نشریه مطالعات عرفانی
پیاپی 11 (بهار و تابستان 1389)

The unity of existence is one of the most important and complex mystical subjects on which many scholars، especially after Ibn ‘Arabi have always pondered. At a lower level، the Unity of Witness، -Wahdat-i Shohūd-، a spiritual station in which mystic under the spell of Divine love and rapture see nothing save God was presented، which can be identified with the Station of Combination- Maqām-i Jam‘-in Sufi texts. The present paper tries to answer this important question that if we can track the Unity of Existence and the Unity of Witness in the mystical ontology of Hallāj، the great mystic of third century، how will it be possible to prove these theories according to Hallāj’s words and deeds? Although sometimes Hallāj’s thoughts and ideas have been identified with Incarnation and Unification- Holūl va Ettehād- or said that there is no trace of the concept of Unity of Existence among mystics prior to Ibn ‘Arabi، but with regard to his words and states mentioned as Essence of Union- ‘Eyn al-Jam‘- by himself and relation between the principle of unity of Essence with Hallāj’s world- view، we can say that in addition to understanding of the Unity of Witness، he realized the Unity of Essence as well; as far as his Divinly Ecstasy Utterance- Shath-، ‘I am the Truth’- Ana al-Haq- may be figured as the most explicit manifestation of the Unity of Existence idea.

In the present paper، one of Rumi’s Ghazals has been interpreted. According to the author’s view، this Ghazal like most of the other Rumi’s Ghazals has emotional unity. So this point makes connection in the meaning among verses and at the same time clears ambiguity of some verses. The author has attempted to illustrate ambiguous verses and meaning linkage between them in spite of their apparent rupture، by aid of Rumi’s mental background and intertexual relations، and thereby reveal the emotional unity of the Ghazal and the idea on which is based.

Flag- taking– Jaridah Bardāri– and water- caring– Saqqāei– are examples of mourning rites in the month of Muharram which were established by Qalandariyah and Fetyān. Historical sources testify the prevalence of these rites among Fetyān during Ilkhānid and safavid period. According to treatises written on Futuwwat– Futuwwat Nāmeh–flag- taking and water- caring in the month of Moharram were performed among Sufi orders particularly Qalandars and did not have a common currency between other groups of mourners. These ritual were gradually noticed by others and became a part of shi،ite mourning rites for Imām Husein. In the Qājār and Pahlavi period، little by little the mentioned ritual found a popular acceptance and their Sufi origin were forgotten. Nevertheless the trace of them in Sufism is recognizable. The mourning attributed to water- carriers includes the remembrance of affliction and disasters suffered by the family of the prophet of Mohammad –Ahlal- Bayt– especially Husein ibn ‘Ali and his loyal followers، in the form of a group and harmonious lamentation without chest-beating and using instruments such as chain –zanjir–، cymbal– senj– and drum– tabl–. Jariden is a special flag which was put in the façade of Huseiniyeh or other mourning centers and carried in front of mourners’ group. There are authenticated documents which show around the end of Qājār period flag- taking in cities like kāshān has been prerogative of Qalandari groups and for carring of flag permission of their master– Bābā– has been necessary.

The present article is written towards learning of the Jewish traditional teachings on the God’s way of relation with the world. At first an image of His perceptible presence based on Bible has been presented، then the meaning of this presence named Shekhinā by Talmudi scholars i. e. Rabbis examined. To find a solution for contradiction of the doctrines، that is the presence of God who is experienced and His transcendental، of some Jewish philosophers، commentaries and viewpoints in the Middle Ages reviewed. Furthermore by review the outstanding mystical works of that era، the situation of Shekhinā in Qabbālā and final end of the Absolute Reality presence have been illustrated.

The ultimate goal that human beings seek it، is achievement to happiness، but there are different opinions on its extension. In the Islamic mysticism، the path towards happiness passes through the spiritual journey –Tariqat– and the end of spiritual journey is expressed by such various words and idioms as Paradise، Vision of God، Annihilation in God and Spiritual Ascension. The final goal of the mystical journey، according to Ibn ‘Arabi’s school، is the gnosis of Unity of Existence –Wahdat-i Wujūd- or in the other words self-knowledge –Khod Shenāsi–. A novice mystic، at the first stage of his journey، does not have any gnosis towards himself and God. He at the end of his journey knows his self and recognizes that his own self in nothing but God. The spiritual journey of mystic is similar to Mohammad (P. B. U. H) ’s ascension to Heaven: A mystic at first gains the knowledge of certainty –‘Elm al-yaqin– which has been acquired through deliberation on the Qurān and prophetic traditions، then in his ascent، reaches the stages of eye of certainty or the unity of witness ‘Eyn al-Yaqin ya Wahdat-i Shohūd– and after that the truth of certainty– Haq al-Yaqin–. In the present paper an attempt has been made to examine، compare and analyze، the mentioned themes and subjects.

‘Allāmeh Qazvini has chosen this famous verse of Hāfez as mentioned above. In some of manuscripts of Hāfez’s Diwān، instead of Ghamzeh in the first hemistich، Ghamz، N‘areh and Naghmeh- and instead of N‘areh in the second half -Naghmeh- have been used. In the present article، after producing the whole atmosphere of meaning and concept of this Ghazal، through presenting sufficient proofs and using a proper method in correction of Persian texts، unanimous with some scholars، for the first half Naghmeh and for the second one N‘areh have been proposed، and thereby some scholar’s views have been verified.

Sa‘di is one of the greatest Iranian literary personalities throughout the history of Persian belles- letters and poetry، that so many books and articles have been written on different aspects of his personality. But the subject matter of the present paper is something about which has been paid attention less، that is Sa‘di’s spiritual and mystical personality reflected in his works particularly in Bustān. In this poetic work، Sa‘di has not merely used mystical concepts، but the dominant thought in it is mystical، and this is because of his spiritual training and even of his belief in such teaching; a point which is clearly perceptible in the previous researcher’s views. The whole mental system of Sa‘di manifested in his works especially in Ghazaliyāt and Bustān is mystical. It does not mean that he has had a firm belief in Sufism in all walks of his life but shows that this attitude is dominant in his mental system. This article tries to examine Sa‘di’s mystical system of thought in Bustān and furthermore deals with such subjects as: Mystical training of Sa‘di in Nezāmiyeh of Baghdād، biographer’s references to Sa‘di’s spiritual personality and basic directions of his mystical thought in Bustān.

Bahā al-Din Mohammad، known as Soltānwalad، played an important role in the current events of his father’s lifetime and after that، particularly in the compilation of his works. He enjoyed an excellent status، specially with regard to the fact that he is the only person among Rumi’s relatives and companions that has left considerable written works; so undoubtedly the examination of his thoughts and ideas and also his impact on Rumi’s relations with princes، Sufi masters and disciples are of great important in the recognition of Rumi. Unfortunately except Walad Nāma’s introduction written by Homāei، nowhere the personality، thoughts and works of Soltānwalad have been examined. In the present paper an attempt has been made to survey and analize، based on available sources about Soltānwalad، his role as Rumi’s elder son and the first who gathered father’s works and poems and the most effective person in formation of Mowlavieh order.

The idea of Logos is detectable in prechristianity، ancient Greek philosophy، Judaism (Old Testament and some writings of Philon of Alexandria). For the first time، in Christianity، the idea of Logos was identified with historical Jesus and so Christians specially Church Fathers attributed some features to Logos which are very similar to Muslim mystics’ conception of the Perfect Man-Insān-i kāmel-. In Islamic mysticism، the idea of Perfect Man has fully been paid attention by Ibn ‘Arabi. His opinion is comparable with Christians’ viewpoints on the Logos. In the present paper a comparative study has been done on the Logos and the Perfect Man according to Philon and Ibn ‘Arabi، and the result was that، in spite of considerable similarities between these two concepts، the embodiment of Logos in Christianity may he considered as a deep and serious difference.

In the history of Islamic though، faith and gnosis -Imān va Ma‘rifat- are two key and controversial theological concepts، having always been subject the argument. Some important theological problems such as excommunication and calling one profligate-Takfir va Tafsiq-، principle of rational goodness and badness –Hosn va Qobh-i Aqli– are obviously consequences of diversity in definition of these two concepts. Among Muslim scholars، Sufis based on their own world- view، have had a particular conception towards them. Sufis attractive attitude stimulates us to investigate their definition of Imān and Ma‘rifat. So، the present paperis an attempt to survey them semantically and examine their relation with each other and the impact of reseating on faith according to Sufis’ words and views. Eventually the resemblance of Sufis’ viewpoint with the approach of the fideists and reformed epistemologists have briefly been presented.

The introversion and call to tranquility can be regarded as the foremost characteristics of sepehri’s poetry. This approach is inspired from two important features of his thought: Mysticism and Romanticism. In other words، a combination of mysticism and romanticism is evident in his poetry. But Sepehri’s mysticism framework does not totally conform to well-known pattern of Iranian and Islamic mysticism and nor does his romantic approach to the principles of this literary school. In the present article، in addition to analyzing scholar’s various views regarding Sepehri، his mystical approach and romantic thought will he studied، then، the relation between mysticism and romanticism in his poems and ideas illustrated.