جستجوی مقالات مرتبط با کلیدواژه « عین القضات همدانی » در نشریات گروه « ادبیات و زبان ها »

There is no doubt that Ain al-Qadat was influenced by Abu Saeed Abul Khair. Like Abu Saeed, he considers the Sharia as a set of rules that not only do not include the status of lovers, but also in the world of mysticism, it is like a "watchman" and a guardian who does not allow the secrets of God to be discussed. Half of the Sufism of Ain al-Qadat is the continuation of Khorasan Sufism, and the other half is the continuation of the Sufism of Selseleh Jebal (the mountain chain) of Iran. Ain al-Qadat had a detailed knowledge of Abu Saeed and got to know him through Muhammad Hamouyeh, and apparently he had also read one of his Maghmehs. These reasons for the alignment of some of Qadi's attitudes and writings with Abu Sa'id seem to be solid, and based on this similarity, we have recovered some of the aspects of the mystical teachings of Ain al-Qadat Hamadani in the mystical teachings of Abu Sa'id, which shows the tendency and likelihood of him for belonging to the Sufism of Khorasan and the Sufis of Khorasan. These common aspects in the works and thoughts of these two great thinkers are respectively: negation of self-centeredness, negation of arrogance, negation of resourcefulness, negation of resistance and judgment of time.

The aim of the present research is to explain the existence of systematicity in the metaphorical conceptualization of knowledge based on visual perceptions in Ain al-Quzat Hamedani’s Tamhidat va Nameh-ha. In addition to showing the existence of metaphoric correspondence between the concepts of the field of knowledge and visual perceptions and explaining how this correspondence is done, the authors have tried to say which basic conceptual metaphors in the mentioned books correspond visual symbols with knowledge. To achieve this goal, the authors have used the theoretical framework of conceptual metaphor. The claim of the present research was that there is compatibility between the metaphor of knowing is seeing and the set of concepts in the field of knowledge. Also, in this research, the adaptation of the terms of the field of knowledge - heart vision, light, the light of Muhammad, and black light of Ezraeil - based on the conceptual metaphor of knowing is seeing is examined with the sense of sight. Other achievements of the research also showed that in Ain al-Quzat’s intellectual system of light and darkness and the subcategory conceptual metaphors of these two fields, it is consistent with the metaphor of knowing is seeing, and the conceptualization of knowledge is consistent with visual perceptions.

Tamhidat is the most important work of Ayn al-Quzat Hamadani, a free-thinking mystic of the Seljuk era, and one of the most famous works of Islamic mysticism, which has been examined in the present research through Norman Fairclough’s “critical discourse analysis” approach. The purpose of this research is to answer several questions: How has the discourse order of Iran’s Seljuk era been reproduced in Tamhidat? Which of the social acts do the discourse acts of Tamhidat reflect? And what was Ayn al-Quzat’s solution to dispose of the discourse of dominance and prejudice in the Seljuk period? The findings of the research show that the social order of the Seljuk era which was based on the authority of political rulers over the people, religious scholars over the followers, and Sufi sheikhs over the disciples, representing various types of social classification, has been reflected in Tamhidat via “naming” the participants. By using two pre-existing genres, “Qur'an exegesis” and “Sermon”, which were considered two distinct cultural and social acts, Ayn al-Quzat, while instilling his beliefs in the audience, created a counter-discourse in opposition to the existing discourses; and even from the position of a social critic and thinker proposed the novel idea of knowledge and “love” in order to dispose of the discourse of domination, violence and radical religiosity of his time. The use of affirmative sentences and special imperative and interrogative patterns in Tamhidat shows that in this discoursal confrontation, the stance of Ayn al-Quzat is an authoritative one; epistemic authority against the authority of domination and the authority of love against the authority of prejudice and violence. These features move Tamhidat beyond the didactic and interpretive position and even consider a social mission for it.

Due to their simple language and pedagogical structure, the letters of Ayn al-Quzat Hamedani, have always been a source of reflection to help researchers and scholars find their way to the themes and principles of mysticism. Since Ayn al-Quzat Hamedani used 204 Arabic verses in these letters - without regard to repetitive ones- we should know the names of Arabic poets and his familiar and favorite divans, from which he selected many Arabic verses and included them in the letters to develop an accurate understanding of his thoughts. The Arabic verses in the text of the letters in many cases differ from the original text, and in some cases, they are inserted incorrectly into the text. The present study tries to refer to the original Arabic texts to name the main poet of the verses and the cases that have been distorted by mentioning their different forms. Among the Arabic texts, Ayn al-Quzat Hamedani is more interested in critical texts and words, and his knowledge of Arabic literature is mostly limited to these sources as well as the educational sources of the old schools. The Arabic verses he included in his letters are mentioned as examples in most dictionaries and critical texts. Among the Arab poets, Ayn al-Quzat Hamedani was more interested in the Iranian Arabic-writing poets such as Abivardi and the poets of Mukhadarm and early Islam poets, besides Mutnabi and Umar ibn Abi Rabia.

Eyn al-Ghozzat Hamedani (492-525 AH) in his book Tamhidat, based on his personal perceptions and perceptions, has made extensive and deep interpretations of mystical, religious and Quranic content. The ontological view of the same judges finds meaning based on the term allegory. The purpose of this article is to divide the concept of representation from the point of view of Eyn al-Ghozzat Hamedani.

In this article, the authors have done research using descriptive-analytical method of collecting library information.

The ontology of the Eyn al-Ghozzat sometimes leads to the ontology of Prophet Muhammad and the devil; In a way, without them, existence becomes incomprehensible. The embodiment, the simile, the unity of existence, the divine manifestation and the like, is the classification resulting from this ontological and sometimes ontological view of the same Eyn al-Ghozzat.

The Eyn al-Ghozzat have been very meticulous in explaining the term allegory. He has indirectly divided the term allegory into subsets of embodiment, simile, unity of existence and manifestation, and the like.

Ain al-Qudat Hamedani with the full name of Abdullah bin Muhammad bin Ali Mianji Hamedani (525-492 AH) is one of the most famous mystics who has left various works in the fields of mysticism, philosophy and religion in Persian and Arabic. Preparations is one of his most important Persian works, which, in addition to its importance in mysticism, is noteworthy in terms of poetic prose. Hamedani has written this work with the aim of preventing the followers and seekers from going astray from the right path of mysticism and Sufism. Disciples and seekers are not written, but are a continuation of a discourse that was formed a century ago with the initiative of mystics such as Bayazid Bastami and Hossein Mansour Hallaj in opposition to the ruling discourse; A point that seems to have not been viewed from this perspective so far. Therefore, in this research, the author has tried to reveal the intellectual system of the same Ain al-Qudat in opposition to the prevailing politics in a descriptive-analytical manner, relying on the theoretical framework of critical discourse analysis and Norman Colafe's theory, and with library tools. The result of the research indicates that the preparations are a purely religious and ideological work to legitimize mystical ideas, which seeks to strengthen the counter-discourse of militant mysticism against the ideas of the ruling power with quasi-ideological and ideological centrality.

Mohammad Nassir-a-din Makki Hosseini in his book Bahr al-Maani (The Sea of Meanings) pays considerable attention to epistemological issues. The purpose of the present article is to explain his the epistemological views and to examine the influence of Ayn al-Quzat Hamadani's Tamhīdāt on his ideas. This study has been done by using descriptive-analytical method and based on library resources. The findings show that Mohammad Makki not only in content, but also in words and phrases, has been influenced by the epistemological views of Ayn al-Quzat. Both mystics have distinguished between inward knowledge and outward knowledge, and have considered outward knowledge as the divine knowledge that mystics receive it due to their degree of unshakable faith in God. According to both of them, man can attain divine knowledge through self-knowledge and the knowing of the prophet Muhammad; but knowing the divine essence is not possible and one can only know about divine names, attributes and acts. They speak of the existence of an obstacle (hejab) in knowing God and believe that this obstacle will not be completely removed; and for some reasons such as content, human limitations and religious limitations, the inability of the audience to understand the concepts and the issue of confidentiality, the divine teachings are inexpressible. These topics are covered in more detail in Bahr al-Maani than in Tamhīdāt.

In Islam, the discussion of interpretation has been used for the first time regarding the verses of the Holy Quran. Some commentators consider the meaning of interpretation to be derived from the existence of nested truths that are presented in the verses of the Qur"an, especially similar verses, and therefore, while accepting the outward meaning, they also find out the inner meaning or meanings. Ein al-Qudat Hamedani (492-525 AH), like other mystics before and after him, in the prose of his Sufis, including the arrangements he wrote at the request of a group of his followers and in the letters which are now in the hands of 159 letters Has cited many divine verses and used them as a basis for reasoning and proving his theories and thoughts. This study intends to study the interpretation of the verses of the Qur"an in the preparations and letters of the judges of Hamedan and to examine his distinctive perception of interpretation.

This research has been done by descriptive-analytical research method based on library studies and relying on the main and mystical sources about interpretation in the works of Ain al-Quds Hamedani.

The same judges of Hamedani in their writings (letters) and arrangements have used interpretation in different states and forms in order to expand and expand the concepts of the Qur"an. In a general division, these interpretations of the same judges can be placed in two general and basic categories, direct and indirect.

The interpretations of the same judges are sometimes used according to his personal taste and sometimes in order to convince the audience and sometimes to complete his wise speech. At various levels, Ayn al-Quds has considered the interpretation of divine verses and the stories of the prophets from the Qur"an.

According to William Glasser's choice theory, a "Quality World" is a set of images about life that man has in mind for a good life; these images represent the world in which he/she aspires to live. They are similar to those portrayed by Muslim mystics through the interpretation of the holy books and personal discovery and intuition. The present article, by using descriptive-analytical method, attempts to study the views of Ayn al-Quzat Hamadani and Ruzbehan Baqli about "Quality World" based on Glasser's choice theory. In the mystical literary discourse, the "Quality World" is important because the mystics, by drawing a picture of their ideal world, have led their followers to an accessible world; however, sometimes their ideal world is an abstract and inaccessible one. They depict their lived experiences in metaphorical language and interpret a surreal world in their realist texts. Ayn al-Quzat Hamadani and Ruzbehan Baqli describe the "Quality World" with terms such as "divine majesty", "Face of God", "archangelic world", "the garden of eternity" and "eternal world"; in this world, the connection with the Almighty and the annihilation of God is realized. These two mystics change the mental images of people by using a variety of descriptive methods and lead them to a qauality world - albeit an abstract one - in which inherent desires, such as calmness and meaningfulness of life, prevail.

Today, the stylistic study of literary works based on linguistics has expanded. Paul Simpson is one of the contemporary theorists who has provided practical and methodological strategies in the field of stylistics. The "transitivity" is one of his precise and methodical models, which is based on Halliday's "functional grammar". Transitivity is a special grammatical tool used to visualize experience in language and include the three elements of the process, the participants, and the circumstances. Therefore, in the stylistic analysis of texts with the model of transitivity, the above linguistic elements are emphasized.Moreover, research in the field of Persian mystical literature has often been done on the internal structures such as conceptual content and intellectual areas of the authors and less attention has been paid to the external structure and linguistic levels of these works; while evaluating them with new criteria is very effective in further understanding this precious heritage.Tamhidat is one of the richest writings of Sufis in expressing the principles of the path and mystical secrets and the result of personal experiences of Ein al-Qozat Hamedani, which has been conceptually analyzed and interpreted many times but has been less evaluated in terms of external and linguistic structures. The present study, using Paul Simpson's "transitivity" analysis model, analyzes the text and evaluates the components of that model, including phrases and verbal groups, nominal groups, circumstances (adverbial group and Preposition groups) and has dealt with all the frequent elements that have given this work a stylistic specificity in various forms.According to the results of the research, Ein al-Qozat, depending on the subject, has quoted 493 Quranic verses and 98 narrations of the Prophet. In addition, he has quoted in his work the words of 8 other prophets, the four caliphs, and 46 great men of religion and Sufism in his work. Apart from ideological sources, Ein al-Qozat has used 267 verses of Persian poetry and 11 verses of Arabic poetry in his book to emphasize various topics. For this study, some parts of Tamhidat have been selected that show the thought and art of Ein al-Qozat. A stylistic study of the transitivity in Tamhidat suggests that Ein al-Qozat, through the intellectual or experimental function of language, has used mental actions and processes (relations of the outside and inside world) in the service of the educational and doctrinal content of his work. He also used the interpersonal function more than any other type of language function in which language regulates the relationships between participants through indication, command, and interrogation in the form of verbal actions. Therefore, in Tamhidat in general, the use of relational and verbal processes is much more than other types. Material, behavioral, existential, and to some extent mental processes have not received much attention from Hamedani and are much less present in the Tamhidat.The relational processes of Tamhidat (how a phenomenon or a situation is reported) are expressed in the form of indicative sentences, which make up about 89%  of the total sentences and are used to report and teach. This feature introduces the Tamhidat as a news and reporting work. In the verbal process, which has the second place of application, some examples of stylistic features have been found:1-Using different types of “vocative sentence" and especially the call "O friend!" and "Dear!" with high frequency. This feature indicates the sincere communication of  Hamedani with the audience. 2- The use of "verbs" with first and secondary meanings, especially the specific use of "be" which is not used in the true sense of "being", but evangelism and in a way encouraging to be patient and carries a kind of definite prediction.3- Using "interrogative propositions" with secondary purposes such as denial questioning, denial of the subject, bowing and glorifying the subject, a small number of the audience and even blaming the audience.These characteristics show that the Ein al-Qozat has recognized and used different ways and methods of dialogue. Although the mental process is not used in high-frequency, the specific use of "sounds", especially with the implications of "sorry!", is a stylistic aspect. Ein al-Qozat has used it 177 times in various states, such as the inability to be puzzled, the intensity of the onslaught of meanings in his mind, pettiness, and regret. This feature shows the author's extreme pain (consciously).The high use of superhuman contributors and spiritual worlds introduces the Tamhidat as a spiritual book; on the other hand, the high frequency of employing human participants, as well as the high rate of use of emotions, positive and negative human actions make this book dedicated to human beings and the human world. Therefore, according to the research data, it can be said that the Tamhidat of Hamedani is a work in which the man has been depicted in a spiritual world.

The main basis of the article is about some points related to the verse of interpretation based on the views of two mystical writers, Hamedani and Meybodi. These two Islamic thinkers should be considered as representatives of the two currents of interpretive thought in the second half of the fifth century and the beginning of the sixth century AH. Our general goal is to know the mystical perceptions and to explain the interpretive thoughts of mystics towards the text of the Quran. In the method of collecting information, uses library resources and then qualitatively analyzes the data by argumentative method.The resultsof the research show that thehamedani accepts firm knowledge to interpret Ambiguous verses along with divine knowledge. Although he does not claimto have achieved the interpretation ofall the Ambiguous, he implicitly refers to himself as one of the firmly grounded in knowledge. If Meybodi looks at the verse of interpretation with an interpretive and legislative view and believes that the knowledge of the interpretation of analogies belongs only to God.but it is absolutely not against interpretation. In KashfalAsrar we are faced with twointerpretations that are reprehensible and acceptable. Interpretations that deviate from the path of Shari'a, books and traditions arenot condemned, and otherwise, theyare acceptable and desirable. From the point of view of both interpretive thinkers, what should be considered as commonalities is that both of them, without any doubt, consider pure faith and submission and firm submission and belief in the heart to the Ambiguous of the Holy Qur'an.

Interpretation (Ta’wil) in the Sufi discourse of enthusiasm, namely in the works and thought of Ayn al-Quzat, is regarded as a fundamental principle. In his philosophical mysticism, which comprises a hierarchical and graded design, every concept has a beginning and an end. The spiritual seeker moves from the starting point to the end point and at the end he undergoes various stages to reach the final. Ayn al-Quzat’s tripartite interpretive stages find ontological facet, in addition to epistemological status, in light of the three-tiered epistemological-perceptual orders of "reading", "knowing", and "reaching"; an interpretive hierarchy that ultimately leads to an esoteric transformation and the opening of the eyes and heart to a new realm and horizon. In Paul Ricoeur's hermeneutic arc, the interpreter or reader undergoes the stages of “explication”, “understanding”, and “self-appropriation” while interacting with the text. In “explication”, the reader examines the structure of utterances and pays attention to words’ semiotics. In the stage of “understanding”, the interpreter or reader seeks to fathom the depth of the meanings and unveil the author’s implicit propositions. “Self-appropriation” is the final stage of understanding through which semantic data transform the interpreter and make him/her achieve a different understanding of him/herself. In this study, we attempt to draw an analogy between the tripartite interpretive stagesof Ayn al-Quzat and Ricoeur's hermeneutic arc. Besides pointing to the similarities and differences of these two interpretive/hermeneutic approaches, we attempt to elucidate the interpretive arc in the intellectual system of Ayn al-Quzat.

 In recent years, by the efforts of scholars such as Maria Tymoczko, translation studies have started reacting to Euro-centrism and exclusiveness. The movement stresses the necessity for the internationalization of translation theory and the importance of paying attention to translation traditions. The authors of the present article do believe that if we, too, as the Iranian, are going to play a decent role in the expansion of the translation theory and development of translation studies, then we should first achieve a comprehensive knowledge of translation traditions all through the Iranian cultural history. In line with the necessity for such research, we have tried to show which strategies are applied by Ayn al-Quzat Hamadani in his book, Tamhidat. In so doing, the article based on the theoretical framework of 'micro-history' is to provide appropriate answers to three essential questions:  1) What translation strategies have been deployed by Ayn al-Quzat Hamadani, and is it possible to compare such strategies' results with recent achievements of translation studies as a modern discipline? 2) Is Ayn al-Quzat’s translation approach in conformity with the dominant translation norms of the time? 3) How can we define Ayn al-Quzat’s cultural and social agency as a translator? The present study is qualitative and based on the analytical framework of micro-history (Adamo, 2006). It aims at understanding Ayn al-Quzat Hamdani’s responses to the cases of linguistic hybridity to know various aspects of his translation. For that purpose, all Arabic expressions, Quranic verses, Hadīths, sentences, and poems in the text have been studied. Tamhidat, the mystical and prose work by Ayn al-Quzat Hamadani, is based on 'pragmatic' meaning. To achieve the pragmatical signification of Arabic sentences, Ayn al-Quzat Hamadani resorts to 'interpretation' in Tamhidat, and since interpretation passes inevitably through translation, he engages himself alternately in practicing translation. After reviewing the literature of the subject matter, the method of study has been introduced. After that, the researchers move on to present a typology of translation in Tamhidat. In continuation, they analyze samples of those translation types to discuss various aspects of Ayn al-Quzat Hamadani’s translation acts. The findings indicate that Ayn al-Quzat Hamadani has not had the same reaction to the Arabic-Persian hybridity, so his response has varied according to the text-type by Katharina Reiss. In general, a combination of authorship and translation, approximation of authorship and translation standards in his prose, and the consideration of text type in adopting preliminary and operational norms of translation are among Ayn al-Quzat Hamadani’s translation acts in his way towards the implicit meaning as well as the functional equivalence.

No words or speech have the inclusion and tolerance to accept the deep and emotional experiences of mystics from the higher world, hence, they use symbolic and allegorical language to fulfill their purpose. Ayn al-Qodhat Hamedani, as one of the pioneers in the field of mystical symbolism in explaining the deep mystical principles and concepts, has a major role in the interpretation of theoretical mysticism and practical wisdom, and his works show many aspects of his allegorical perspective, according to necessity and importance of analyze aspects of his cryptic and allegorical language and to recognize his position in the field of allegory, and allegorical explanation of one of his cryptographic networks, the five pillars of Islam, and with the aim of obtaining the components of his allegorical language and justifying and interpreting the allegories hidden in the form of those pillars, this research was conducted by descriptive-analytical method in the framework of analytical, semantic and allegorical theories, and by illuminating these pillars and showing their appearance and interior, other codes related to this network such as "La ilaha illa Allah", "intention", "ablution", Kaaba, and "Qibla" were identified, which in a coherent allegorical relationship, It led to the next understanding of the dimensions of the system of thought of the Ayn al-Qodhat.

Since the expression of mystical experiences in the form of a limited and inefficient material language is a very difficult and challenging task, the mystics have used the artistic capacities of the language as a parable to explain and understand their mystical thoughts and experiences and to persuade the audience. Ein al-Qodat Hamedani is one of the mystics who has found this linguistic sense in his works. But it is worth noting that sometimes the judge makes a certain statement of the allegory that, in addition to the apparent level of the word, we are faced with a paradoxical and contradictory structure at the spiritual level. This form of allegorical expression, which brings to mind the structures of Pseudo-disbelief in the language, can be called "Shathi allegories". In this brief, it is intended that this approach and application of allegory in the works of Ein-al-Qozat Hamedani be examined and based on the cluster of images and motifs derived from the particular mystic worldview. Since the frequency of the allegory in the letters and arrangements is more than other works of Ein al-Khedat Hamedani, the two works have been constructed in this study.

Ain – Qodat Hamadani is one of the most famous mystics who has survived many works on mysticism، philosophy and religion in persian and Arabic. Tamhidat one of the most important works of the Persian which is beyond the importance of mysticism inters of poetic prose and visual an imaginative language. This Article examines the illustrators techniques of Ain-ol Qodat in this work and presents examples of it to the audience. The opposite is the central metaphor of objections in this book. The weakness of every day language and inability to express the pure experiences of the mystic is a factor in which his words are full of imagination, affection, music and other fantasy elements. Accordinng to the findings of this research simile, allegory, poetry and cipler with the obvious, permissiable and the atrical expression are the most frequent illustration techniques that have made the narrative of the book unflinching and make the individual and distinct from other texts of the discourse oriented Sofia.the illustrating elements of Tamhidat have a vivid function and are mainly natural.the frequency above the visual terms reflects the love and admiration of Ain-ol Qodat.

Ayn-al Quzat Hamedani (492-525 LH) is one of the most important pioneers of the tradition of Iranian philosophy, a mystic of the first mystical tradition who has used opinions on ontology for knowledge and journey to God. The purpose of this study was to identify the mystical foundations of his ontology and its roots by a descriptive-analytical method which showed that although in the division of existence he was influenced by philosophers, but the ‘Possible Existence’ had no real place in his division. He believes that existence is one and calls it the unique essence of the universe which everything except it is nothing. But, he uses non-existence in two senses of pure and latent which are the representatives the materials and lights, respectively. These are entities through which the essence is manifested. Thus, light, in his ontology, is the representation of existence and is equivalent to the divine attributes. Mohammad’s Light arises from the attribute of beneficence, and Devil’s Light emerges from the attribute of Omnipotence. For this reason, Ayn Al-Quzat has called Mohammad’s Light alongside Allah, the creature of beings, and by considering darkness as light, he has distanced himself from the believers of Duality. He tried to discuss the emergence of the issues of ‘accompaniment’ and ‘manifestation’ by mentioning plurality from unity and attributes from the essence. The study also shows that Ayn al-Quzat introduced and completed some important theoretical debates with the development of new ideas in ontology such as: unique essence, unit manifestation, lack of boredom through non-repetition in manifestation, and the continuous creativity theory.

The World of Images or in away the purgatory is a realm of existence which is the partition between the material world and the intellectual one, and it has been discussed and analyzed from the time of Plato up to now. On the one hand, the said world is similar to the material one, as it has quantity and form, and on the other hand, it is similar to the intellectual one, as there is no material or physical body inside it. The world of images is the vehicle and a place for the advent and formation of imaginations, the imaginations which are to imagine the imaginary forms without any changes in their nature, and it is only possible in the world of images. Imagination is a subject mentioned in the Holy Quran and Hadiths and consequently the mystics have been engaged with it. Ayn-al-Qożāt regards imaginations highly significant, and considers different functions and uses for it. In fact, imagination is an excellent method to know God and the facts of the world of existence.

Mysticism and mystical literature is written in the special language and specific terms; and mystics, using these terms, record and express their mystical experiences. The three terms ‘Eltebas’, ‘Tamassol’ and ‘Monazeleh’ that represent kinds of mystical intuition and experience, have many common characteristics. These three terms are in the Mimetic level of mysticism language, and are interpretable. Also, they have firm relationships with concepts of love, mystical love and God Representation. Mystics have expressed some of their most important ideas in the form of these terms. Ain-Al- Qozat Hamadani names the concept of Tamassol as the greatest divine secret and sees the understanding of this world and hereafter to the understanding the universe of Tamassol. Roozbahan Baqli, relying on so-called Eltebas (confusion) and Kashf (discovery), recognizes the beautifulness and elegance of earthly Beloved as the manifestation of God's beauty; and believes that not only Shahedbazi (virtual love) is permissible, but it also is the only way to understand the true love. Also Mohyi-Al-dyn Ibn Araby, along with the theory of ‘the Holley Imagination’ and ‘the world of Idea’, has foregrounded in his thought system, the term Monazeleh (degradation or descent of spiritual realms) which represents a discount of divinity and sublimation of the human. This article compares these three terms in Ain-Al- Qozat Hamadani, Roozbahan Baqli and Ibn Araby’s thought systems.