Studies in Islamic Mysticism
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№3 2015 Bahram Moghaddas, Mahdieh Boostani НААУЧНЫИ the INFLUENCE OFRUMI’S THOUGHT РЕЗУЛЬТАТ on WHITMAN’S POETRY Сетевой Научно-Практический Журн
View metadata, citation and similar papers at core.ac.uk brought to you by CORE providedа by DSpace у ч at Belgorod н ы State й University р е з у л ь т а т UDC 821 DOI: 10.18413 / 2313-8912-2015-1-3-73-82 Bahram Moghaddas PhD in TEFL, Ministry of Education, Mahmoodabad, Mazandaran, Iran Department of English, Khazar Institute of Higher Education, Iran E-mail: [email protected] Mahdieh Boostani PhD Candidate in the English Language and Literature, Banaras Hindu University, India E-mail: [email protected] Ab STRACT ufism or tasaw w uf is the inner, mystical, or psycho-spiritual dimension of Islam. SHowever, many scholars believe that Sufism is outside the sphere of Islam. As a result, there has always been disagreement among religious scholars and Sufis themselves regarding the origins of Sufism. The traditional view sees Sufism as the mystical school of Islam and its beginnings in the first centuries following the life of the Prophet Mohammad. Indeed, there is another view that traces the pre-Islamic roots of Sufism back through mystics and mystery schools of the other regions gathered into the trunk known as Islamic Sufism. The word Sufi originates from a Persian word meaning wisdom and wisdom is the ultimate power. The following survey tries to explore this concept in the works of Rumi and its impact on the western writers and poets particularly Whitman. It tries to show how Whitman inspired from Rumi and came to be the messenger of Sufism in his poems. These poems reveal the depth of Sufi spirituality, the inner states of mystical love, and the Unity of Being through symbolic expressions. -
ANGELS in ISLAM a Commentary with Selected Translations of Jalāl
ANGELS IN ISLAM A Commentary with Selected Translations of Jalāl al-Dīn al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al- malā’ik (The Arrangement of the Traditions about Angels) S. R. Burge Doctor of Philosophy The University of Edinburgh 2009 A loose-leaf from a MS of al-Qazwīnī’s, cAjā’ib fī makhlūqāt (British Library) Source: Du Ry, Carel J., Art of Islam (New York: Abrams, 1971), p. 188 0.1 Abstract This thesis presents a commentary with selected translations of Jalāl al-Dīn cAbd al- Raḥmān al-Suyūṭī’s Al-Ḥabā’ik fī akhbār al-malā’ik (The Arrangement of the Traditions about Angels). The work is a collection of around 750 ḥadīth about angels, followed by a postscript (khātima) that discusses theological questions regarding their status in Islam. The first section of this thesis looks at the state of the study of angels in Islam, which has tended to focus on specific issues or narratives. However, there has been little study of the angels in Islamic tradition outside studies of angels in the Qur’an and eschatological literature. This thesis hopes to present some of this more general material about angels. The following two sections of the thesis present an analysis of the whole work. The first of these two sections looks at the origin of Muslim beliefs about angels, focusing on angelic nomenclature and angelic iconography. The second attempts to understand the message of al-Suyūṭī’s collection and the work’s purpose, through a consideration of the roles of angels in everyday life and ritual. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced firom the microfilm master. UMT films the text directly fi’om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be fi’om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi’om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE EMERGENCE AND DEVELOPMENT OF ARABIC RHETORICAL THEORY. 500 C £.-1400 CE. DISSERTATION Presented m Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Khaiid Alhelwah, M.A. -
THE LYRICAL FACADES of SAN'a'
THE LYRICAL FACADES OF SAN'a' Saba Taher Al-Suleihi Bachelor of Architecture College of Environmental Design University of Petroleum and Minerals Dhahran, Saudi Arabia December 1985 Submitted to the Department of Architecture in partial fulfillment of the requirements of the degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June 1992 @Saba Taher Al-Suleihi, 1992 The author hereby grants to M.I.T. permission to reproduce and distribute copies of this thesis document in whole or in part. Signature of Author Saba T. Al-Suleihi Certified by_ Ronald B. Lewcock Visiting Professor of Architecture Thesis Supervisor Accepted by_ Julian Beinart Chairman, Departmental Committee on Graduate Studies OF TECHOLOGY JUN 05 1992 USHAMES Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. - -600NOW - _WWOWdWW-- The Lyrical Fagades of San'A' by Saba Taher Al-Suleihi Submitted to the Department of Architecture on May 8, 1992 in partial fulfillment of the requirements for the degree of Master of Science in Architecture Studies ABSTRACT This study investigates aspects of the interrelationship between poetry and architecture as two modes of cultural expression. It postulates that the critical aesthetic values of a culture surface in its various products which may interchange influences and roles. -
Paradise in the Qur'an and the Music of Apocalypse
CHAPTER 6 Paradise in the Quran and the Music of Apocalypse Todd Lawson These people have no grasp of God’s true measure. On the Day of Resurrection, the whole earth will be in His grip. The heavens will be rolled up in His right hand – Glory be to Him! He is far above the partners they ascribe to Him! the Trumpet will be sounded, and everyone in the heavens and earth will fall down senseless except those God spares. It will be sounded once again and they will be on their feet, looking on. The earth will shine with the light of its Lord; the Record of Deeds will be laid open; the prophets and witnesses will be brought in. Fair judgment will be given between them: they will not be wronged and every soul will be repaid in full for what it has done. He knows best what they do. Q 39:67–70 … An apocalypse is a supernatural revelation, which reveals secrets of the heavenly world, on the one hand, and of eschatological judgment on the other. John J. Collins, The Dead Sea Scrolls 150 ∵ The Quran may be distinguished from other scriptures of Abrahamic or ethical monotheistic faith traditions by a number of features. The first of these is the degree to which the subject of revelation (as it happens, the best English trans- lation of the Greek word ἀποκάλυψις / apocalypsis) is central to its form and contents. In this the Quran is unusually self-reflective, a common feature, inci- dentally, of modern and postmodern works of art and literature. -
"Flower" and "Bird" and the Related Mystical Literature
Science Arena Publications Specialty Journal of Humanities and Cultural Science Available online at www.sciarena.com 2017, Vol, 2 (2): 7-15 Study of "Flower" and "Bird" and the Related Mystical Literature hamideh samenikhah1, Ardeshir Salehpour2 1MA of art research, Department of Art and Architecture, Islamic Azad University, Tehran center Branch, Iran. Email: [email protected] 2PhD of art research, Department of Art and Architecture, Islamic Azad University, Tehran center Branch, Iran Abstract: In painting and scriptures, patterns and images transfer special meaning to the audience which are known as symbols. Understanding the concepts of such symbols forms a work. As it is known, there is a long- standing link between literature and art. Traditionally, poets or artists use symbols in literature and art to express their purposes. Since the images are the symbols of mystical concepts, it can be said that the painting is directly connected to mysticism. For example, in the paintings and scriptures of flower and bird, flower is the symbol of the beloved and bird is the symbol of lover. The romantic speeches between flower and bird are the symbol of God's praise. Flower and bird paintings are dedicated to Iranian art that refer to four thousand years ago, the companion of plant with bird is originated from the Phoenix myths and the tree of life. Interpretations of flowers and birds in nature are concerned by most poets. Flower and bird are used in the works of the poets, especially those who use the symbol for mystical concepts. The present research which is written in descriptive method aims to study "flower" and "bird" and the mystical literature related to these concepts. -
A Poet Builds a Nation.Pdf
DOI: 10.9744/kata.16.2.109-118 ISSN 1411-2639 (Print), ISSN 2302-6294 (Online) OPEN ACCESS http://kata.petra.ac.id A Poet Builds a Nation: Hafez as a Catalyst in Emerson’s Process of Developing American Literature Behnam Mirzababazadeh Fomeshi*, Adineh Khojastehpour Independent scholars * Corresponding author emails: [email protected] , [email protected] ABSTRACT Numerous studies have tried to elucidate the relationship between Emerson and Hafez. While most of these studies laid emphasis on influence of Hafez on Emerson and others on similarity and/or infatuation, they left untouched some vital historical aspects of this relationship. Taking into consideration the political and literary discourses of Emerson‘s America may illuminate the issue. America‘s attempt to gain independence from Britain, Emerson‘s resolution to establish an American literary tradition, his break with the European fathers to establish that identity, his open-mindedness in receiving non-European cultures and the correspondence between Emerson‘s transcendentalism and Hafez‘s mysticism led to Hafez‘s reception by Emerson. Keywords: Hafez; Emerson; comparative literature; reception; national identity INTRODUCTION The relationship between Hafez and Emerson has been extensively studied. Most of the researchers In addition to being considered the father of trans- have highlighted influence and some have empha- cendentalism, the American poet and philosopher, sized similarity or infatuation. For instance, Fotouhi Ralph Waldo Emerson (1803-1882) was a remar- and Taebi (2012) believed that Emerson‘s poetic taste kable figure concerning Persian literature. The poet‘s made him study Persian poets and ―correspondence most fruitful years coincided with his careful study of between their mystical insight and his transcendental Persian poets. -
Patterns of Complexity: Art and Design of Morocco and Tunisia 2011 2
Patterns of Complexity: The Art and Design of Morocco and Tunisia Fulbright-Hays Seminar Abroad Curriculum Project 2011 Sue Uhlig, Continuing Lecturer in Art and Design at Purdue University Religious Diversity in the Maghreb From June 12 to July 21, 2011, I was one of sixteen post-secondary educators who participated in the Fulbright-Hays Seminars Abroad program to Morocco and Tunisia. During those six weeks, we were immersed in the culture of the two North African countries, visiting significant historical and cultural attractions, attending lectures daily, tasting regional cuisine, and taking Arabic language classes for the first two weeks. The topic of the seminar was “Religious Diversity in the Maghreb: Morocco and Tunisia,” so lectures were focused primarily on Islamic topics, such as Moroccan Islam and Sufism, with some topics covering Judaism. We were treated to two musical performances, one relating to Judeo-Spanish Moroccan narrative songs and the other by Gnawa musicians. Visits to Christian churches, Jewish museums and synagogues, and Islamic mosques rounded out the religious focus. The group was in Morocco for a total of four weeks and Tunisia for two. In Morocco, we visited the cities of: Rabat* Casablanca* Sale Beni Mellal* Fes* Azilal Volubilis Amezray* Moulay Idriss Zaouia Ahansal Sefrou Marrakech* Ifrane In Tunisia, we visited the following cities: Tunis* Monastir Carthage Mahdia* Sidi Bou Said El Jem La Marsa Sfax Kairouan Kerkennah Islands* Sousse* Djerba* * cities with an overnight stay For more information, you may contact me at [email protected]. I also have my photos from this seminar on Flickr. http://www.flickr.com/photos/25315113@N08/ Background Being an art educator, teaching art methods classes to both art education and elementary education majors, as well as teaching a large lecture class of art appreciation to a general student population, I wanted to focus on the art and design of Morocco and Tunisia for this curriculum project. -
Islamic Achievements
Islamic Achievements Were there any? Placard 2 summarizing sentences – Each sentence letter Symbol should have two IMPORTANT facts in it. 1. Astronomy 2. Baghdad 3. Calligraphy 4. Chess Art 5. Art 6. Banking Banking 7. Irrigation and underground wells 8. Bookmaking and literature 2 summarizing sentences – Each sentence Placard Symbol letter should have two IMPORTANT facts in it. 9. Mathematics 10. Medicine 11.Pharmacies Pharmacies 12. Music 13. Polo 14. Scholarship and learning 15.Libraries Libraries 16. Zoology A • Chess The game of chess was introduced to the Muslim world by the Persians, who had imported it first from India. The game became widely popular among men and women because of its difficulty and intellectual challenge. Caliphs (rulers) would invite champions of the game to chess matches at their palaces. The Muslims continued to adapt and improve the game. Eventually the introduced chess to Europeans, who played it widely from the thirteenth century on. What I would write • Chess was brought to the Muslim world from India • Muslims played it because it was intellectually challenging • Muslims made improvements to the game and eventually introduced it to Europe B • Irrigation Because water was so scarce in the desert regions of the Islamic Empire, Muslims developed ingenious irrigation techniques and utilized underground wells. Dams, reservoirs, and aqueducts were constructed throughout the Islamic Empire as early as the tenth century. Muslims also perfected the water wheel, a technique that could be operated by man, animals or the wind. When an upright pole connected to a series of geared wheels was turned, four water scoops, rising one after another , emptied their contents into a canal. -
The Written Word in Islamic Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online The Written Word in Islamic Art Chela Weitzel Islamic art and culture is heavily influenced by both the meaning and form of the written word. Prior to the advent of Islam, the written word was significant. However, with the rise of Islam and the holy book of the Qur’an, the written word became a symbol of both Islamic faith and civilisation. Arabic writing, expressed through the fine art of calligraphy, has pervaded the visual arts. The universal custom among the faithful, of reading the Qur’an in Arabic has resulted in the spread of calligraphic arts throughout the Islamic world, beyond Arabic speaking nations. It is believed that Arabic calligraphy should be a whole subject by itself in modern Arabic schools.1 Given the position of the written word and the Islamic aversion to figural images, calligraphy proliferated in Islamic art. As a visual art, the skill of calligraphy relies on the use and knowledge of Arabic. The belief that the Qur’an must be read in Arabic in order to ascertain its proper meaning has created an environment in which the religious and aesthetic aspects of the word have come to dominate the arts. Thus, the divine importance given to the Arabic language has transformed the word into a symbol of the faith from Africa to Indonesia. The ideographic properties of the word have lead to a tradition of poetry that relies on a blending of meaning derived from the physical appearance of the letters in a poem as well as from the literal meaning of the verse. -
(PDF Format) the Booklet “Cultural Parameters of Iranian Musical
Cultural Parameters of Iranian Musical Expression Edited by Margaret Caton & Neil Siegel The Institute of Persian Performing Arts Cultural Parameters of Iranian Musical Expression Presented at the 1986 meetings of The Middle East Studies Association November, 1986 Margaret Caton Jean During Robyn Friend Thomas Reckord Neil Siegel Mortezâ Varzi Edited by Margaret Caton & Neil Siegel Published by: The Institute of Persian Performing Arts 38 Cinnamon Lane Rancho Palos Verdes, California 90275 Copyright (c) 1986 / 1988 by the authors and The Institute of Persian Performing Arts (IPPA). All Rights Reserved. Re-formatted 2002 Table of Contents 1. Performer-Audience Relationships in the Bazm. Mortezâ Varzi; assisted by Margaret Caton, Robyn C. Friend, and Neil Siegel . .....1 2. Contemporary Contexts for Iranian Professional Musical Performance. Robyn C. Friend and Neil G. Siegel . ......8 3. Melodic Contour in Persian Music, and its Connection to Poetic Form and Meaning. Margaret Caton . .....15 4. The Role of Religious Chant in the Definition of the Iranian Aesthetic. Thomas Reckord . 23 5. Emotion and Trance: Musical Exorcism in Baluchistan. Jean During . 31 Performer-Audience Relationships in the Bazm Mortezâ Varzi Assisted by Margaret Caton, Robyn C. Friend, and Neil Siegel The Institute of Persian Performing Arts Presented at the 1986 meetings of The Middle East Studies Association November, 1986 Abstract: The bazm is an intimate party at which refreshment and musical entertainment are provided. The role of the musical performer at the bazm is to establish a rapport that provides the proper environment for musical performance by means of an emotional and spiritual connection with the audience. -
Cinema of Immanence: Mystical Philosophy in Experimental Media
CINEMA OF IMMANENCE: MYSTICAL PHILOSOPHY IN EXPERIMENTAL MEDIA By Mansoor Behnam A thesis submitted to the Cultural Studies Program In conformity with the requirements for The degree of Doctor of Philosophy. Queen’s University Kingston, Ontario, Canada (May 2015) Copyright © Mansoor Behnam, 2015 Abstract This research-creation discovers the connection between what Gilles Deleuze and Felix Guattari termed as the Univocity of Being, and the Sufi and pantheistic concept of Unity of Being (wahdat al-wujud) founded by the Islamic philosopher/mystic Ibn al-‘Arabī(A.H. 560- 638/A.D. 1165-1240). I use the decolonizing historiography of the concept of univocity of being carried out by the scholar of Media Art, and Islamic Thoughts Laura U. Marks. According to Marks’ historiography, it was the Persian Muslim Polymath Abu ‘Ali al-Husayn ibn Sînâ (980-1037) who first initiated the concept of haecceity (thisness)--the basis of the univocity of being. The thesis examines transformative experimental cinema and video art from a mystical philosophical perspective (Sufism), and by defying binaries of East/West, it moves beyond naïve cosmopolitanism, to nuanced understanding of themes such as presence, proximity, self, transcendence, immanence, and becoming, in media arts. The thesis tackles the problem of Islamic aniconism, nonrepresentability, and inexpressibility of the ineffable; as it is reflected in the mystical/paradoxical concept of the mystical Third Script (or the Unreadable Script) suggested by Shams-i-Tabrīzī (1185- 1248), the spiritual master of Mawlana Jalal ad-Dīn Muhhammad Rūmī (1207-1273). I argue that the Third Script provides a platform for the investigation of the implications of the language, silence, unsayable, and non-representation.