If All the Trees on Earth Were Pens: A Survey of the Qur’anic Symbolism of the Pen in Medieval Azeri Turkic Sufi Poetry.
The prohibition of painting and sculpture in the Medieval Muslim world stimulated the flowering of the art of calligraphy and inspired a great number of legends and poetic images based on the process of writing and its instruments. Great importance was attributed to the pen—the main implement of wri...
| Publicado en: | Journal of Turkish Literature no. 11; pp. 7 - 33 |
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| Formato: | Artículo |
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Bilkent University, Center for Turkish Literature
2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=119788878&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 119788878 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13021532 GBJC jtl: Journal of Turkish Literature issn: 13021532 maglogo: N pubinfo: dt: 2014 iid: 11 pid: 87631 pub: Bilkent University, Center for Turkish Literature artinfo: ui: 119788878 ppf: 7 ppct: 26 formats: fmt: @attributes: type: P size: 6.7MB tig: atl: If All the Trees on Earth Were Pens: A Survey of the Qur’anic Symbolism of the Pen in Medieval Azeri Turkic Sufi Poetry. aug: au: Gasimova, Aida Shahlar su: Symbolism in the Qur'an Sufi literature Literature Azerbaijan sug: subj: Azerbaijan Symbolism in the Qur'an Sufi literature Literature ab: The prohibition of painting and sculpture in the Medieval Muslim world stimulated the flowering of the art of calligraphy and inspired a great number of legends and poetic images based on the process of writing and its instruments. Great importance was attributed to the pen—the main implement of writing and calligraphy. Furthermore, the Qur’anic verses on the pen (al-Qalam, 1; al-‘Alaq, 4; ‘Āl Imrān, 44; Luqmān, 27) and their detailed and semi-legendary explanations throughout Muslim exegetics and Sufi literature also elicited a great round of artistic images. The goal of this paper is to analyze images of the pen in Azeri Turkic Sufi poetry by highlighting the echoes of ancient mythological beliefs, Muslim cosmogony, and Sufi thinking on the pen in examples from the dīwāns of such great poets as Qāḍī Burhānuddīn (1344-1398), ‘Imāduddīn Nesīmī (1369-1417), Hidāyat (XV c.), Ḥaqīqī (1397-1467), Ḥabībī (XIV-XV c.), Kishwarī (XV c.), Shāh Ismā‘īl Khaṭā’ī (1487-1524), and Muḥammad Fuḍūlī (1494-1556). I will argue that the diverse representation of pen imagery is based on the active artistic imagination of the poets rather than the symbol’s Islamic or Sufi roots and that fertile poetic imagination in turn served as a kind of substratum for Sufi pen symbolism. I will also accentuate the close association between poetic images and the practical side of medieval calligraphy. Finally, I will elaborate upon the unique topics taken from a masterpiece, the ode with the radīf qalam by the eminent poet Muḥammad Fuḍūlī. Ortaçağ İslam dünyasında resim ve heykelin yasaklanması hat sanatının filizlenmesini teşvik etti ve yazma ve kaligrafinin üretim sürecine dayanan çok sayıda efsane ve şiirsel imgelerin üretilmesinde ilham kaynağı oldu. Dahası Kur’ân-ı Kerîm’de kalemden söz eden ayetler (Kalem 1; Alak 4; Âl-i İmrân 44, Lokmân 27) ve bunların ayrıntılı ve yarı-efsanevî açıklamaları Müslüman müfessirler arasında tasavvuf edebiyatı açısından bir dizi artistik imgelerin üretilmesine yol açtı. Bu makalenin amacı Azerî tasavvuf şiirinde, eski mitolojik inançların, İslam kozmogonisinin ve tasavvufî düşüncede kalemin konumunun altı çizilerek kalemle ilişkili imgelerin incelenmesidir. Bu analiz için Kadı Burhâneddîn (1369-1417), ‘İmâmüddîn Nesîmî (15. yüzyıl), Hakîkî (1397-1467), Habîbî (14-15. yüzyıl), Şâh İsmâ’il Hatâyî (1487-1524) ve Muhammed Fuzûlî (1494-1556) gibi büyük şairlerin divanlarından örnekler verilmektedir. Kalem imgesinin çeşitli temsillerinin İslamî ya da tasavvufî köklerden çok şairlerin etkin artistik hayal gücüne dayandığını, dolayısıyla bu verimli şiirsel imgelemin tasavvufî açıdan kalem sembolizminin bir tür alt katmanı işlevi gördüğünü tartışacağım. Bundan başka şiirsel imgelerle Ortaçağ hat sanatının pratik tarafı arasındaki yakın ortaklığı vurgulayacağım. Son olarak, mümtaz şair Muhammed Fuzûlî’nin şâheserlerinden biri olan kalem redifli kasidesinden alınmış benzersiz konular üzerinde duracağım. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Turkish Literature is the property of Bilkent University, Center for Turkish Literature and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Turkish Literature holder: Bilkent University, Center for Turkish Literature dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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