جستجوی مقالات مرتبط با کلیدواژه "e rāz" در نشریات گروه "ادبیات و زبان ها"

Ganjinh raz manuscript is the work of Owais Ibn Ghiasuddin Mohammad Rostamdari, one of the writers of the tenth century AH in the Safavid period. His name is not in the notes. His only work in the list of manuscripts is Ganjinh raz. In this version, Rostamdari describes verses from Khamsa Nezami and three poems from the Divan of Nasser Khosrow, the interpretation of verse 35 from Surah Noor and verse 172 from Surah Al-Ahzab. In this article, the necessity of writing Ganjinh raz in the Safavid era, introducing the manuscripts, analyzing and comparing one bit of Makhzan al-Asrar and two bits of Khosrow and Shirin Nezami in Ganjinh raz with the available explanations are provided. The results of this article are that the appearance of some verses in this version differs from the existing recordings. The idea of ​​a romantic relationship between Tazhrv and Sahrv does not seem correct. Because in the verses that are in the form of Masnavi, according to the necessity and lack of rhyme, Tazhrv and Sarhv have been rhymed together. Or it is the name of a person. In addition, in some verses, it is mentioned that it is weak, crooked, and the beauty of Tazhrv feathers. In the two verses of Khosrow and Shirin, Japheth nahadan is a compound verb and means to exchange and exchange, and Gorbehbid is not in any of the ancient texts of Persian poetry and has no roots in Persian.

Ganjineh Raz is a book written by Owais ibn Ghiyath al-Din Rostamdari, the oldest manuscript of which was recorded by an inscriber halfway through the eleventh century A.H. This manuscript was probably contemporaneous with the author, who is not found in any bibliographical biographies (Tazkires). In this book, Rostamdari presents an exposition of sixteen scattered verses by Nizami which are taken from Makhzan-ol-Asrâr, Khosrow o Shirin, Haft Peykar and Sharafnameh. These verses of Khamsa are claimed by a follower of Jami to have been deemed meaningless by this poet. Rostamdari continues to present another exposition of seventy nine other verses of Khamsa which he believes to be of more complexity than these sixteen verses, and since Rostamdari is of Shiite faith, he brings the book to an end, out of blessedness and sacredness, by presenting yet another exposition of three odes by Nasir Khusraw, which include praise and glorification upon the great Imams and personages of Shiite faith.

This research was done in a descriptive-analytical way. Authors have carried out using the library and documentary tools. They have been carried out using the library research method, rely on three manuscripts of this book. in addition to recording the differences between the manuscripts and published versions and embark on a comparison of Rostamdari’s exposition of these sixteen verses with those of others.

Rostamdari’s explanations about verses 5, 6, 13 14 are illustrative and explain meanings clearly. In other verses, although his effort is appreciable, but he failed to understand the poet’s intention. Other editors have sometimes succeeded in description of meanings and sometimes they failed.

Rostamdari’s success in disambiguation of the verses is only relative and the explanations provided by contemporaries are sometimes unhelpful. the expositions have in some instances led to resolution and disambiguation and in some other instances the ambiguity remains unsolved.

Art and literature are the most important evidence of human‟s civilization and culture that have unbreakable bond with deep layers of unconsciousness. Archetypes base on Jung‟s theory are the images, patterns and symbols that rise out of the collective unconscious and have left the similar and common concepts in human‟s unconscious in myths and cultures over the time. In Golshane Raz, the archetypes rise out of the collective unconscious. The archetypes in the Islamic theosophy is the standing property. The archetype in this ancient couplet-poems (Mathnavi) is interpreted as the archetypes: sun, sea (water), fire, mirror and journey. Jung's archetype in Islamic mysticism, permanent archetype is called. The concrete and abstract ideas in Golshane Raz is originated of Qurans and hadiths. Analyzing the mystical symbols was an opportunity that the gnostic poet manifests his education treasure. In Golshane Raz in addition to the key role of symbols, the salient portion of deviation and defamiliarization is effective in more highlighting the verses. In some couplet-poems, the symbols are replaced with the reality. The similarity of eastern and western symbols in concepts are ambiguous. The gnostic points to some part of reality with paraphrase and interpretation in this couplet-poem(Mathnavi).

Golshan-e Raz and its commentary، Mafatih al-E’jaz، describe the transcendence and progression of human being and the world in a circular and continuous movement. Numerous circles transform the system of being into a holy shrine which is the place for the manifestation of the heavenly. From the interconnected movements of the system of being a Mandala image is formed. With the repetition of compass’ turning each movement has a central and fixed point. The center of all interconnected circles is the Perfect Man; the place in which the center of being، human being، metahistory of human psyche، circle of guardianship etc. are all mapped on each other. The Perfect Man is manifested in the geometrical figures of square and circle. Mandala and square are both Hermesian containers for spiritual transformation and bring the mortal to the immortal. Jungian attitude to the system of these circles leads to the discovery of their psychological aspect. The process of individuation is mapped onto the man’s revelation and he who has reached the center projects his progression on the system of being. Thus، the being also should move from individuation to center and experiences divine kindness and wrath via god’s glory and beauty manifestations.

The term ‘fixed essences’ was coined by Muhyiddīn Ibn Arabī. It was further used by his followers one of whom can be named as Sheikh Mahmoud Shabetarī. The term refers to the Divine names and the truth of external objects. In other words, they stand as a medium between God and the tangible world. When God’s divine will for the creation of the world and its creatures was settled, it was primarily manifested to the ‘fixed essences’ and then the universe and the creatures came into existence of the material world. Shabestarī, based on the ideas of Sheikh Akbar, and by applying his tools of expression and allegories, tried to define the spirit of the ‘fixed essences’. This paper is based on the readings of five exegetes’ attempts to describe the fixed essences in 1000 couplet of Golshan-e Rāz and then it tries to compare them to Sheikh Akbar's viewpoints.