfāt, which is the perfection of tawheed, is one of the intensified and difficult tasks of arbāb-i tahqīq”. When the isqāt al-idhāfāt tawheed is evaluated within the framework of the Sunni mysticism and unity of existing paradigms, some interpretation differences arise. This definition of tawheed has been mentioned a lot in the verse and prose texts of classical Turkish literature. When isqāt al-idhāfāt tawheed, (which has different interpretations), is used for human beings and other creatures, it does not give a real effect to bad thoughts, causes, and reduces the existence of creatures to the level of imagination and does not give them the rank of real existence (wujud-u-genuki); When used for the divine essence, it is based on the concept of Ahadiyet. As far as it is known, Farid al-Din Attar was the first person to use the term “isqāt al-idhāfāt” in poetry. Attar uses the term isqāt al-idhāfāt in Asrār-nāmeh's tawheed ode with the phrase “که التوحید اسقاط الإضافات / Ki al-tawheedu isqāt al-idhāfāt”. This usage has been quoted by both Persian literature poets and classical Turkish literature poets. The concepts of tajrīd, tefrīd, abandonment and unity of tawheed-i misākī have a very close connection with the concept of isqāt al-idhāfāt. Key Words: Tawheed (Monotheism), Tajrīd, Oneness, Abandoning, Ahadiyet
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Shokhayev, M. T., and B. I. Nurdauletova. "The Sacred Space of Mangystau: the Content of Unusual Epitaphs." Iasaýı ýnıversıtetіnіń habarshysy 125, no. 3 (September 15, 2022): 79–94. http://dx.doi.org/10.47526/2022-3/2664-0686.07.
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The article presents a meaningful division of translations of unusual epitaphs found in the Shakpak ata rock mosque, Sisem ata pantheon, Karaman ata necropolis during expeditions to the sacred places of Mangystau. The translation of the records in the found stone was compared with the published results of the previous study and translation, and some adjustments were made. The epitaphs provided examples of the fact that the question raised and the reflections in it are linked to the work of local poets and zhyrau, have a common worldview, and border within the Sufi current of Islam. During the research proposals were formulated to turn some elementary concepts into a scientific problem, considering them from a different angle. Special attention was paid to the specifics of the religious context concerning the uniqueness of epitaphs, which are considered the main requirement to become an object of literary studies. When considering the epitaph of the peoples of the East, especially the peoples of Islam, importance was attached to the importance of a fundamental approach to the principles of religion. The semantic analysis of the accumulated epitaphs was carried out with an emphasis on keywords, the purpose of writing the found epitaphs was predicted and a reference was made to the religious basis of the national worldview in a space that has not lost its sacredness both in antiquity and at the present time.
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Isfahani-Hammond, Alexandra. "Akbar, My Heart: Caregiving for a Dog During Covid-19." Animal Studies Journal 10, no. 1 (2021): 11–29. http://dx.doi.org/10.14453/asj.v10i1.3.
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Covid-19 originates with humans’ instrumentalization of other animals, an “inconvenient truth” elided by scientists procuring a vaccine while refusing to contend with the captivity, slaughter and encroachment on wild animals’ habitats that brought the fatal disease upon us. The interlocking of homo sapiens’ and other species’ suffering is, of course, glaringly evidenced by disproportionate Black and brown death due to Covid-19 worldwide, itself intensifying the foundational pandemic of anti-Black violence. “Akbar, My Heart” contemplates transpecies loss in a relational frame, attending to the entanglement of white supremacy with anthropocentrism at the same time that I reflect on caregiving for my canine companion, Akbar, during his decline from neurological disease. My elderly friend’s worsening symptoms coincided with the pandemic’s spread, the Summer’s uproar against anti-Black violence and California’s wildfires. The vortex of these events is a point of departure for meditating about carceral logic, animalization and the seeming “end of days” together with another kind of ending, one centered on providing comfort and an honorable death. Mourning for Akbar through the preparation of this piece, I have called upon the wisdom of critical animal studies scholars as well as Sufi poets and even the texts of my dreams. Deciphering this bewildering time of transformation has been an invitation to imagine another world while abiding with Akbar in the threshold, attempting to see through the smoke, so to speak, to the other side of this scorched earth.