Sufism and Mysticism
اسداله Vahed; Hadi Sadeghi; Mohammad Mahdipour; Ebrahim Ranjbar
Abstract
Ahmad-e Yasavi, also known as "Pir-e Torkestân," was a famous Sufi and influential spiritual leader in the Torkestân region in the 6th century. His Sufi movement and mystical teachings, known as "Yasaviyyeh," gained popularity in the Islamic world and played a significant role in the Islamization ...
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Ahmad-e Yasavi, also known as "Pir-e Torkestân," was a famous Sufi and influential spiritual leader in the Torkestân region in the 6th century. His Sufi movement and mystical teachings, known as "Yasaviyyeh," gained popularity in the Islamic world and played a significant role in the Islamization of Anatolia, experiencing ups and downs in Asia Minor. Yassaviyyeh is considered the first Sufi order to emerge among the Turks, originating in the city of Yasâ or Torkestân and later spreading throughout Asia Minor. The main significance of the Yasaviyyeh order lies in its ability to spread Sufi beliefs and practices tailored to the intellectual level, language, and culture of the Torkman people from Torkistân to Anatolia. By using simple and melodious poems rooted in the national spirit and customs of the people, Yasaviyyeh order was able to attract the pure and unadulterated souls of the Torkman people to Islam and Sufism, preparing the culture and society of Asia Minor to embrace and accept the teachings of various sects, many of which had origins in Khorâsân. Given the lack of research on critiquing and analyzing the beliefs and practices of Yassaviyyeh and the spread of this Sufi order in Asia Minor, the authors of this study aim to provide a detailed interpretation of the Sufi beliefs and practices of the Yasaviyyeh order by referring to the written works attributed to Ahmad-e Yasavi. They also seek to compare these beliefs and practices with those of Khorasan Sufism to reveal the mystical nature and cultural and intellectual influence of this Sufi order in Asia Minor.
Literary theories
mehdi bagheri; mohammad Khakpoor; mohammad mahdipour
Abstract
The criticism of prominent works have been common in all periods, and the importance of research in this field is not less than the value of created works. In the twelfth century AH, Imam Bakhsh Sahbai was one of the critics who inherited literary theories such as Munir Lahori, Azad Belgrami and Siraj-ud-Din ...
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The criticism of prominent works have been common in all periods, and the importance of research in this field is not less than the value of created works. In the twelfth century AH, Imam Bakhsh Sahbai was one of the critics who inherited literary theories such as Munir Lahori, Azad Belgrami and Siraj-ud-Din Ali Khan Arzu, incorporating into the formation of his unique literary orientation in the subcontinent. The treatise "Sharh-i-Se Nathr-i-Zuhuri" is one of the works that can be considered as the crystallization of new ideas Sahbaian that has been obtained as a result of analysis and critique of linguistic and rhetorical elements of this treatise. The outstanding feature of Sahbai's views in the field of literary criticism lies in its novelty, scientific orientation, and coherence. Among his stylistic features are manifestations of deviation from the apparent requirement (placing the manifestation in the implicit position), using the word stopped on hearing or analogy, dokhana (aware of two inertia), verisimilitude (metaphorical ambiguous metaphor), relation of words in speech, and neologism. Many of the terms in her work are the primary form of interpretation used today in modern literary criticism schools around the world; as he uses "wording" almost in the sense of texture, and "skeleton" in the sense of structure. Sahbai considers the value of metaphor in literary creations to be dependent upon its complexity and elaboration and its application in literary works. Adopting an analytical-descriptive approach, this article seeks to illustrate the unique, innovative perspective accompanying Sahbaian literary criticism
Mohammad Mahdipour; Mohammad Khakpour; Khadijeh Pourzeyni
Volume 68, Issue 231 , January 0, , Pages 109-136
Abstract
Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. ...
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Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. The present work is a structural and thematic analysis of the qasidas by Shahriar. Though Shahriar echoes many of the traditions of the classic Persian poetry, he does not arguably seek to follow the earlier norms and conventions as far as qasida is concerned. Due to his peculiar character, his qasidas employ a soft, lyric language. Though some of his qasidas do hold a candle to the relevant classic works, one should note however that qasida is not the major concern for him as he deems it as a rough poetic form. As with his other poems, the most important feature characterizing Shahriar’s qasidas is factography and expression of true, personal emotional experience. In qasidas with lyrical and emotional themes, this very feature has coupled with innovative fantasy and romantic descriptions to give birth to a new class of qasida unprecedented in the history of Persian literature. Shahriar’s qasidas fall in a wide array of thematic groups, but they can be split into the following categories in terms of the most prevailing purports: 1) panegyric, including Ikhwäniyät (brotherly poems), elegies, and social; 2) religious and monistic; 3) lyric; and 4) those dealing with the Iranian Islamic Revolutio
