مجله عرفانیات در ادب فارسی (ادب و عرفان)
پیاپی 45 (زمستان 1399)

Story is one of the best and most accessible ways which Qur'an uses for conveying the concepts and explaining its religious teachings. Quranic stories are considered as narrations a large proportion of which is devoted to the lives of the prophets. As character is one of the main elements of a narrative and also, since after Moses, the prophet Ibrahim is the most frequent character in Quranic stories, the present article studies how the application of an exegesis approach to the four famous theosophical interpretations of Haghayegh-ol- Tafsir, Latayef-ol-Esharat, Kashf-ol-Asrar, and Rouz-ol-Jenan can detect the formation of the symbolic character of Ibrahim. The study uses library and documentary sources and conducts a descriptive method based on content analysis. The authors have shown that the exegesis approach has been effectively used in tracing the transformation of Ibrahim from the character of a divine prophet to a symbolic figure in theosophical interpretations written between the first to the sixth century. The element of character in these interpretations becomes a dynamic and evolving factor in the narrative plot line in such a way that about the interpretation of the Quran verses related to Ibrahim, we are sometimes faced with a seeker and sometimes with a traveller on the path where his experiences in spiritual conduct are evolving in the path of progress, that is, approaching the truth. From the point of view of mystic commentators, the frequency of divine afflictions in different stages of Ibrahim's life should form a perfect model for his followers.

The basis of human existence is based on the binary opposition of the external and internal spheres. These are the most important functions in the mind which reveal the contradictory dimensions of human existence. On the one hand, Feyz Kashani, was influenced by Quranic and Islamic teachings and on the other, he was inspired by philosophical and theological thoughts of his age; therefore by combining these scientific foundations with epistemological ones, he tries to the discover the psychological foundations and hidden aspects of humanity in the layers of human characters which helps clarify his vision of the dual confrontations of human. Given necessity and importance of this agenda, in the present study, the authors firstly focus on the status of human and his relationship with the eternal divine source, then based on the contradictory aspects of human existence in Feyz Kashani’s poetry such as pain and pleasure, authority, doubt and certainty, such aspects are analyzed and studies based on a mystical-psychological approach. What distinguishes the achievement of this research from other achievements, is that mysticism as a source of balance and evolution and as a science of contemporary psychology has given mental stability to the poetry of Feyz Kashani.

Discussions about art criticism, philosophy of arts and esthetics are most often present in the works of non-Iranian thinkers and scholars. In some ancient Iranian texts and sources, one can find articles and discussions about the work of art, the artist and the audience. One of these sources is the spiritual Masnavi of Maulana Jalaluddin Mohammad Balkhi. In this book, there are scattered and incoherent verses from which topics related to works of art and art can be extracted. The purpose of the present article is to analyze certain parts of Masnavi Manavi in order to explain the philosophical basics of art criticism. In this article, which has been done based on a qualitative content analysis method, first the verses related to art and artistry have been extracted from Masnavi and then encoded and analyzed. The method of data collection was library and its tool has been identification. The research community is the Masnavi verses of which have been sampled purposefully. The results of this article show that the artist is also considered as the source of the work of art, too. In creating the work, the artist deals with two stages of inbound and outbound creation. In the stage of receiving (inner radiance), he must polish his heart to receive the designs, and in the stage of creation (outer radiance), he must be trained and be fully acquainted with materials. The artist must be creative; that is, he should have a personal style and avoid imitation.

Deconstruction was first introduced in the thought of Jacques Derrida as a way of re-reading texts and questioning its presuppositions. This type of critique seeks to find new meanings by finding binary oppositions in the text and disrupting the superiority and domination of one side over the other, and on the other hand, by discovering gaps and discontinuities that have arisen in the text against the author's will, and discovering new meanings in later re-readings supported by in-text cues. The book of Ronaq al-Majalis is one of the works of Islamic Sufism which in this research, one of its anecdotes would be examined for finding some possible signifieds for the signifiers mentioned in the text and assigning them different meanings that are among dozens of possible meanings which the text might have.

Reason is one of the sources of knowledge in human existence and human forces that distinguishes between good and evil or right and wrong. This has led many scientists and mystics to reflect on this issue among whom are Ibn Sina and Rumi. The purpose of this study is to study the nature of reason, its relationship with love and religion, factors and obstacles to reaching the perfection of reason and finally to find its differences and similarities in the thought of the master of philosophy, Ibn Sina and the master of love, Maulana. The results of this research, which has been done in a descriptive-analytical way and based on library resources, shows that the difference between Ibn Sina and Rumi in the subject of intellect is more than their commonalities, and this is because the master of philosophy considers intellect as an active intellect and considers it as one of the human and carnal powers, but the master of love considers it as the first creation of the Almighty and the human heart as its source.

Obaid Zakani's teachings in The Ethics of the Nobility originated from a wide range of knowledge such as literary, historical works, interpretations of the Qur'an and mystical texts, moral books and philosophical works. And Obied in formulating the ethics of “Obsolete religion” and “Religion of Mokhtar”, has freely used them in the composition of his Ethics of the Nobility. Sometimes he has transformed these sources in such a way that only a weak form of them remains, and sometimes, especially in the use of moral sources, he has used the utmost care in observing the trust. Sometimes he has transformed these sources in such a way that only a weak form of them remains, and sometimes, especially in the use of moral sources, he has applied the utmost care in observing the trust. Obaid Zakani has received the most influence from moral, mystical and literary texts such as Tahzib al-Akhlaq Ibn Muskawiyyah, Revival of the Sciences of Al-Ghazali, Nasiri Ethics of Khajeh Nasir Tusi and Golestan by Saadi