نامه فرهنگستان
سال نوزدهم شماره 2 (بهار و تابستان 1400)

Javidnameh(1929-1923) Masnavi of nearly two thousand verses of Iqbal Lahori, in terms of content, the product of his intellectual maturity and in terms of presence in intertextual relations is a work worthy of attention. Examining Javidnameh from a structuralist point of view showed that the functions of the poet's mysterious journey in the company of Maulana Jalaluddin to the afterlife, with the narrations of the rituals of admiration and teaching of religious secrets, are in accordance with the literary type of dream allegory. In terms of content, there seemed to be an intertextual relationship between this narrative and other dream allegories, as well as the Holy Qur'an and the Sufi heritage. According to this hypothesis, in the first step, using the structuralist method in narrative analysis, Javidnameh was compared with the structure of the literary type of dream allegory and it was proved that Javidnameh follows this structural pattern. In the next step, we dealt with the content of this narration and found the traces of some other pretexts of the allegory of the dream in Javidnameh. In this article, we found that Javidnameh is one of the contemporary narratives of the allegorical literary genre and shows the life of this literary genre in the contemporary era; The other is that Javidnameh has intertextual relations with other narratives of this genre, both in terms of structure and content.

Ray Ryan Anandram Lahori (1107-1164 AH) nicknamed Mukhles is one of the prominent Persian writers and poets of India, in the twelfth century AH, who has left valuable works of poetry and prose. Among them is a manuscript of his Divan, which is kept in the Reza Rampur Library of India, No. 3699. One of the characteristics of this Divan is that it is a poet in its own handwriting, and the other is that the poet has reread it and, in addition to adding 96 lyric poems to it, in many places, when reviewing, he has written one or more words and lines or verses. And has transformed them into another form. In this research, after introducing the manuscriptology of this handwritten copy, we have examined the sincere manipulations in this manuscript from his Divan and have given some points about them.

The more manuscripts are excavated from ancient texts, the newer rays in different fields will shine on the literary sciences and the clearer perspectives of the literary heritage of the past will appear in the eyes of researchers. Jawahar al-Khayal, the focus of this article, is a collection of more than 3,000 quatrains of 470 poets, many of whom are speakers of the Indian style, and some of whom have lived in India. This quatrain is very important in several ways; For example, he can show his brilliant face in literary studies related to the Indian subcontinent, such as the study of the development of quatrain in the Indian style, which has also been neglected. In the process of correcting the imaginary jewel, some abandoned words or new meanings that have disappeared from the cultures, as well as some poetic evidence for several less used words, were found, which will be discussed in this article.

Seyr Al-Ebad of Sanaei and Iqbal Lahori's Javidnameh are spiritual travelogues and as confession letters that have been created with beautiful form and content. Iqbal's influence in Javidnameh is quite evident from the thoughts of Rumi and Seyr AlEbad of Sanaei, and Iqbal's guide in this spiritual journey is Rumi. The source of Iqbal's views and thoughts in the first place of the Qur'an are the hadiths of the Prophet and the guidance of the guide (Rumi), and the basis of both stories is the story of the soul and its condition in a long and arduous journey. Both poets have been influenced by works such as the Ascension Letters of the Holy Prophet (PBUH). By examining the content of the two works, including the state of the soul, the world of death, life after death, heaven, etc., the common themes, purposes and meanings between these two travelogues can be achieved; But due to different temporal and spatial conditions, change, development of thought and attitude that prevailed in the time of Iqbal, it seems that he acts as a social thinker and reformer who wants to be more than a mystic like Sanaei. Moral vices and selfishness should be eradicated and it should be possible to reach the destination by connecting the partial intellect with the whole. In the present article, while briefly introducing these two works, their commonalities and differences in some narrative and content elements have been studied and analyzed.

The Naqtaviyeh movement was one of the powerful religious movements that developed rapidly in Safavid Iran due to its mystical foundations. This descriptiveanalytical study shows that a number of nomads who migrated to the Gurkhani court continued the success of this school in India and provided services to the culture of the subcontinent. The findings indicate that the departure of Naqtavi elites from Iran began first in the context of confrontation with Safavid rulers and jurists and then continued in the field of interaction with Gurkhani rulers and ministers. In the light of the support of kings such as Akbar and Jahangir, some educated Naqtavians reached high court ranks and, in return, provided intellectual support to the Gurkhani sultans. Although the activities of Naqtavi's immigrants in the Gurkhani court were finally stopped with the intervention of jurists, in this short period they were also a source of useful and lasting influences. They established Persian in the subcontinent.

Mir Seyyed Sharif Jorjani is an Iranian theologian, philosopher, logician, writer and critic of the eighth and ninth centuries AH. Jorjani has many works and has written commentaries and margins on many of his earlier and later books. Jorjani's ideas, opinions and works are very influential, even in lands where he has not been. His influence was such that Iranian, Turkish, Arab, and subcontinental writers read his works and cited his writings. For several centuries, in the Indian subcontinent, Jorjani's works have been read in the school system and annotated or new writings have been provided. They have also sometimes summarized or translated them. Manuscripts, lithographs and lead books of Jorjani’s works are abundant in the libraries of these places. Jorjani's students and descendants were also influential in spreading his views there. In the present article, after referring to the life, circumstances and works of Jorjani, with emphasis on the written sources of the subcontinent, we examine the influence of his views and works in these territories.

Although attention to agency/role versus structure has been the main feature of Muslim historians and scholars in writing history, women's role in history has been almost neglected. Based on historical data and reports, this article examines the role, extent and manner of women's participation as historical actors in political and military relations during the rule of the six Gurkhani kings (Babur, Homayoun, Akbar, Jahangir, Shah Jahan and Aurangzeb). It seems that in addition to personal merit and skill and ability, the spirit of tolerance of the Gurkhani sultans has not been ineffective in providing the necessary context for women to play a role. Women in political activities such as assisting in gaining power, managing government affairs, participating in political events and resolving disputes between emperors and princes and courtiers; Funding for the military, intelligence gathering, and even direct participation in battles through skills such as javelin throwing and shooting played a significant role.

Narration and storytelling are very common in ancient and medieval Indian literature, and works such as Mahabharte, Ramayneh, Sindbadnameh, Kalileh va Demnah, and other collections and works of narration have appeared in Sanskri. This tradition has continued in different eras and a number of writers and scholars of the subcontinent, in order to provide moral, legal and … teachings, have made and dealt with many stories or have compiled collections in the form of anecdotes and narrations, among which can be referred to a series of anecdotes of Muhammad Awfi (7 AH), Bahirah Fuzuni Astarabadi (11 AH), Favaed Al-Hekayat va Gharaeb Al Ravayat of Abdul Nabi Fakhr al-Zamani (11 AH) and ... Majma’ al-Nawadir of Faizullah Banbani, statesman, writer and famous historian of the period of Mahmud Shah Bigreh (one of the sultans of Gujarat) is one of such narrative collections, including a collection of rare anecdotes that were published in 903 AH, with regard to brevity, on the occasion of the 40th anniversary of Mahmud Shah's reign.

The speeches of the great mystics and Sufis have long been considered by the general public, especially their followers and students, and over time in the form of daily reports and oral teachings, especially in the subcontinent, has become a special type of content. Jama'at al-Kalam or Sufi melodies of the scientist Seyyed Mohammad Hosseini Gisudraz (721-82 AH) is one of the most famous and one of the ancient mystical texts of the ninth century AH. This work, which is famous for the daily speeches of this Sufi, is important in terms of prose style, outlining the basics of Sufism and mentioning the virtues of Sufis and describing their predecessors, as well as a sign of the Persian language and its spread in the subcontinent in the eighth and ninth centuries AH. From this work, limited information can be obtained from the available sources, and so far, except for a lithographic version, with many mistakes, misreadings and omissions that were published almost a century ago, nothing appropriate has been done to introduce and recognize it. In the present article, a descriptive and analytical method has been tried by examining the information contained in the text of the contents and other works of Gisuderaz, as well as sources related to sufism and mysticism in the subcontinent, especially the elders of the Cheshtiah dynasty and his elders and students, as well as historical and literary works. In his time, he gained more information about this work and analyzed the thoughts and opinions of Gisuderaz and the evolution of sufism in the subcontinent.

The meaning of deer in the minds of the nations of the world shows that this symbol has taken a meaningful path from symbolism in the realm of beauty and weakness and fear to wisdom, and has taken a special form in each land. The symbol of the deer in the literary texts of Great Khorasan of the Islamic period illuminates the traces of the social culture of a religious minority that has been marginalized in historiography. It is worth mentioning that the eastern regions of Iran, Great Khorasan, in its multicultural and multilayered history, has at times been host to Buddhist culture. So far, the historical origin of the deer in Khorasanian culture and literature has not been studied. This study shows that many of the themes of the stories in Eastern religions such as deer with the same quality and discourse propositions in the history of the mystics of Khorasan have become impossible. The purpose of this article is to study the cultural influences of Buddhists with emphasis on the deer base in mystical and popular Khorasanian texts in the Islamic period. Khorasan Sufism should be revealed from the allegorical literature of Hindu Buddhist culture.

The Description of Makhzanol-Asrar, by Ebrahim Tatavi, an Iranian scientist and judge of the subcontinent in the 11th century, is one of the commentaries written on the Makhzanol-Asrar of Ganjeei due to the author's coverage of various sciences including verses, hadiths, mysticism, botany, philosophy, soul Astronomy, music, vocabulary, grammar and literary industries, and the effort to express the minutes of the verses of this Masnavi, is a wise explanation. In 1037 AH, at the request of his friends, he wrote this commentary, and in this work, he used works such as Sarah, Qamoos, Ebrahimi Dictionary, Sharafnameh, and Tohfeh-ye Saadat. In this research, using the method of document mining and descriptive-analytical method, while briefly introducing Judge Ebrahim Tatavi, the description of the MakhzanolAsrar and its stylistic features have been introduced. Findings indicate that the abundance of words, Arabic combinations and sentences and the presence of protesting sentences, the displacement of sentence components, descriptive compounds and long additions are among the linguistic features of this work. Introduction to the commentary, the description of Tahmidiyeh and Na’t of Makhzanahol-Asrar, has technical prose and is full of literary industries, and the text of the work, due to its educational nature, lacks industries.

The traditions and methods of Islamic and Iranian historiography have significantly influenced the development of historiography across the Indian subcontinent in the Middle Ages. One of the prominent characteristics of Iranian historiography in the tenth century was the writing of independent biographies of various groups such as the Sadat (Prophet Muhammad’s descendants), Islamic scholars, and artists following political events. Later, this method appealed to the Indian historians. Among the Indian historians of Iranian descent is Khurshah b. Qubad al-Husseini, who intended to write independent biographies of Sadat, Islamic scholars, and poets at the end of his work, from which only the section on Sadat’s biographies remains today. The present study is an attempt to criticize and introduce the aforesaid section based on the manuscript available in Salar Jung Museum of Hyderabad and through its comparison with resources from the author’s era.

Music percolates every jot of God’s creation. For Rumi, God himself is made palpable in His creation when the perceptive soul partakes of this music.The extinction and annihilation of the self is a prelude to desired union with the divine Being. In the prolific effulgence of the divine Presence, the being is purged of its worldly self. In this state, language and body consciousness are rendered supererogatory, and the soul resonates with the permanence of ‘Hu’ and ‘Haq’. Sufi music enables this desired union by abrogating dichotomies, deconstructing binaries and offers a glimpse of the infinite, the ever-receding ever-present divine realm, the illimitable and the ultimate vision of the divine Being. The abiding value of Sufi music lies in its capacity to transcend boundaries in the glocal context as well as in its mystical dimension. The culture specific elements which work through linguistic and symbolic invocation in the mind of the listener are momentous. However, the quintessence of Sufi music is that it transports the listener beyond the particularities of religious stringency and linguistic/cultural confines and enraptures the sensitivity of avid seekers with the ‘real’-ization of the divine Being. This is the deterritorializing stance and the transcendent and the universalizing gestalt of Sufi music moving beyond geographical confines, while mesmerising listeners across the globe. The present paper dwells upon the chemistry of Sufi performances across cultures ranging from the nascent stage of simplistic live performances by existing Sufi performers from Sindh like Dhol Fakir and the Bauls of Bengal, the doyens of Sufi devotional music from Pakistan from Nusrat Fateh Ali Khan to Abida Parveen, to the Mevlavi Sufi ‘Sama’ practised to the present day in Turkey, revered as one of the ‘Masterpieces of the Oral and Intangible Heritage of Humanity’ by UNESCO in 2008, and further to Bollywood Sufi numbers like ‘Baba Haji Ali’ and ‘Khwaja Mere Khwaja’, and the techno-qawwali renditions of Sufi Kafis by modern singers like Rabbi Shergill of global fame. These singers bring forth the connection with the quintessence of human life and invoke an inviolable relationship with the divine font of life, while catering to a spectrum of audiences at varied chronotopic junctures in a Glocal context. What is common to these varied renditions is the synergy of the mystical sensorium, their simplicity, their power of perception in a holistic sense, a consortium of oneness inside as well as outside, evoking an overarching sense of ‘wahadat -ul- wujud’ , tranquillity, inner peace and union with the divine source of life. The acme of non-dualistic Sufi formation supersedes all dichotomies like sacred and profane, mine and yours, high and low. Such dichotomies or binary opposites become superregoratory and an adscititious excrescence. Those who participate in the Sufi experience in earnest overcome these dichotomies in the process of attaining wisal with the divine light. The gestalt of this communication is akin to the Vedantic precept, “Tat tvam asi”, “that thou art” or Farid-ud-din Attar’s enunciation in The Conference of Birds, “you are the one whom you seek” or Shankaracharya’s “Aham Brahmasmi”, or Mansur al Hallaj’s “an’al Haqq” (“I am Truth”).