"Sufi Doctrine and Method" by Titus Burckhardt
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(“At Variance with Guénon”) of "Frithjof Schuon: Messenger of The
from: Frithjof Schuon: Messenger of the Perennial Philosophy ISBN: 978-1-935493-08-2 from the free Online Library at http://www.frithjofschuon.com/ 11. At Variance with Guénon In my early youth, my salvation was Shrī Shankara, and with him, spiritual virtue; And so I was able to learn: only inspiration, And not vain thinking, can give Wisdom. Then came the notion of tradition: Only the sacred may carry the sacred. All this Guénon wrote in his works with great diligence And zeal. But much still remained to be said!1 Frithjof Schuon always respected the metaphysical and conceptual frame- work articulated by René Guénon, whose writings were particularly important to him at the time when he was beginning to formulate his own perspective. Starting in 1939 and continuing throughout the rest of his life, Schuon delved into many subjects that Guénon never considered or only touched upon lightly, including Buddhism and American Indian spiritu- ality, sacred art in its diverse forms, and, especially, the operative aspects of spiritual realization—prayer of the heart and the human virtues. Martin Lings, who was Guénon’s personal assistant in Cairo during the 1940s, later expressed an observation that first became apparent in these years: “There is nothing in Guénon that is not to be found in Schuon. There is much in Schuon that is not to be found in Guénon.”2 When, after the war, com- munication could be resumed between Guénon in Cairo and Schuon in Lausanne, Guénon was generally supportive of Schuon’s point of view on these subjects and particularly appreciative of Schuon’s interest in American Indian spirituality. -
Sufism in the Western History : a Primary Outline
Sufism in the Western History : A Primary Outline Andrew Rawlinson University of Lancaster Abstract The phenomenon of Western Sufi teachers is unique, not just because of the individuals themselves, though they are certainly fascinating, but because of what they represent: the flowering of the Western genius, which has discovered Eastern traditions, absorbed them and in the process changed them and been changed by them. This paper is a primary outline of the main contours of this phenomenon, trying to brief its history and attempt an explanation of what it means. Keywords: Sufism, Western Sufism, Mysticism, History of Sufism Introduction About a century ago there were no Western gurus - no Westerners who were Hindu swamis, Zen roshis or Sufi sheikhs. Now there are hundreds. From a standing start, the West has produced its own spiritual teachers in traditions that were originally quite foreign. And in the last 25 years, a number of independent teachers have appeared, who belong to no tradition but teach from themselves. These people are changing Western culture by making available a view of the human condition which is new in the West. This view is based on four principles: - human beings are best understood in terms of consciousness and its modifications, - consciousness can be transformed by spiritual practice, - there are gurus/masters/teachers who have done this, - and they can help others to do the same by some form of transmission. Hundreds of thousands of Westerners now accept this teaching. To begin with, it was propounded by Easterners: Buddhists, Hindus and Sufis. But gradually Westerners began to teach the Buddhist, Hindu and Sufi versions of it. -
SOCIOLOGISTS and SUFIS: a REASSESSMENT of SAINTHOOD in EARLY SUFISM in LIGHT of NEW DEVELOPMENTS in SOCIOLOGY by SVEND A. WHIT
SOCIOLOGISTS AND SUFIS: A REASSESSMENT OF SAINTHOOD IN EARLY SUFISM IN LIGHT OF NEW DEVELOPMENTS IN SOCIOLOGY by SVEND A. WHITE (Under the Direction of Alan Godlas) ABSTRACT Western sociologists have often viewed Sufi saints and Islamic mysticism in general through lenses that obscure the vibrant and multi-faceted sociological role long played by Sufi saints in Islamic societies. The reasons for this are many, complex, and open to debate, some responsibility must be assigned to the great Max Weber (. 1920) and his disciples, especially Ernest Gellner (. 1995 CE) and Clifford Geertz (. 2006 CE), whose ideas have despite the best of intentions often reinforced important misconceptions. A review of the core tenets of Sufism on sainthood through the prism of the great medieval mystics Ḥakīm al-Tirmidhī (. 910 CE) and Ibn ʿArabī (. 1320 CE) reveals stark limitations to Weberian categories vis-à-vis Islamic mysticism. Such an analysis highlights the need for more holistic and less implicitly Eurocentric approaches to sociological studies of Islam and Sufism. INDEX WORDS: Sufism, Islam, Sainthood, Sanctity, Saints, Walī, Awlīyāʿ, Abdāl, Maraboutism, Mystics, Mysticism, Ibn ʿArabī, Ḥakīm al-Tirmidhī, Seal of Saints, Prophetic Inheritance, Sociology of Religion, Sociology of Islam, Sociology of Sufism, Muslims, Max Weber, Ernest Gellner, Clifford Geertz, Protestant Work Ethic, Orientalism, Eurocentrism SOCIOLOGISTS AND SUFIS: A REASSESSMENT OF SAINTHOOD IN EARLY SUFISM IN LIGHT OF NEW DEVELOPMENTS IN SOCIOLOGY by SVEND A. WHITE BA, Goucher College, 1998 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Svend A. -
Framing Islam at the World of Islam Festival, London, 1976
Journal of Muslims in Europe 7 (2018) 73-93 brill.com/jome Framing Islam at the World of Islam Festival, London, 1976 Klas Grinell Dep. of Literature, History of Ideas, and Religion, Gothenburg University, Sweden [email protected] Abstract This article focuses on a neglected historical example where contemporary museo- logical framings of Islam in Europe were established—the World of Islam Festival in London, 1976. The material consulted consists of the publications and materials from the Festival Trust, media coverage and academic discussions of the Festival. These are analyzed from a frame theory perspective. The Festival is situated in a very specific historical period after the advent of Gulf oil money, but before the resurgence of Islam and the Iranian revolution. It was framed by the traditionalist perspective of Frithjof Schuon and Seyyed Hossein Nasr and in large part funded by the United Arab Emirates. It is argued that what might at first appear to be a festival celebrating the presence of Muslims in modern Britain acted to stabilize a dichotomy between Islam and moder- nity that is still dominant in museological framings of Islam in Europe. Keywords World of Islam Festival – museums – Islamic art – cultural heritage – traditionalism – 1970s 1 Aims and Introduction The 1976 World of Islam Festival in Britain is certain to be regarded in retrospect as an important milestone in the relations between Islam and Christianity. The effect that it has had in awakening Europeans to the sig- nificance of Islamic civilization is already apparent. © Klas GrinelL, 2018 | doi 10.1163/22117954-12341365 This is an open access article distributed under the terms of the prevailing CC-BY-NC license at the time of publication. -
What Do We Mean When We Say Islamic Art?
What do we mean when we say ‘Islamic art’? A plea for a critical rewriting of the history of the arts of Islam Avinoam Shalem In a book published in 2008, Arnold Hottinger provocatively asserted that as far as the Western stance toward Islam is concerned, Islam does not exist.1 He argued correctly that it is pure fiction to speak about Islam using one sole, monolithic and global term. Moreover, he added that the desire to see in the wide-ranging and diverse ‘worlds of Islam’ a homogenous sphere called Islam is simply an abstract cognitive notion, which, as with any general concept, has its sole origin in the mind of the person who creates this concept or theory. It is quite clear, then, that Hottinger, like many other scholars of Islamic studies, developed his ideas in the critical ‘Post-Edwardian Era’; that is, the period following the death of Edward Said in 2003, in which renewed discussion has taken place around his renowned book Orientalism, first published in 1978.2 The ‘imaginary Orient’, as termed by Linda Nochlin in 1983,3 is not restricted to Western literature but impinges on many other fields and is undoubtedly rooted in the history of European thought, especially in the construction of the image of its major ‘Other’ and the creation of its own historical narrative. And yet, this critical notion can and should also be applied to the field of art history in general, and to the construction of the field of Islamic art history within the larger discipline of Western art history in particular. -
Sufism and the Sacred Feminine in Lombok, Indonesia
religions Article Sufism and the Sacred Feminine in Lombok, Indonesia: Situating Spirit Queen Dewi Anjani and Female Saints in Nahdlatul Wathan Bianca J. Smith Centre for Islamic Culture and Society, University of Mataram, Mataram 83125, Indonesia; [email protected] Abstract: This article is a feminist ethnographic exploration of how ‘indigenous’ notions of a ‘sacred feminine’ shape Sufi praxis on the island of Lombok in the eastern part of Indonesia in Southeast Asia. I demonstrate through long-term immersive anthropological fieldwork how in her indigenous form as Dewi Anjani ‘Spirit Queen of Jinn’ and as ‘Holy Saint of Allah’ who rules Lombok from Mount Rinjani, together with a living female saint and Murshida with whom she shares sacred kinship, these feminine beings shape the kind of Sufi praxis that has formed in the largest local Islamic organization in Lombok, Nahdlatul Wathan, and its Sufi order, Hizib Nahdlatul Wathan. Arguments are situated in a Sufi feminist standpoint, revealing how an active integration of indigeneity into understandings of mystical experience gives meaning to the sacred feminine in aspects of Sufi praxis in both complementary and hierarchical ways without challenging Islamic gender constructs that reproduce patriarchal expressions of Sufism and Islam. Keywords: sacred feminine; divine feminine in Sufism; Sufi orders; female saints; female leadership Citation: Smith, Bianca J. 2021. Sufism and the Sacred Feminine in in Sufism; Dewi Anjani; Nahdlatul Wathan; Lombok; Indonesia; indigenous feminine Lombok, Indonesia: Situating Spirit Queen Dewi Anjani and Female Saints in Nahdlatul Wathan. Religions 12: 563. https://doi.org/10.3390/ 1. Introduction rel12080563 The ‘sacred (also read as divine) feminine’ as cultural praxis is an under-researched area in the anthropology of Sufism in Indonesia, mostly because normative Sufism as Academic Editors: Milad Milani, organized through the tariqa, like Islam, is structurally and ideologically patriarchal and Zahra Taheri and Aydogan Kars formally speaks to a male audience. -
William C. Chittick Chronological List of Publications Books
1 William C. Chittick Chronological List of Publications Books 1974 The Sufi Doctrine of Rumi: An Introduction. Tehran: Aryamehr University Press, 1974, 96 pp. (New edition 2005) Muqaddima bar `irfān-i Mawlawī. Persian translation by Shihāb al-Dīn `Abbāsī. Ganjīna-yi Ma`nawī-yi Mawlānā. Tehran: Intishārāt-i Murwārīd, 1383/2004, pp. 41-119. 1975 Collaboration with Seyyed Hossein Nasr in An Annotated Bibliography of Islamic Science. Vols. 1-2. Tehran: Imperial Iranian Academy of Philosophy, 1975-78, 432, 317 pp.; Vol. 3, Tehran, 1991; vols. 1 & 2 reprinted Lahore: Suhail Academy, 1985. 1977 Edition of `Abd al-Rahmān Jāmī. Naqd al-nusūs fī sharh naqsh al-fusūs. Persian and Arabic text with critical apparatus, notes, English and Persian introductions, indexes. Tehran: Imperial Iranian Academy of Philosophy, 1977, 648 pp. 1981 A Shi'ite Anthology. Albany: SUNY Press, 1981, 152 pp. http://www.al-islam.org/anthology/index.htm Translation of J. Nurbakhsh (compiler). Sufism [I]: Meaning, Knowledge, and Unity. New York: Khaniqahi-Nimatullahi, 1981, 111 pp. 1982 Fakhruddin ‘Iraqi: Divine Flashes (with P.L. Wilson). With introduction and notes. New York: Paulist Press (Classics of Western Spirituality), 1982, 178 pp. Translation of J. Nurbakhsh. Sufism [II]: Fear and Hope, Contraction and Expansion, Gathering and Dispersion, Intoxication and Sobriety, Annihilation and Subsistence. New York: Khaniqahi-Nimatullahi, 1982, 126 pp. Translation of `Alī ibn Abī Tālib. Supplications (Du'ā). London: Muhammadi Trust, 1982, 66 pp. 1983 The Sufi Path of Love: The Spiritual Teachings of Rumi. Albany: SUNY Press, 1983, 433 pp. 2 Russian translation by Marietta Stepaniants and Andrey Smirnov. -
Meditating Loss in Relation to Islamic Aesthetics and Spirituality Within Mosque Spaces in Contemporary Singapore
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The art of 'none' to 'nur' : meditating loss in relation to Islamic aesthetics and spirituality within mosque spaces in contemporary Singapore Muhammad Noor Iskandar Othman 2018 Muhammad Noor Iskandar Othman. (2018). The art of 'none' to 'nur' : meditating loss in relation to Islamic aesthetics and spirituality within mosque spaces in contemporary Singapore. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/75885 https://doi.org/10.32657/10356/75885 Downloaded on 29 Sep 2021 20:37:35 SGT THE ART OF ‘NONE’ TO ‘NUR’: MEDITATING LOSS IN RELATION TO ISLA MIC AESTHETICS AND SPIRITUALITY WITHIN MOSQUE SPACES IN CONTEMPORARY SINGAPORE MUHAMMAD NOOR ISKANDAR BIN OTHMAN SCHOOL OF ART, DESIGN AND MEDIA 2018 THE ART OF ‘NONE’ TO ‘NUR’: MEDITATING LOSS IN RELATION TO ISLAMIC AESTHETICS AND SPIRITUALITY WITHIN MOSQUE SPACES IN CONTEMPORARY SINGAPORE MUHAMMAD NOOR ISKANDAR BIN OTHMAN SCHOOL OF ART, DESIGN AND MEDIA A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirements for the degree of Master of Arts (Research) 2018 1 ACKNOWLEDGEMENT For the dreamers who feel so much spirit and consciousness in Art, And the soul craving for the Light to fill the longing in the Heart. I dedicate my gratitude to the Almighty for the bounteous blessings, both manifested and hidden, amidst this journey of discovery. To my supervisor, Dr Gül İnanç, who guided me with conviction, and all rivers of trust and patience, I am forever indebted to your presence. -
Sufi Cult in Mirpur
This is a repository copy of Ambiguous traditions and modern transformations of Islam: the waxing and waning of an ‘intoxicated’ Sufi cult in Mirpur. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/97211/ Version: Accepted Version Article: McLoughlin, S and Khan, M (2006) Ambiguous traditions and modern transformations of Islam: the waxing and waning of an ‘intoxicated’ Sufi cult in Mirpur. Contemporary South Asia, 15 (3). pp. 289-307. ISSN 0958-4935 https://doi.org/10.1080/09584930601098042 (c) 2006, Taylor and Francis. This is an author produced version of a paper published in Contemporary South Asia. Uploaded in accordance with the publisher's self-archiving policy. Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Seán McLoughlin & Muzamil Khan Ambiguous traditions and modern transformations of Islam: the waxing and waning of an S M Published in: Contemporary South Asia 15(3) September, 2006: 289307 Abstract: A I S A S shifting ambiguity and fixity of religious boundaries in colonial India, this article is an account of the cult of the Qadiriyya-Qalandariyya saints in the Mirpur district of Pakistan- administered Kashmir. -
The Islam in Islamic Art History: Secularism and Public Discourse
The Islam in Islamic art history: secularism and public discourse Wendy M.K. Shaw In 1951, Richard Ettinghausen, one of the founding fathers of the discipline of Islamic art history in the United States, explained, Muslim art can also have a special significance for the Muslim world of today. Since this is its one cultural achievement widely accepted and admired by the West, a rededication to it can compensate the East to a certain degree for its scientific and technological retardation, something which neither the oil fields nor strategic location can achieve. Be that as it may, there has been and still is no better ambassador of good will than art. If these considerations are more widely understood, Muslim art and its study will have an important role to play in the future.1 Attitudes towards cultural diversity have become less patronizing over the decades, particularly among those who study cultures that are not their own. Nonetheless, historical objects from the Islamic world continue to be called upon regularly to reduce intercultural tensions in the contemporary world in a manner that often elides differences between past and present, religion and culture, geography and religion. This conjoining of art historical meaning with contemporary social function is not only an inevitable means through which the humanities often justify their funding and position within a broader public sphere, it also reflects the sociopolitical contexts in which all academic work, from the classical philology critiqued in Edward Said’s Orientalism (1978) onwards, has been and continues to be conducted, underwritten and disseminated. While the rhetoric of civilizational hierarchies and alterity revealed in the words of Ettinghausen may have become socially unacceptable in the interim, the practice of using art to represent broader culture continues to the present day, as do perceptions of the Islamic ‘other’ as something that is radically different from the West. -
"Knowledge and Love" by Titus Burckhardt
From the World Wisdom online library: www.worldwisdom.com/public/library/default.aspx Chapter 4 KNOWLEDGE AND LOVE It is characteristic of Sufism that its expressions often hold the balance between love and knowledge. An emotional form of ex pression more easily integrates the religious attitude which is the starting point of all Islamic spirituality. The language of love makes it possible to enunci- ate the most profoundly esoteric truths without coming into conflict with dogmatic theology. Finally, the intoxica tion of love symboli- cally corresponds to states of knowledge which go beyond discursive thought. There are also expressions which, though they do not arise from an attitude of love, none the less evoke love because they reflect an inner beauty which is the seal set by Unity on the soul. It is from this Unity that clarity and rhythm spring, whereas any kind of mental cris- pation and vanity of speech contradicts the simplicity and so also the transparence of the soul in relation to Truth. Some Sufi writers, such as Muḥyi-d-Dīn ibn ʿArabī, Aḥmad ibn al ʿArīf, Suhrawardī of Aleppo, al-Junayd, and Abu-l-Ḥasan ash-Shādhilī give evidence of an attitude which is fundamentally intellectual. These writers look on the Divine Reality as the universal essence of all knowledge. Others, such as ʿOmar ibn al-Fārid, Manṣūr al-Ḥallāj, and Jalāl ad-Dīn Rūmī, express themselves in the language of love. For them the Divine Reality is, first of all, the limitless object of desire. But this diversity of attitude has nothing to do with any divergence between different schools, as some have believed who consider that the Sufis who used an intellectual language had been affected by the influence of doctrines foreign to Islam such as Neo platonism, and that only those who represent an emotional attitude are the mouthpiece of the true mysticism which derives from the perspective of monothe- ism. -
Tarab in the Mystic Sufi Chant of Egypt
Tarab in the Mystic Sufi Chant of Egypt by Michael Frishkopf1 Department of Music – University of Alberta (from Colors of Enchantment: Visual and Performing Arts of the Middle East, ed. by S. Zuhur (The American University in Cairo Press, Jan 2001)) I. Introduction to Music, Emotion, and Sufism The aesthetic concept of tarab finds no ready translation from the Arabic. Narrowly defined, it refers to musical emotion and the traditional musical-poetic resources for producing it, especially expressive solo singing of evocative poetry, in an improvisatory style, employing the traditional system of maqam (melodic mode). Traditionally, the singer is accompanied by a small, flexible, heterogeneous instrumental ensemble (the takht). Affective texts, precise intonation and enunciation, proper elaboration of the maqam, idiomatic improvisation, tasteful modulation, and correct execution of the qafla (melodic cadence) are all factors critical to the development of tarab in performance.2 Tarab also depends on consonant performer-listener interactions, in which experienced listeners (sammica) react to the music by expressing emotion through vocal exclamations and gestures, especially during the pause which follows the qafla; the singer in turn is moved and directed by such "feedback".3 Through this dynamic relationship, emotion is shared, exchanged, and amplified among participants. The harmonious relation between the singer and the words he or she sings is also critical to tarab, since the singer must sing with sidq (sincerity), expressing true feeling