جستجوی مقالات مرتبط با کلیدواژه "سنایی" در نشریات گروه "ادیان و عرفان"

The Sanaei Ghaznavi’s Divan is full of oppositions. These contradictions are the result of expressing contradictory mystical concepts such as intellect and commending soul, body and the spirit and Unity and plurality. The symbol helps to him that show them, especially their spiritual side of them. This article seeks to explain the symbolic relationship with the main and structural oppositions in Sanaei’s Divan. This article seeks to clarify the major and central types of opposition in Sanaei’s Divan, which can be termed as macro-reciprocal and other oppositions in a way that relates to these central oppositions. By combining opposition and symbol, the Sanai creates structures of symbolic opposition and uses them to express outstanding mystical confrontations. In this paper, by examining and analyzing the symbolic oppositions in Sanaei’s tribunal, the major opposition in Sanaei’s divan is identified, and then it will be shown the Subcategories of these great opposition and the symbols used to imagine each one. The results of this research show that symbols in the Sanaei’s view have a coherent and orderly structure and are often centered on a major opposition and the most fundamental differences in Sanaei’s point of view are the oppositions between the principle, derivative and discourse of asceticism and derivative that each of them has subsets and they are structurally linked together.

Spiritual, sacred, and religious matters are things that human beings always have to use metaphors to understand. It is the property of the human mind that it cannot recognize conceptual and abstract matters without the help of instances of physics. Today, the cognitive sciences, including cognitive linguistics, have analyzed many of the metaphors used in human language and have shown how human beings understand the affairs of existence. The purpose of this study is to examine the human -based metaphor of God, in order to show with a cognitive approach how God has been conceptualized in the minds of two poets of the Persian language, namely Sanaei and Attar. For this purpose, in the books of these two poets, all the verses have been extracted in which human deeds and attributes have been mentioned to God and each of them has been mentioned in the article. The results of this study show that in the minds of these two poets, God is common: the king, the beloved, the craftsman, the host, the butler and the warrior, and in addition, in the Sanaei mind, God is: hairdresser, builder, baker, writer, leader; and in Attar's mind, God is the hunter, the juggler, the mirror worker, the commander, the weaver, and the painter. In this study, the face, waist, hair, lips, pupils, mouth, etc. are the organs that have been used along with evidence to prove the personification metaphor.

Sanai Ghaznavi's Hadiqah-al-Haqiqah has been analyzed and has been studied from different perspectives, and due to the design of religious-mystical issues as well as legal and Islamic ideas that sometimes have an unrelated connection with metaphysics, it is a suitable platform for reflecting supernatural foundations. In the present article, while extracting religious and Qur'anic examples such as destiny, the unseen and the realm of the world, in the Sana'i Hadiqah al-Haqiqah and presenting statistical aspects and showing the frequency of each, some components of Sana'i's point of view are explained. The analysis is located. The research findings show that in Sanai's mystical view, due to his religious and Islamic beliefs, there are many Qur'anic and Islamic themes in his mind and language. By reviewing Sana'i's hadith, we can clearly see the abundant use of these terms and themes. Among the four themes, the unseen world has the highest frequency. On the other hand, Sanai uses these themes in various ways. His mystical perspective shows that his mystical profession, Mysticism is not merely a mystical-Shari'a view of such matters.

Semantics is an approach which contribute to view the lexis precisely and analyze the meaning of the words. Tavern(kharabat) is a term with a peculiar position in mysticism by different meanings. Sanayi the mystic poet of sixth century, he was the first one to express the mystical issues seriously in the form poetry and to utilize the tavern term as a key words in his poets in term of mystic. Variant definitions and frequency of the tavern, make it as one of the key words in mystic literatures which conduce to study and analyze the concept and meaning of it. As Sanayi is the first poet who has described mystics concepts in verse and has defined it as a new term, it`s important to utilize the tavern in his poems semantically. He has used the tavern 100 items in his opuses. This research tries to express the view of Sanayi about tavern term by means of synchrony and diachrony in semantic. He not only has used this term as its basic meaning , but also has defined it a relative meaning and mystic concept.

Masnavi is the main form of storytelling in the Persian poetic literature, and is often ignored by other forms of poetry such as Ghazal and Rubachr('39')i. By studying poems like Sanachr('39')a, Attar, Rumi Rubachr('39')i ... we find that about 10% of our Rubaiyat (Attar 302 and Rumichr('39')s 203 Rabbis-Tales) have been dedicated to storytelling. In this article, through descriptive-analytic method, we examined different types of stories in the narrative Rubachr('39')i of these mystical poets. We conclude that although they contain natural, and so on verbal stories, the vast majority of narratives of these immortality are related to representing mystical experiences and intuitions. Due to the unity and passage of these experiences and the coherent and short-lived structure, the unity of form and content in the quatrains-tales is maximized, and one of the reasons for the attention of Sofia to the quatrains is the occasion of the form and the content of the intuitive narratives. According to their expressions, the narratives use the mystic lesson of the experiential and present on the scene more than the first person; However, a significant number of these stories are narrated in the second way, which is unique in the traditional Persian stories. In spite of the abbreviation of these narratives, we have a change in the angle of vision (even though we have) and even internal stories.

Sanai is one of the intellectual poets in mystical literature whose works has been researched from different approaches but whose divan of poems have rarely been scrutinized. One of the outstanding and frequent elements in mysticism and Sufism and Sanai’s divan of poems is the subject on “mentor and sheikh” that as the spiritual guideline they have an effective and undeniable impact on rearing mystic wayfarer and followers of spiritual journey of Tariqa, with whose guidelines wayfarers go through the internal journey and passages and risky paths. This paper tries to explain the standpoint view of this mystical literature about mentors and sheikhs in mystical journey via a descriptive analytic method within the poetic signs and evidences. It is concluded that the availability of guiding mentor is manifested in two forms and dual dimensions, sometimes seeking materialistic joys and virtues and some other times in search of other world’s virtues, dressed as Sufi and ascetic and leadership, free from worldly engagement, and above all love and fatality toward reaching the spiritual and comprehensive mentors of a perfect man.

The relationship of mankind with truth and his scope of knowledge to God has always grabbed minds of the mystic scholars. In this way, there are different types of approach to the epistemological field and the extent of the scope of the envelopment and recognition of human being toward God.Undoubtedly, Sanai's approach to the relationship between man and truth is important because he has a versed in law and mystical school of though and he has created a deep link between the principles of religion and mysticism.In order to achieve this position, he introduces the tool and mechanism that is based on the three principles of reason (argument), love (mysticism) and quote(Quran).According to him, the alignment and unity of these three epistemic instruments pave the way for the humankind to know truth. He believes that reason is the first necessary tool in this way. But Sanai's praised reason does not have the necessary function due to the inherent limitations of its function and because of the lack of enumeration of the essence of the truth is imperfect and sterile; therefore, the Sanai prefers the love (mysticism) in the recognition of truth.The function of love in his epistemological field is to provide a platform for a higher understanding and elevation of the epistemic level of the seeker. His third epistemic tool is the Qur'an. In his school of thought, seeking for the Qur'an to achieve certainty of heart and faith is necessary but in order to understand its true meaning, the human heart should be free from temptations and desires.From Sanai's point of view, recourse mysticism and esoteric intuition is the basis of the seeker to attain this level of existence.In this research, the analytic-descriptive method of the Sanayi epistemic triangle based on these three pillars has been examined and it is concluded that he considers these three most important and most effective factors in recognizing the truth and he believes in their convergence and coexistence to achieve a true self-knowledge and real cognition.

Of the issues, especially in the sixth century, was Sufism and mysticism that strongly crept persian poem and Sanai is the first person that notice the great mystical systems. Hadight Alhaghigheh and Tarigh Altahghigh systems, are two works on Sufism and mysticism And moreover many of his odes is dedicated to the latter.Examine the life and works of Rumi and Sanai in persian language scholars and researchers - both Iranian and non-Iranian - is very important. The aim of this study is that with descriptive analytical method on base of intertextuality study, to examine the impact of Sanai on Rumi deal.The result proves that Rumi with all greatness is deeply influenced by the ideas and work of the poet Ghazni. If the issues Rumi's mystical love and a sincere faith see himself more than others close to him. According to researchers Rumi most have borrowed from Sanai and the follow so far is that some accuse Rumi to follow too of Sanai.The effect on the mind and language and images and anecdotes is very clear and undeniable.