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Showing 18 results for Symbol

Hadi Hatami,
Volume 2, Issue 5 (1-2011)
Abstract

Since the epic and Gnosis are based on common foundations, the emergence of mythological and epical elements of Shah-Name can be clearly seen in the realm of mystical literature. These elements have found their ways into the mystical literature through Sanaii's poems.  Meanwhile, Rustam, the superior hero of Shah-Name, has a particular status. He is a unique hero in the realm of Gnostic poems and gnosis, especially those of Maulana's, and Maulana's mystical interpretations of Rustam shows the significance and importance of this hero in his mind and words.  


Hadi Hatami,
Volume 4, Issue 13 (1-2013)
Abstract

Simurgh, a mythological bird, has long had strong presence in Iranian culture. Before the advent of Islam, it was present in Pahlavi works and after Islam it was present in mystical epics. This noteworthy element has attracted many talented mystics and has attained a transcendent and lofty character in mystical literature. Meantime, the sharp mind of Iran's most mystic poet, Maulana Jalal al-Din, has had different mystical interpretations from Simurgh. In Maulana's works, Simurgh sometimes refers to the perfect man and the united mystic and sometimes refers to essence of Divinity. Shams Tabirzi, love, spirituality, heart, and prayer, all of which have lofty meanings for Maulana, are enjoyably symbolized through Simurgh. The present paper deals with the various manifestations of Simurgh in Maulana's works.


Reza Sadeghi Shahpar, Sayed Hosein Jafari,
Volume 4, Issue 13 (1-2013)
Abstract

In the second stage of her poetry, Forugh Farrohkzad has used figures of speech to lead language to its literary state. Among her influential literary techniques in poetry, symbolism is prominent. In her poems many words are used as symbols in various positions. They convey different meanings. One of the most attractive symbols of Forugh’s poems is water, and in this paper we will deal with it. 


Ali Akbar Afrasiabpour,
Volume 4, Issue 13 (1-2013)
Abstract

Allegory proves to be very efficient in stating mystical and indirect concepts. Human and animal allegory is common in mystical and didactic literatures. In Masnavi Haft Organ, Jami cites over ten stories of animals. He also uses symbolic animal allegories as well. He personifies animals to teach moral a mythical concepts. He also did not neglect the legendary and totem backgrounds of the allegories he used. In personification of animals and birds, he also used the past experiences. This paper deals with most of the allegories in Haft Orang.


Mohammad Akbari,
Volume 4, Issue 15 (6-2013)
Abstract

In mysticism, symbolism is­ a superior picture of the confined world  for conveying and explaining the­ countless spiritual messages.This is why that Mowlavi, the mystic poet, artistically and eloquently invites his audiences to an endless feast of love.

In Shams Sonnets,he gets benefit from every word and phrase to reach this achievement and sometimes uses words in various meanings because of limited number of words and his different moods.

This study attempts to indicate the oppositions and contrasts of symbolic implications and also the way to interpret and assert these implications in order to find a better understanding of this long mystical work.

  


Hadi Khadivar, Robabeh Daheem,
Volume 5, Issue 17 (1-2014)
Abstract

Attar, the Sufi and eminent poet of the twelfth, century, is the owner of several precious long narrative poems (masnavi) . He has not written his poems for nobles or ornamented them with art of speech, but his mysterious stories present him as a symbolist poet. The  Sufi poet has based his stories on some secrets and applied the characters as symbols whose motions and postures denote mysterious concepts of his fables.This paper appraises the cryptic and theosophical aspects of The Seven Valleys (Haft-Wadi) and The City of Love (Shahr-e-Eshgh) in Attar’s Mantegh-ot-tayr and also studies the symbolic concept of Elahi-Nama, his other long narrative poems, and the symbols applied in the poems. These symbols embrace both social and theosophical aspects in which the theosophical part is more distinguished.


Heshmat Gheysari , Roghay Mehrinejad,
Volume 6, Issue 21 (1-2015)
Abstract

Mystic language as a means of public communication outside And in terms of talent and potential and gives a new spiritual culture goes beyond the scope of their spiritual. Generally in the form of his poetry and mystery symbol appears: In terms of the structure of the poem, which in this context means the only words in their true cross used; For example, hair, lines, dots, drops, sea, and sometimes a little ode to symbolically express the truths and doctrines deals. Investigation shows that many of the poems of Rumi's poems are based on the use of symbols and codes And password and sign in the expression of concepts, doctrine and the more mystical poet's thoughts. Symbol sea contrasted with terms such as drip, flood, frost, waves, fish, nature and the meaning is different. Maulana symbols to explain the implications of this are numerous and varied as the relationship between Creator and creature, mortal, unity, love and creative expression, and you're not using. Most used words to express their thought and freedom from reaching the top and achieve true unity can be seen.


Mostafa Salari, Masoomeh Bakhshi Zadeh, Behrooz Roomiani,
Volume 6, Issue 23 (6-2015)
Abstract

Black color, is known and mysterious color in Islamic mysticism which have double application in Islamic mysticism. Given that in the Iranians cultural history and in the Islam black color is considered as a color of darkness and evil we can see a symbol of darkness of color in Islamic mysticism. However a part of function of Black color in Islamic mysticism is in contrast to the first function. Black color in some mystical texts, indicates sacredness, divinity and nature of God. This trend is apparently affected by the influence of the Yazidis ideas in Islamic mysticism. Yazidieh is special mystical sect which have unique ideas. An attitude that has created wide impact particularly in view of changing the symbolic meaning of the black color.


Badriyeh Ghavami, Parisa Saloor,
Volume 6, Issue 23 (6-2015)
Abstract

Presence of symbol in fables, dreams and revelations, inform about symbols primitive grafting with human spiritual experiences.

word of gnostic have becomes a place for manifestation of symbol. among this, Attar has showed many of his experiences in spiritual basis on the symbol, and with this way,he has told a gnostic matters for his second persons on the sensible.

Mosibatname, a description of human spirit traveling and univers bewilderment in wisdomology. in this article has achieved with descriptive and analytic method, Mosibatname symboles are analysed, and behaviour cours (walk path) in spiritual world are studied also the obstacles in disciple way reaching truth. resultant of article is that , Attar, in the long run, showe a meeting to oneself of self (safe essence) for reaching to truth. a main thought in Mosibatname is that, search to God and element of univers and finding that after a traveling through obstacles, is in human essence. but, this element and truth of univers, is a God's eternal light and Mohammadan light.


Sedigheh Rasolian Arani, Mahboobeh Mobasheri,,
Volume 8, Issue 30 (6-2017)
Abstract

"Symbol" is a term common in various areas of knowledge But from the Science Rhetoric, word, phrase, or sentence means that in addition to appearance, the whole wide meaning to the reader. There has long symbolized the mystical poetry and social and political processes that have a direct impact So the contemporary poetry of place is important.
Researchers in different types of literature have mentioned that this research represents one of the most important symbols of mystical and religious symbols (in poetry sustainability) and its impact on the field of poetry, including the brevity of poetry, ambiguity, richness of art and literary, activate the mind, instilling a spirit of patience and hope and has been studied and a new window for understanding the poems have been opened.
Fatemeh Yavari, Abbas Ali Vafaei,
Volume 8, Issue 31 (9-2017)
Abstract

Art and literature are the most important evidence of human‟s civilization and culture that have unbreakable bond with deep layers of unconsciousness. Archetypes base on Jung‟s theory are the images, patterns and symbols that rise out of the collective unconscious and have left the similar and common concepts in human‟s unconscious in myths and cultures over the time. In Golshane Raz, the archetypes rise out of the collective unconscious. The archetypes in the Islamic theosophy is the standing property. The archetype in this ancient couplet-poems (Mathnavi) is interpreted as the archetypes: sun, sea (water), fire, mirror and journey. Jung's archetype in Islamic mysticism, permanent archetype is called. The concrete and abstract ideas in Golshane Raz is originated of Qurans and hadiths. Analyzing the mystical symbols was an opportunity that the gnostic poet manifests his education treasure. In Golshane Raz in addition to the key role of symbols, the salient portion of deviation and defamiliarization is effective in more highlighting the verses. In some couplet-poems, the symbols are replaced with the reality. The similarity of eastern and western symbols in concepts are ambiguous. The gnostic points to some part of reality with paraphrase and interpretation in this couplet-poem(Mathnavi).
,
Volume 8, Issue 32 (12-2017)
Abstract

One of the most significant and beauteous topics in Islamic Mysticism is “Jala “ and “Estejla “ and their perfection. With Ibn Araby brilliance, despite his conciseness, these two terms had been studying by the gnostics, God is the knower of own and sees himself in himself without any requirement to the others, and[while] be immersed in his perfection of glory. However since he is absolute perfection and constantly emanation, the universe is theophany of him and he has outwardness in objects. The outwardness of God in things is named “Jala”. as that, God sees himself in himself, he tends also to see himself in others, therefore he creats universe until he observes himself in manifestations, that is named “Estejla” . Estejla completely is appeared in anthropos teleios(perfect man) abode. After Ibn Araby the first mystic that deal with and explain this topic, was “Ibn fnary”. He investigated them in several part of “Mesbah Al‟ons”. Imam Khomeiny wrote several valuable interpretation in detail and explain Ibn fenary „s viewpoints in his book. So, because of importance of Imam‟s special look and interpretation, this article has been formed.
Amir Parsafar, Siavash Moradi,
Volume 9, Issue 34 (6-2018)
Abstract

Since poetry has become the medium for mysticism, an element of mystery has also been added to it. Shams Maghrebi, as one of the followers of Ibn Arabi's school of thought, has special mystical and monastic conceptions towards this aspect of poetry. Thus, he expresses grand mystical ideas symbolically and following his great mentor. One of the aspects of the symbolic language of mystical poetry as seen in the poems of Shams Maghrebi and other mystical poets, is the use of natural elements such as sea, rain, stream, etc. Such natural elements appear as symbols and mystical codes. Shams through a mystical approach has applicated symbolization and frequently has applied in the service of unitism and other related categorioes of it. The goal of this research is also recognizing natural symbols of Mqrebi poems which is subset of this field.
Ahmad Modir, Reza Ashrafzadeh, Javad Mehraban,
Volume 10, Issue 41 (2-2020)
Abstract

The myth taken from the Greek "Historia" means search, knowledge and story and tells the story of ancient men and their beliefs about creation. As a wise poet, Ferdowsi uses the language of code to express the myths of the Shahnameh, and reminds the reader: "Do not count this as a lie." Mysticism is a way of attaining the status of nearness to God, based on austerity and piety. Mystics use myths in code language to express mystical concepts. The use of this language, especially when using Shahnameh myths, is quite prominent. The basis of this research is the search for such reflections using library and written sources based on analysis and description. Of course, in mystical works, especially the letters and alchemy of the happiness of Imam Mohammad al-Ghazali, more religious narratives have been used than the myths of Shahnameh.

Mandana Alimi, Sara Javid Mozafari,
Volume 11, Issue 43 (8-2020)
Abstract

The poem “Jamshid and the Sun” is an unknown and strange work among the general public and the encyclopedia of scientific research. Undoubtedly, the historical and uncertain ignorance of the intertextual approach of this poem has led us to write this article. Through a historical-mystical approach, while referring to the individual and social psychology of that era, the article tries to show circles of literature-mysticism., Applying the intertextuality approach and the theoretical framework of "mystical historicism", the article has tried to prove the mystical nature of “Jamshid and the Sun” poem with reference to in-text and extra-textual signs - contrary to popular beliefs. According to the results from this study, from this perspective, the hypothesis about the mystical nature of “Jamshid and the Sun” text can be proved. That is, the article deciphers the intertextual foundation of the work, which despite the dialectical link, is still "conversational". This poem has a mystical color and atmosphere which comes about through resorting to the epic myths of ancient Iran and imitating the lyrical background and narrative techniques, especially those of Nezami’s poem “Haft Peykar”, the structure and mystical techniques of Suhrawardi stories such as: Red Wisdom, Sanaei’s Sir Al-Ebad, the stories of "Castle" "The Essence of Pictures" and "The Controversy of the Chinese" from Rumi's Masnavi. Therefore, the poem “Jamshid and the Sun” is an unknown and strange work in expressing the general theories of society and even in scientific research. By analyzing this work, we can reveal the depth of this example of eighth-century Sufi poetry. This work was composed in response to the intellectual and cultural framework of the eighth century’s intellectual and philosophical background, namely mysticism. This article has been written based on the "mystical historicism" approach and the intertextual approach used for depicting the depth of “Jamshid and the Sun” poem according to the elements of poetry (literary-mystical) in the eighth century.

Dr Maryam Reisi, Dr Atamohmmad Radmanesh, Dr Ghorbanali Ebrahimi,
Volume 11, Issue 44 (11-2020)
Abstract

     The cloak is one of the rituals of Sufism. Sufis consider a cloak the gone worn by the old man on the body of a disciple who had come under his guardianship. The cloak and the giving of the cloak by the old man to the disciple in all Sufi dynasties serve as a symbol showing the transmission of teachings and spiritual heritage of Sufism and in fact, the permission of the disciple to enter Sufism. Although before Sanai the use of symbolic images in the poems of mystic poets had been common, but due to lack of frequency, it had no stylistic value. The research method used in the present project is documentary and based on library sources and the text analysis is done through evidence from the texts. In this method, after studying Divan-e Shams and taking notes, the contents are categorized, examined and analyzed for detecting and discussing the cryptic elements. The necessity of conducting this research is due to the fact that no similar study has been done on the symbols of the cloak in Divan-e Shams. This research has analyzed the components and codes of the cloak. Its purpose is to study the reflection of Rumi's view on the cloak and to analyze its symbolic presentation in Divan-e Shams. Results from this study have shown that Rumi's view of the cloak is mainly a negative one. On the one hand, he considers the cloak as a symbol of the body, physical form and corporal existence and its manifestations, and on the other hand, it is a symbol of asceticism, hypocrisy and corruption.
         

Ph.d. Bahman Nozhat, Afsaneh Rahimian,
Volume 11, Issue 45 (3-2021)
Abstract

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.

Rostam Amani Astmal,
Volume 12, Issue 47 (11-2021)
Abstract

     A critical study of the poems of Katebi Nishaburi, one of the prominent poets of the 9th century A. H., shows that he has made ample use of symbolic expressions in his mystical poems. The main theme of most of the sonnets and poems collected in "Delrabai", "Si nameh" and " Majma’ ol Bahrain” is mystical. The theme of “Majma’ ol Bahrain” poem is the mystical-allegory story of two lovers; Nazer is the king of Isfahan and Manzur a Chinese prince who meet each other after enduring hardships in a symbolic hunting ground and finally get together.The symbols of this work have been analyzed not based on the theory French symbolism but with reference to the book Symbols and Symbolic Stories in Persian Literature by Dr. Taghi Pournamdarian. The research method used in this article has been descriptive and analytical. Based on results from this study, in the Masnavi of “Majma ol-Bahrain”, flood, lightning, cave, hunting, hunting ground, China, Isfahan, guide and vision have symbolic implications. Most of the symbols of “Majjam al-Bahrain” had been used in mystical poems before Katabi, but the symbols of his poetry largely reflect the poet's mental orientations and have a personal flavor.


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