Nomination Form International Memory of the World Register Mathnawi-E

Nomination form International Memory of the World Register

Mathnawi-e-Mowlawi 2014 - 58

1.0 Summary (max 200 words) Mathnawi, as the magnum opus of Persian mystic literature, has been composed by Jalalludin Muhammad Balkhi - also known as Mowlana Rumi or Mowlawi - between years 660 to 666 AH (1261-1267 CE). Within the Six books that comprise this work, Mowlana recounts the passion of enlighten as a spark of fire caught by a reed. It burns away the essence of the Follower of the Way and points him toward recognition of absolute truth. In fact Mathnawi is the apex and culmination of mysticism. In Mathnawi, Mowlana symbolically expresses the basic issues of mysticism and Sufism, starting from the basics up to the Final Enlightenment of the Mystic. He uses the teachings of the holy canon, Quranic Verses, Holy narrations and tradition of Prophet Muhammad (PBUH) and the ideas of past mystics. For each mystic subject, he refers to a fable or an allegory and notes the social and moral protocols sought by the Sufic elders. Mathnawi has been translated into Turkish, Urdu, Punjabi, Arabic, German, English, Bengali, Hungarian, Russian, Pashtu, Swedish, Sindi, Dutch, Kashmiri, Norse, Italian, Czech, French and polish. The present nomina tio n introduces seven outstanding manuscripts of Mathnawi.

2.0 Nominator

2.1 Name of nominator (person or organization) National Library and Archives of the Islamic Republic of Iran

2.2 Relationship to the nominated documentary heritage In 2012, The National Library and Archives of the Islamic Republic of Iran submitted a proposal to the national committee for the Memory of the World, to set in motion the process for recognition of Mowlawi’s Mathnawi. Following an exhaustive search for the best manuscripts held in libraries in Iran and the rest of the world, seven outstanding manuscripts were chosen which are presented in this file.

2.3 Contact person(s) (to provide information on nomination) Ms. Fariba Farzam

2.4 Contact details

Name: Ms. Fariba Farzam Address: National Library and Archives of the Islamic Republic of Iran, Haqqani Expressway, Teheran, Iran

Tel: +982188644086 Fax: +982188644072 Email: [email protected]

3.0 Identity and description of the documentary heritage

3.1 Name and identification details of the items being nominated

If inscribed, the exact title and institution(s) to appear on the certificate should be given. Title : Mathnawi-e-Mowlawi Description: Mowlawi composed this mystic work from 660 to 666 after Hijra in six books. Numerous manuscripts are held in Iranian libraries and around the world. Of these, the following seven outstanding copies were selected and nominated: 1. Mowlana Museum in Konya: The manuscript is 32.2 by 49.7 centimetres; there are 29 lines per page calligraphed by Muhammad ibn Abdullah Al Konavi. It was inscribed in 667 AH (1278 CE). The Frontispiece displays an exquisite illumination, tabulation as well as margins adorned with illuminated bergamot. 2. Malek National Library and Museum: This manuscript is 36.2 by 18.5 centimetres, has 365 pages. There are 21 lines per page inscribed in Nastaliq by Abdul Qadir ibn Muhammad Badr Astarabadi between 808 and 809 AH (1406 CE). The paper texture corresponds to termeh . The initial pages and chapters are illuminated. The cover is cherry-coloured ewe leather embossed with floral design. 3. National Library and Archives of the IR of Iran: This copy has 343 pages and is 17.5 by 25.5 centimetres. There are 21 lines per page inscribed in Naskh-e-Khosh style by Hassan Al-Qari in 840 AH (1436 CE). The paper

texture type is known as Dowlat Abadi. Its cover is moss green goatskin decorated with gold and color floral design. The first four pages and chapters are illuminated and decorated. 4. Astan Quds Razavi Libraries, Museums and Archives Organization: This copy is 17 by 26.5 centimetres, has 307 pages, with 23 lines to a page, inscribed in Nastaliq style in 848 AH (1444 CE). The Frontispiece and chapters are illuminated and decorated. 5. Islamic Consultative Assembly (Majlis) Library, Museum and Archives: Inscribed in Nastaliq style in 877 AH (1472 CE). 6. Golestan Palace Collection: This copy is 32.5 by 21 centimetres, contains 718 pages. Each page has 21 lines inscribed in Nastaliq style by Muhammad Hassan Shirazi in 1279 AH (1862 CE). The first two leafs of each volume and the beginning of the text contains highly illuminated margins and header. At the top of the first two pages the name of the Qajar king, Nasserudin Shah, along with his titles have been incorporated within the Lion and Sun Motif and floral designs. This pattern has been repeated 142 times. 7. National Library and Archives of the IR of Iran: This manuscript is 18.5 by 28.5 centimetres and contains 158 pages. Each page contains 33 full sentences inscribed in High Naskh style by Muhammad Ismael Vesal known also as Tawhid. This copy was inscribed in 1281 AH (1864 CE) in Shiraz. The paper type is called Ferengi, the cover is lacquered. The first four pages of each volume as well as chapter titles are illuminated.

3.4 History/provenance The origin and date for each of the copies is as follows: 1. Mowlana Museum in Konya: This version has been copied from the one proof read and corrected in presence of Molawna himself. It was later compared and corrected against the original copy with his representative, Hisamudin Chalabi, and Mowlana’s own son, Sultan Valad. The copy came later into the possession of Sahib Atta Fakhrudin, and later changed hands to Jamaludin Mobarak who later dedicated it to the Sufi Priory. 2. Malek National Library and Museum: This copy was presented as a gift by Mahmood Jam, the prime minister under the First Pahlavi King, to Haj Hussein Malek, the founder of the Malek Library and Museum in 1929 CE.

3. National Library and Archives of the IR of Iran: This copy was purchased in 1940 CE under Mehdi Bayani’s tenure as the National Library Superintendent. 4. Astan Quds Razavi Libraries, Museums and Archives Organization: Mirza Rezakhan Naeeni dedicated it as an endowment in 1932 CE. 5. Islamic Consultative Assembly (Majlis) Library, Museum and Archives: This copy was purchased sometimes around 1937 and 1941 CE. 6. Golestan Palace Collection: This copy was inscribed for Nasserudin Shah-e Qajar whose reign was from 1847 until 1895 CE. This copy was kept in Golestan Palace Royal library since its inscription. 7. National Library and Archives of the IR of Iran: This copy was inscribed in 1864 CE by Muhammad Ismael known by the pen name Towhid. The book was kept in his family until 1949 when the National Library purchased it from Muhammad Ismael’s grandson, Dr. Norani Vesal.

4.0 Legal information 4.1 Owner of the documentary heritage (name and contact details)

The owner of each copy is as follows : 1. Mowlana Museum in Konya: Institution Name: Mowlana Museum in Konya Address: Konya. Turkey 2. Malek National Library and Museum: Institution Name: Malek National Library and Museum Address: Bagh-e Meli, Imam Khomeini, Ave. Tehran, Iran Telephone: +98 21 66726072 Facsimile : +98 21 66795974 3. National Library and Archives of the IR of Iran: Institution Name: National Library and Archives of the Islamic Republic of Iran Address: National Library Blvd., Shahid Haqqani Expressway, Tehran, Iran Postal Code: 15376-14111 Telephone: +98 21 88644086 Facsimile : +98 21 88644072 4. Astan Quds Razavi Libraries, Museums and Archives Organization: Institution Name: Astan Quds Razavi Libraries, Museums and Archives Organization

Address: Central Office, Sheikh Toussi Cul-de-Sac, Ali ibn Mussal Reza Holy Shrine, Mashhad, Iran Telephone: +98 511 2215565 Facsimile : +98 511 2220845 5. Islamic Consultative Assembly (Majlis) Library, Museum and Archives : Institution Name: Islamic Consultative Assembly Library, Museum and Archives Address: Majlis Library, Baharestan Square, Tehran, Iran Telephone: +98 21 33137810 Facsimile : +98 21 33137813 6. Golestan Palace Collection: Institution Name: Golestan Palace Collectio n Address: Opposite Arg Mosque, Panzdah Khordad Sq., Tehran, Iran Telephone: +98 21 33912050 Facsimile: +98 21 331111811 7. National Library and Archives of the IR of Iran: Institution Name: National Library and Archives of the Islamic Republic of Iran Address: National Library Blvd., Shahid Haqqani Expressway, Tehran, Iran Postal Code: 15376-14111 Telephone: +98 21 88644086 Facsimile: +98 21 88644072

4.2 Custodian of the documentary heritage (name and contact details if different from the owner)

Institution Name: - Address: - Postal Code: - Telephone: - Facsimile: -

4.3 Legal status

The administrative and legal responsibility for preservation of each copy falls on their respective owners.

4.4 Accessibility

Access to each copy is based on the regulations and by-laws of the holding library respectively.

4.5 Copyright status

5.0 Assessment against the selection criteria 5.1 Authenticity The seven copies chosen for this file have exact date of inscription and are all considered being original and authentic.

5.2 World significance Within Persian Literature, the Mystic literature originates with Sana’i, becomes fluid and expansive with Attar and reaches its apex with Mowlana. Mowlana’s status in mystic literature is akin to that of Ferdowsi in epic poetry. His Mathnawi is one of the masterpieces of Persian poetry. Not only it has been studied by literary figures over the past seven centuries, but even common people have read and came to keep it in high regard. In Iranian houses you could usually find a copy of Mathnawi next to the Holy Quran. The dissemination of Mowlana’s manuscripts was confined to Asia Minor region for sometimes. Mowlana’s various biographies and Morals were written by people such as Aflaki and Soltan Valad –Mowlana’s own son- in Asia Minor. One could however observe a reflection of Mowlana’s thought in Risala Iqbaliyyeh written by Alla’odulah Semnani and songs made by people such as Khajooye Keramani, Hafiz and Shah Nematullah Vali, But it is with the emergence of Herat Literary School in ninth century AH (15th century CE), that Mowlana’s name and his Mathnawi comes to increasing prominence. During this time people such as Kamaludin Hussein Khwarizmi, Al-Jaami and Mullah Yaghub Charkhi wrote expositions on Mathnawi. During the Saffavid era, the work was introduced to literary circles in India and Asia Minor. The Persian Commentary made by the Ottoman Poet, Mostafa Bin Shabaan Sorroori (died in 1561 CE) and Rhythmical commentary made by Ibrahim Dedeh Konavi on 600 selected verses of Mathnawi known as Golshan-e-Towhid were produced

6 during this period. Mathnawi commentary tradition continued unabated up until the present period (see appendixes 1, 2). In addition to these expositions and commentaries, some attempted to create a selection or abridged version of the Mathnawi and write exposition and commentaries on them. One such example is Al Bab Al-Ma’navi abridged edition written by Mullah Hussein Va’iz Kashefi Sabzevari in 1470 CE. In addition to these, many books have been written about Mowlana and his works such as Step by Step to Meet the Lord by Abdul Hussain Zarinkoob and Sea By Sea Mathnvi by Allame h Muhammad Taqi Jafari. Apart from the high esteem in which it is held by the Iranians, Mathnawi has also been popular around the globe. In the aftermath of the First World War, Mowlana’s work witnessed a serious development in central Europe and United States. Universities and Research centres began to teach Persian Language and Literature as well as history of Iran and Islamic Sufism along with Middle-East Studies. Several Academic researchers and Professors began to focus on Mowlana’s works. One could point out to Ann Marie Schimel and William Chittick. There were also Orientalists such as Ian Ripka, Friedrich Rückert as well as others who have come to explain some of the poetic and stylistic expressions. Mowlana had influenced Germanic literature through Von Hammer Porgstall and Rückert. Hegel was interested in Mowlana and drew some of the basic elements of his thoughts from Mowlana. In Grundriss der iranischen Philologie, Hermann Ethé lauds Mowlawi as the greatest Mystic Poet of the East as well as the greatest Unitarian poet in the world. During a Symposium held in Los Angeles in 1987, he reviewed various views in Mowlana works. Mowlana gradually became a cultural icon, so much as his name is known in many tongues and there are centres named after him around the world. According to Christian Science Monitor column by Alexandra Marks (1997) Mowlana’s poems is currently among the best sellers in the US. Following the impact of Iranian-Islamic Culture in other countries, Mathnawi has been translated into different languages such as Turkish, Urdu, Punjabi, Arabic, German, English, Hungarian, Russian, Pashtu, Sweden, Sindi, Dutch, Kashmiri and Norse. Mowlana’s other works or studies about him have also appeared in Italian, Czech, French and polish. Mathnawi has also been translated several times in some languages over the years.

5.3 Comparative criteria

Does the heritage meet any of the following tests? (It must meet at least one of them.) 1 Time The 13th Century when Mathnawi was composed, coincides with a tumultuous period of the devastating Mongol invasion. Unceasing killing and continuous massacres, pillage, endemic 7 corruption, falsehood and duplicity, opposition to the holy canon, morality and humanity are among the disastrous calamities taking place during this long period. It was due to such chaos that Rhythmic Mystic Poetries gained more popularity. Not only Sufism and Mysticism had been at their peak, but due to the chaotic times and prevalence of corruption, the nation thinkers were forced to admonish and guide the masses. It was against such background, coupled with Mowlana’s own upbringing, that Mathnawi was composed. Many valuable resources were forever lost in the wake of successive invasions and people access to the past, rich resources became extremely limited. Yet in spite of all these hardships and failures, great figures emerged who by creating valuable works in Persian language rooted in Persian school of thought fomented the rise and popularity of Iranian-Islamic culture. Thus, works such as Mathnawi Ma’navi were instrumental for passing on the Iranian culture ad civilization to the future generations.

2 Place During the Mongol Invasion, some parts of Iran (Parse, parts of Byzantium and India) were spared from the brunt of their attacks. Asia Minor (or Rum) was such region, over which the Seljuk ruled by accepting to serve the Ilkhans. For a brief period during the Ilkhan reign, these areas were spared from Mongol onslaught. This caused the important urban centres and cities in Asia Minor to serve as a haven for many Iranian refugees. By moving to such areas, many prominent Iranian cultural and scientific figures saved themselves from the Mongol threat and left valuable works. These safe havens and some of the cities and villages who avoided massacre and destruction by bowing before the Ilkhan rule, served as appropriate means for preservation of Iranians and remnants of Iranian culture and civilization. Due to a fall out between Mowlana’s father, Bahauddin Mohammad Balkhi, with Soltan Muhammad Kharazmshah around 610 AH (1213 CE), he emigrated from the Greater Khorasan to the Konya region. Given the fact that Mowlana was only 12 years old during the Mongol Invasion, he was spared the calamity. During this period he studied religion under his father supervision as well as other scholars. In later years, he composed the Mathnawi in such environment.

3 People Mowlana Jalaluddin Muhammad Soltanul Ulama Bahauddin Muhammad bin Hussein bin Ahmed Khatibi Bakri Balkhi, who has been called as Mowlana Rumi, Mowlawi or Rumi Mullah, is one of the greatest and most adroit sufic narrators as well as being among

8 undisputed famous mystics and thinkers within the Islamic world. Under the influence of his upbringing at the hand of his father and masters such as Seyyed Borhanudin Mohaghegh Tarmadi, Shamsuldin Muhammad bin Ali bin Malek Dad Tabrizi and Salahudin Fereydoon Konavi known as Zarkoob, Mowlana gained sufficient grounding on mystic principles and dedicated his life to guide and educated a number of followers of the way in the Priory that served as his school. He established a new assemblage of Mystics, known as mowlaviyah. Nevertheless, his students were not confined to the mystics but rather all walks of life enjoyed his teachings. He composed Mathnawi with express purpose of teaching ethics to people. Mathnawi blends science, mysticism and love in such a way that appeals to all regardless of religious or political affiliation. The truths embedded there in is suits the temperament of many. Perhaps the most important reason behind the overall influence of Mowlana over each social stratum and followers of every creed lies in the fact that, beyond religious and mystic issues, he is above all a poet. He is sensitive and keen poet who deals with pure hearts and untainted essences. As he has indicated and quoted on it, he was one with seventy three creeds and considered prejudice and rigidity as being immature and crude. Mowlana himself was a faithful muslim and a free thinker. Even now when centuries have passed since Mathnawi was composed, Mowlana’s words still impresses people who like and enjoy them.

4 Subject and theme The Mathnawi is an educational-mystic work and represent the apex and culmination of mysticism. Mowlawi discusses important issues in Mysticism, religion and Ethics and he refers to the holy verses of Quran, narrations, allegories and exposition when explaining these issues. Mathnawi has 18 initial verses that are known as Ney-Nameh (Book of Reed). Ney- Nameh is not an introduction to the work, but rather the essence and crux of it. Within these eighteen verses, the poet has incorporated all his thoughts and the rest of Mathnawi, without doubt, serves as an exposition and expression of these verses. Even though the poet finds new points and makes new statements as he moves forward, but his course is expressed in these very mysterious verses. Mathnawi has been composed in six volumes containing close to 25618 verses narrating the life events of a spiritual man as retold by a reed; a never-ending story. The first volume was composed between 657 and 660 AH (1258 – 1261 AH). There was a two year pause between the first and second volume which according to the poet himself started in 662 AH. The sixth volume was composed in 666 AH (1267 CE).

5 Form and style

Mathnawi is an allegorical work set in a symbolic language. Its style is story within story. It represents one of the most important commentaries on Quran and bears much similarity to the Bountiful Quran with respect to language structure. Mathnawi’s stories have been derived from various sources such as Quran, Panchatantra, Attar Naishapuri’s works, Sana’ie works, Nezami’s work and Javame Al-Hikkayat (Compendium of Stories). Hessamudin Chalabi is considered to be the inspiration for Mathnawi. He enthused and fascinated Mowlana for years. Whenever his muse struck, whether in bath house, Mosque, Home, while walking, or dancing and performing Sama (Whirling Dervish Dance), night or day, he would compose the Mathnawi. What is astonishing is the fact that Mowlana improvised the verses while Hessamudin Chalabi wrote them down. It seems that during Mathnawi composition session, Hessamudin and other listeners brought up questions which Mowlana answered. Thus Negative Inquiry tone which is highly frequent in conversion is much seen in Mathnawi. Another facet of Mathnawi’s revelation of truth is due to the manner of its composition. Mowlana sometimes describes the atmosphere of the gathering, thus the principle characteristic of his style is its matching with real events or realism. This Rhythmic Poem was not composed in the manner common to other compendiums of poetry or prose. Poetical works often begin with praise and eulogy and conclude in a style depending on the exigencies of the era when it was composed. Mathnawi does not follow this trend. Mowlana starts in his own way by the Ney-Nameh and concludes it with an unresolved story. Mowlana is a Master story-teller who in the style of Panchatantra, first brings up a story and later draws another story from within, narrates the third story in the middle of the second story and later one by one rolls back what he has developed and returns to the conclusion of the first story. His intent is not to tell a story but rather expressing truth and learnings. In addition to deep mystical insight, Mowlana was also talented in Persian language and has created eloquent words and many novel rhetoric as well as employing words in new meanings. His works provide a significant treasure trove of Persian language words and considered to be an important source for research in Persian literature; the emigration of Mowlawi’s Household from the Greater Khorasan in the east to the Byzantium in the west is metaphorical, since Mowlawi has included the words of Persian Eastern and Western domains in his lexicon. Some of these words have been coined by Mowlawi himself and is seen exclusively in his works and some are words used in other source whereas Mowlawi has used them in a new sense.

6 Social/ spiritual/ community significance

Following the passing of Mowlana, the most important event during the reign of Caliph Hessamudin, was to erect a court over Mowlana’s resting place. Once the court was established, some endowments were allocated to it and a leader was appointed to supervise them. This court was responsible for the establishment of Mowlawiyah School of Sufism and its branches. It was a sufic school formed around the opinions and thoughts of Mowlana in Konya and later spread to other parts of Asia Minor. The court received Mo’azzins, those who have memorized Quran, Reciters of Mathnawi and even Troubadours who had assembled to talk about Mowlana’s thoughts. Besides the sessions in which mathnawi was publicly recited, there was a ceremony known as Mowlana Sama. In Sama sessions, the Dervish performed a form of Whirling Dance. Mowlana’s son, Soltan valad, somewhat regulated these rites and gave it a definite form. Thus Dancing, Sama and Music and ceremonies where transformed into a definite ritual. While it underwent changes in later years, but its main structure remained the same that Sultan Valad had founded. In Konya the Mowlana’s Dervish Followers have continued this tradition to this day and age. Their Whirling Dervish Dance is more passionate especially during days that they have ceremonies commemorating Mowlana. In recent centuries, Dervishes in other dominions have promulgated this Mowlana Style of Sama in their Priories. One of the rituals that have become common place is Mathnawi Recitals which has endured to the present. Since its publication, Mathnawi was read in Sama and dance Sessions. Even during the life of Mowlana and somewhat afterwards, a new class known as Mathnawi singers appeared that recited Mathnawi in an attractive and orphic voice. Aflaki, who was also a Mathnawi singer, has made some references to the Mathnawi singers who were contemporary with Mowlana and his son, Soltan Valad. Thus gradually Mathnawi attained a special place within the range of traditional Persian music. It found a mode of performance in every Iranian song and Musical arrangement. However among these musical ranges and arrangements some have attained more fame such as Isfahan Mathnawi, Afshari (Pitch), Bayat Turk, Se-Gah Counterpoint and Cha-har-Gah.

6.0 Contextual information

Rarity/ Integrity In the past seven centuries, many Mathnawi manuscripts inscribed that have scattered in libraries in Iran and around the world. The seven copies nominated have been selected from among numerous copies available.