جستجوی مقالات مرتبط با کلیدواژه « جمال و جلال » در نشریات گروه « ادیان و عرفان »

Reflection of the Lord's absolut nature and its various types in his awesome name and his glories and beauties like gnostic thought of unity of essence is among important gnostic topics which through Ibn-Arabi's theosophical school , is widely reflected in mystic poets.it is also widely illustrated in Shahryar's poetry due to his former counterparts specially Hafiz- he was totally influenced by Hafiz's romantic-mystic thoughts which is in the form of delicate and tough figure of beloved one and in literary form (romantic-mystic)and also mythical , historical , story , religious and others , each one a type of realization of almighty Lord's attribution of his names and internal and external beauties.it is impossible to find an ode by Shahryar without any reference to the Almighty's attributions .the present paper is an attempt to discuss Shahryar's poetry in this regard along with some evidence from other mystic poets

Mystics inspired from the Holy Qurān have considered the world from one side the Image of God and from the other side the manifestation of Divine Names and Attributes, which the later has been divided into two types: The Names of Majesty and the Name of Beauty. Those Names which relate with grace, mercy, generosity, … have been named the Names of Beauty and those ones deal with vengeance, anger, retribution, … have been named the Names of Majesty. On the other hand, since the Divine Attribute have one existence, the paradoxical combination of Majesty and Beauty here appears. In the present paper, after representing the mentioned points, the authors discuss on the status of Majesty and Beauty based on the mystical ontology, epistemology, psychology and symbology. Then, they show that in the love mysticism this paradox has been called coquetry -Nāz-, which is a mixture of refutation and attraction, and through symbols such as face and hair, eye and lip and the other related idioms has been represented. Reflection of this symbolic usage in the Persian poetry is the final section of the article.