Editor in Cheief Transcendent Philosophy Journal is an academic Seyed G. Safavi peer-reviewed journal published by the London SOAS, University of London, UK Academy of Iranian Studies (LAIS) and aims to create a dialogue between Eastern, Western and Asistant Editor in Chief Islamic Philosophy and Mysticism is published in Seyed Sadreddin Safavi December. Contributions to Transcendent London Academy of Iranian Studies Philosophy do not necessarily reflect the views of the editorial board or the London Academy of Book Review Editor Iranian Studies. Sajjad H. Rizvi Exeter University, UK Contributors are invited to submit papers on the following topics: Comparative studies on Islamic, Editorial Board Eastern and Western schools of Philosophy, Philosophical issues in history of Philosophy, G. A‘awani, Iranian Institue of Philosophy, Iran Issues in contemporary Philosophy, Epistemology, A. Acikgenc, Fatih University, Turkey Philosophy of mind and cognitive science, M. Araki, Islamic Centre England, UK Philosophy of science (physics, mathematics, biology, psychology, etc), Logic and philosophical S. Chan, SOAS University of London, UK logic, Philosophy of language, Ethics and moral W. Chittick, State University of New York, USA philosophy, Theology and philosophy of religion, R. Davari, Tehran University, Iran Sufism and mysticism, Eschatology, Political Philosophy, Philosophy of Art and Metaphysics. G. Dinani, Tehran University, Iran P.S. Fosl, Transylvania University, USA The mailing address of the Transcendent M. Khamenei, SIPRIn, Iran Philosophy is: Dr S.G. Safavi B. Kuspinar, McGill University, Canada Journal of Transcendent Philosophy H. Landolt, McGill University, Canada 121 Royal Langford O. Leaman, University of Kentucky, USA 2 Greville Road Y. Michot, Hartford Seminary, London NW6 5HT Macdonald Center, USA UK M. Mohaghegh-Damad, Beheshti University, Tel: (+44) 020 7692 2491 Fax: (+44) 020 7209 4727 Iran Email: [email protected] J. Morris, Boston College, USA S.H. Nasr, The George Washington University, Submissions should be sent to the Editor. Books USA for review and completed reviews should be sent to S. Pazouki, Iranian Institue of Philosophy, Iran the Book Review Editor. All other communication should be directed to the coordinator. C. Turner, University of Durham, UK H. Ziai, UCLA, USA Transcendent Philosophy is published in December. Annual subscription rates are: Institutions, £60.00; individuals, £30.00. Please Editor add £15.00 for addresses outside the UK. The Shahideh Safavi, University of Nattingham Journal is also accessible online at: www.iranianstudies.org. Layout & Design © London Academy of Iranian Studies Mohamad A. Alavi, www.mediatics.net ISSN 1471-3217 Volume 17. December 2016 Transcendent Philosophy An International Journal for Comparative Philosophy and Mysticism Articles Music and ‘Irfan Seyed G Safavi [7-26] Religion and Dialogue Among Civilizations Seyyed Hossein Nasr [27-46] Music and Islamic Law Rana Shieh [47-72] Suhrawardī as a Scientartist in Psychology Nadia Maftouni [73-86] Theism and Darwinian Evolution: From Inconsistency to Consistency Seyed Hassan Hosseini, Ali Azizi [87-108] A comparative study on philosophy of Mulla Sadra and Upanishads Hossein Kohandel [109-134] Comparative study of self-awareness in Suhrawardi's and Avicenna's philosophy Mohammad Reza Tahmasbi [135-162] An Introduction on Mulla Sadra's Interpretation of Platonic Ideas Qodratullah Qorbani [163-186] Discovering kitchen(Ash-khaneh) Stone beam of Shaikh Safi al-in Ardabili's shrine in New results from excavations archaeological Yousefi, Neyestani, Hezhebr Nouberi, Mousavi kohpar [187-206] Transcendent Philosophy © London Academy of Iranian Studies Music and ‘Irfan Seyed G Safavi London Academy of Iranian Studies (LAIS), London, UK Abstract This article analyses the relationship and connection between music and ‗Irfan from an ontological perspective, epistemological perspective and functional perspective. From an ontological perspective ‗Irfanic music is the manifestation of the Divine Beauty and Voice, which manifested in the human domain based on the rank of the soul of the composer and musician. From an ‗Irfanic epistemological perspective music and ‗Irfan are a form of existence, which means that they are a type of participated beings and both are methods for reaching the Exalted Origin. In the sense that music is a manifestation of the Divine Names and also through ‗Irfanic music it is possible to reach the angelic world and the World of Divinity. This is the complimentary and intimate relationship between ‗Irfan and music, and the result of their close and intrinsic relation is awareness. Awareness, wisdom, serenity and beauty are the inseparable parts of ‗Irfanic music. ‗Irfanic music is one of the keys of reaching the Divine Reality. Although it is important to note that from the perspective of Sufis, music which causes negligence, ignorance and sin is dispraised and disqualified and is not permissible. Keywords: music, ‗irfan, Sufism, Islam, Iran. 8 Seyed G Safavi Introduction The history of human culture is testimony that music has been a part of communication with the divine and has been utilised in worship of the Divine in all religions from the beginning of human history. This includes the Abrahamic religions and religions such as Shintoism, Daoism and Buddhism. In general, there has been no human society without music. Ayatollah Seyed Ali Khamenei the Supreme Leader of Iran has the following opinion about original music, ―the art of music, is an integration of science, thought and God given nature. The manifestation of God given nature in the first instance is human vocal cords and in the second instance musical instruments invented by humans. So you can see that the foundation is a Divine foundation. If in this regards we examine the poems of Rumi and say that music is the reflection of the sounds of heaven and connect it to the ‗Irfanic world that he refers to, we have bored from realities to the imaginary [world]. Because his sayings in this regards, are similar imagination, and naturally have a different meaning.‖1 For example, the fifth symphony of Beethoven and the sixth symphony of Tchaikovsky are enjoyed and respected by most seekers of the Divine across human societies. ‗Irfanic music is a deep and spiritual genre of music which is amalgamated with Divine Wisdom and Beauty and eases the path of worship and spiritual wayfaring towards God. As Professor Nasr has written music is considered as the voice of the Beloved2. In Islamic Sufism, even scholars such as Ghazali and Kashani have issued religious rulings for sama‟. The majority of Muslim sects, including Shi‘a, Sunni and Sufis such as the Mevlawiyya, Naqshbandiyya, Qaderiyya, Khaksariyya and Safaviyya and others consider Sama‟ as part of religious spiritual wayfaring and see ‗Irfanic music as an integral part and tradition of spiritual wayfaring and as one of the techniques for attaining union with the Beloved. Roozbahan Baqli Shirizai in his treatise titled al- Music and ‗Irfan 9 Quds has offered an explanation of the different types of Sama‟ and the meaning of „Irfanic music3. The renowned figures of Iranian and Islamic literature and ‗Irfan have practiced Sama‟ or ‗Irfanic music; these include prominent figures such as Junaid Baqdadi, Abu Sa‘id Abu al-Khair, Ghazali, ‗ayn al-Quzat Hamadani, Sheikh Najm al-Din Kubra, ‗Attar Naishaburi, Roozbahan Baqli, Shams Tabrizi, Jalal al-Din Rumi, Fakhr al-Din ‗Iraqi Dehlawi, Sheikh Safi al-Din Ardabili, Mahmoud Shabestari, Lahiji and Shah Ni‘matallah Wali. ‘Irfanic Music From a A Priori and a A Posteriori Perspective ‗Irfanic music can be analysed from two perspectives; firstly, there is differentiation between the a priori and a posteriori perspectives, and secondly there is distinction between the epistemological and ontological perspective. The result of examining the issue from a priori perspective is that in addition to the possibility of existence of „Irfanic music, music in it‘s essence, is in profound and real symmetry with „Irfan, both from the perspective of ontology and also from the perspective of knowledge, tolerance and harmony. History of art can also be viewed from a posteriori perspective. Without a doubt one of the types of music that has manifested itself in world culture and civilisation, particularly in Iranian culture and civilisation is ‗Irfanic music, which specifically in Sufi orders such as Mawlawiyya, Khaksariyya, Naqshbandiyya, Qaderiyya and Safaviyya, in Iran, Turkey, Balkan, Central Asia, Qafqaz and North Africa can be seen in a a posteriori manner in history of art. This music has evolved over the centuries and portrays a mutual relationship between „Irfan and music. This mutual relationship can be seen in Sama‟, in the effectiveness of music in creating spiritual ecstasy. 10 Seyed G Safavi ‘Irfanic Music from and Ontological and Epistemological Perspective From an ontological perspective the first question is in regards to the quiddity of „Irfan. In theoretical ‗Irfan, the manifestation of God in the existence of the spiritual wayfarer is considered to result in him or her becoming an „Arif. What is „Irfanic Music? From an ontological perspective, it is the manifestation of Divine Beauty and Songs that become manifested in the human domain. Thus, ‗Irfan and music from an ‗Irfanic epistemological perspective are both types of existence, and both are a method for reaching the Exalted Origin. In addition to music being a form of manifestation of the Divine