Muḥy al-Dīn Ibn ‘Arabi es uno de los máximos exponentes de la historia del sufismo y del pensamiento islámico. Su influencia como místico y sabio islámico llega hasta nuestros días como se intenta mostrar en esta investigación a través del análisis de las doctrinas y prácticas de la ṭarīqa Tijāniyya más allá de los prejuicios coloniales y orientalistas. Un grupo sufí, el más numeroso a nivel mundial, que es un buen ejemplo del sufismo contemporáneo equilibrando la metafísica con (...) el plano legal. Este artículo explora temáticamente, por primera vez y utilizando una metodología multidisciplinar, las principales influencias del pensamiento akbarí en la historia intelectual tijāni y su impacto en los principales autores. (shrink)

En el sufismo la experiencia visionaria (ru’ya) es uno de los principales métodos de conocimiento profundo de la realidad (ḥaqīqa). La visión verídica (ru’ya ṣadīqa) y la visión despierta (ru’ya fi-l yaqẓa) son las principales vías de acceso al mundo imaginal (‘ālam al-mithāl) y a la hermenéutica vital que se desprende de estas experiencias. Este trabajo recoge y analiza desde una perspectiva filosófica las principales experiencias visionarias de uno de los más importantes personajes de la ṭarīqa Tijāniyya, Aḥmad (...) Tijāni, comparándolas ambas con los planteamientos y vivencias de Muḥy al-dīn Ibn ‘Arabī sobre la experiencia visionaria. (shrink)

Este trabajo explora de forma diacrónica el concepto sufí de tarbiya (iniciación espiritual) a través del análisis de tres poemas del maestro sufí senegalés Ibrāhīm Niasse. En el primero de los textos, Ruḥ al-ādab (El hálito de la cortesía), Niasse resume la doctrina de la Tijāniyya y el sufismo antes de su consolidación como maestro en 1929. El segundo texto, Nabadhat min asha‘ārnā fī tarbiya wa al-irshād (Advertencia sobre la tarbiya y la guía), explora el proceso de la iniciación (...) espiritual y su metodología desde su posición de maestro sufí. En el último texto, Ṣāriman, Niasse explica las dificultades que se producen tras acceder a la gnosis. Por último, y a modo de epílogo, se incluye una observación sobre la tarbiya y la gnosis en la vida cotidiana en África contemporánea. (shrink)

Muhammad Iqbal is the most important Islamic philosopher of the contemporary Indian Subcontinent. In his extensive work there is a deep dialogue between the Philosophy of European modernity, Islamic tradition and Indian Philosophy that always leads him to spiritual transcendence. The aim of this paper is, in a transversal methodology and for the first time in Spanish, to show that tension through his intellectual and literary production, emphasizing how this became his tariqa.

Muhammad Iqbal es el filósofo islámico más importante del subcontinente indio contemporáneo. En su amplia obra hay un profundo diálogo entre la filosofía de la modernidad europea, la tradición islámica y la filosofía de la india que conduce siempre hasta la trascendencia. El objetivo de este trabajo es, de forma transversal y por primera vez en español, mostrar esa tensión a través de su producción intelectual y literaria, haciendo hincapié en como este se convirtió en su tariqa.

Scholars have widely discussed the paradigm of integration of Islam and science. Still, a model of integration of Islam and science that uses the reasoning of Martabat Tujuh [seven grades] has not been found. Therefore, this study sought to investigate the manuscripts of Shaykh Abdussamad al-Palimbani’s Martabat Tujuh in the integration of Islam and science. This study used a descriptive qualitative approach, and data collection techniques were documentation and interviews. This study found two spiritual reasons in the manuscript of Shaykh (...) Abdussamad al-Palimbani’s Martabat Tujuh: tanazzul [move down] deductive reasoning and taraqqi [move up] inductive reasoning. Contribution: The article contributed to developing the integration of Islam and science in Indonesia. The manuscripts of Martabat Tujuh [seven grades] by Shaykh Abdussamad al-Palimbani offer the circular motion of Martabat Tujuh as a model for integrating knowledge. The circular motion model of Martabat Tujuh is expected to be used as a theoretical basis for applying knowledge integration at various Islamic universities in Indonesia. (shrink)

Scholars have widely discussed the paradigm of integration of Islam and science. Still, a model of integration of Islam and science that uses the reasoning of Martabat Tujuh [seven grades] has not been found. Therefore, this study sought to investigate the manuscripts of Shaykh Abdussamad al-Palimbani’s Martabat Tujuh in the integration of Islam and science. This study used a descriptive qualitative approach, and data collection techniques were documentation and interviews. This study found two spiritual reasons in the manuscript of Shaykh (...) Abdussamad al-Palimbani’s Martabat Tujuh: tanazzul [move down] deductive reasoning and taraqqi [move up] inductive reasoning.Contribution: The article contributed to developing the integration of Islam and science in Indonesia. The manuscripts of Martabat Tujuh [seven grades] by Shaykh Abdussamad al-Palimbani offer the circular motion of Martabat Tujuh as a model for integrating knowledge. The circular motion model of Martabat Tujuh is expected to be used as a theoretical basis for applying knowledge integration at various Islamic universities in Indonesia. (shrink)

Este artículo tiene como objetivo presentar un manuscrito conservado en la biblioteca de la Universidad de Bengasi (Libia) que contiene el Kitāb al-Ǧawhara fī nasab al-nabī ṣallā Allāh ʽalayhi wa-sallam wa-aṣḥābihi al-ʽašara por Abū ʽAbd Allāh Muḥammad b. Abī Bakr b. ʽAbd Allāh b. Mūsà al-Anṣārī al-Barrī al-Tilimsānī (596/1200-681/1282). Aunque ha sido mencionado en algunas publicaciones, no llamó la atención de los especialistas de la historia cultural de al-Andalus. Debido a la situación actual de la institución de conservación, no ha (...) sido posible ver ni ofrecer reproducciones. Aun así, como se cedió una fotografía para un catálogo, el último folio resultó muy útil. Se hace constar claramente el origen de la obra, que fue copiada en Menorca por su propio autor en el año 645/1248. Además, se puede observar que fue ofrecido como regalo a Saʽīd b. Ḥakam al-Qurašī, el gobernador de la isla, que fundó una biblioteca cuya riqueza fue celebrada por los autores medievales. En el estado actual del conocimiento, se trata precisamente del quinto manuscrito identificado, encontrándose hoy los otros cuatro en la Real Biblioteca del Monasterio de San Lorenzo de El Escorial. La historia del manuscrito permanece oscura, aunque se puede dar por establecido que reapareció en Libia a mediados del siglo XIX, siendo entonces propiedad de Muḥammad b. ʽAlī al-Sanūsī, fundador de la poderosa ṭarīqa al-Sanūsiyya. (shrink)

This article describes the rules and scripts that operate in a sub-Saharan African system, the Tijaniyya Islamic Sufi order in Kano, Nigeria. It analyzes the patriarchal bargains between women and men in the order and reveals how the actions of Muslim women with positions of spiritual authority were both independent and shaped by the order's patriarchy. The author argues that larger shifts across several decades in the Islamic world, the international Tijaniyya leadership, and the Nigerian state allowed Kano Tijaniyya women (...) to act differently and increase their spiritual authority and personal autonomy without breaking the rules of their bargain. The author concludes by suggesting that analyses of other Muslim societies may lead to a better understanding of which strategies lead to women's marginalization and which strategies result in successful bargaining. (shrink)

The article provides an overview of the Bektashi tariqa, holding a unique position in the Sufi teachings of Islam, founded by Haji Bektash-i Veli in the 13th century in the territory of Anatolia, which then spread to the nearby region. The study also covers the poetic concept that poets of this tariqa have been forming for centuries. Along with the changing ideology, subjected to a number of influences (such as the Shiite madhhab and the teachings of Hurufism) every once in (...) a while, the article analyzes the approach, style, narrative, as well as the development of the theme and content in the literature of Bektashi. As the main subject of the study, the general information was provided about the life and literary activity of the famous poets who lived and created during the first and second stages of Bektashi literature, samples of their poetry are considered and a comparison is made between them in several aspects, thus their similarities and differences are shown. Along with the remarks on the poetic concepts common to the poets such as Yunus Emre, Abdal Musa, Kaygusuz Abdal, Seyid Imadaddin Nasimi, Shah Ismail Khatai, Pir Sultan Abdal, Gul Hummat, Ruhi Baghdadi, and Mahammad Fuzuli, as well as the environment and the schools of thought, they were influenced by, the article provides examples of their poems on the subject, reveals both the semantic orientation of the poems and the pattern of description of the mystical and philosophical views expressed. In addition, the parallels were drawn in terms of different attitudes to mystical motives in Bektashism both at certain stages of Bektashi literature and in the works of the above-mentioned poets representing this literature. Conclusions and general opinion on the subject are reflected widely through the example. (shrink)

If Place Spirituality is considered as an attachment experience to a geographic place or an “object,” for Muslims this concept can be explained by the sharia or Islamic law. However, in the highest level of experience as a Muslim, one may attach to God everywhere and at all times, without consideration of any place, time, or object. This experience can clearly be understood with the explanation of the three levels for Muslims: sharia or “conceptual knowledge,” tariqa or “experiential knowledge,” and (...) ma’rifa or “divine spiritual experiences” or “spiritual consciousness”. At the first and second levels, one may have a Place Spirituality, while at the third level the understanding of and connection to God might be enhanced, and the experience to connect to God can be everywhere, all the time. (shrink)

This study aims to clarify certain ideas regarding Al-Yusriyyah Ash-Shdhiliyyah Siddqiyyah Tariqa and its function in religious moderation. Tareqa can be a new formula in realising harmony in religious diversity, in which the teaching principle of Tariqa is the spirit of improving moral and character. This is very important in living in diversity. By implementing Tariqa, a person understands religion not only from the outward side but also from the inner part of religion, so that it is expected to be (...) able to find the substance, namely, the true truth that is universal. From this point of view, the Sufism paradigm seems to have advantages that the person is more tolerant of differences, both internal and external. A field study was conducted to achieve the objective of this research. Particularly, this study used an interdisciplinary approach, that is, a combination of religious and social approaches. A participatory observation, deep interviews and documentations were employed to collect the data of this study. The subjects of this research were adherents of the Tariqa in Cairo, Egypt and Indonesia. This study reveals that Tariqa has teachings and values in realising religious moderation in a plural society. This Tariqa could be an agency of religious moderation. The significance of this study is to prove the power of Tariqa and Sufism as agents of change in plural societies against extremist and intolerable attitudes both between devotees of particular religions and between adherents of different religions. Accordingly, it can promote a peaceful and tolerant way of life and reduce violence. This study supports earlier research that suggested Sufism as an option for governmental action in a plural society to counteract radicalism and intolerance.Contributions: The results of this study are expected to contribute to providing suggestions to the stakeholders in dealing with the rise of religious intolerance and radicalism both globally and locally. Moreover, the ritual, doctrinal and social interaction of Tareqa Al-Yusriyyah As-Siddiqiyyah Ash-Shadhiliyyah can be a source of reference and inspiration for the policy of stakeholders in deradicalising religion and creating religious moderation. (shrink)

Sheikh Halid Sufi, as a Sufi poet, addresses human being as the main subject of his sufist dicourse. He is an important figure of our recent history as he primarily adopted the goal of human perfection and revealed a doctrine of humanity in the school of knowledge. In advance of our current century, when human is seen just in physical respect, he lived as a man of heart who handled human being with an integrated approach within the aspects of matter (...) and spirituality, the world and the hereafter, individual and community, body and soul. In this communiqué, I will discuss Sheikh Halid Effendi’s ontology and his point of view on the place of human being in the realm of existence. He seeks human perfection and wishes people to free themselves of shabby desires and regain their disposition. He recommends people to achieve purity in order to reach the rank of being a mirror to God’s reflections. As a Sufi poet, he attaches importance to carrying out the education of divine journey, wrapping up in mystical ethics, having the identity of wisdom and gaining the aesthetics of love so as to reach the perfection. SUMMARY Sheikh Mehmed Halid was born in 1273/1856 in Sivas. He graduated from Ottoman Junior High School. He attended the 1893 War. In 1880, he started his professional career at a state office. Until 1899, he served in several positions, as assistant judge in Erbaa Lower Court, as Prosecuting Deputy Attorney in Sivas, as Prosecuting Judge assistant in Lower Court and head clerk in Darende, as head clerk in Lower Court in Tonus/Altınyayla, and as prosecuting judge in Kuruçay. He died in 1931 and was buried in Sivas Yukarı Tekke Graveyard. Sufism (tasawwuf) is an education for integrity towards maturity, in a way to prufiy the self from evils of nafs (self) and to reach the love of Allah. This spiritual educational journey is called ‘Seyr-u Suluk’. Sheikh Mehmed Halid completed his Seyr u Suluk as a dervish (student) of murshid (mentor) Kastamonulu Ganizade Mehmed Sadık Baba. Sheikh Mehmed Halid wrote three books called Hilafetnāme, Mektubāt, and Divan. He deals with issues of Sufism (mysticism) in these works. Primarily, his works dwells into the matters of morals, worship, good manners (adab), customary practices, ingenuity, existence, and love. Sheikh Mehmed Halid’s sole attempt is to explain the relationship among Allah, man and universe in an understandable way. According to Sheikh Mehmed Halid’s conception of Sufism, existence is unique and that existence is only Allah. The existence of Allah is absolute while the existence of assets is relative. Things do not exist on their own. Universe is like a mirror. What is reflected in the mirror of universe are the shadows of Allah the Omnipotent. The graces of The Divine are reflected in this mirror. All the things that exist in the universe proves the Self of Allah and his properties. Each of the things in the universe are the words of Allah. The existence of the universe is a result of Allah’s mercy. Man is the fruit of the tree of the Universe.Man is both the embodiment and the reflection of Allah. We want to discuss the position of man in between Allah and the universe with Sheikh Halid’s verses. Perceiving plurality in unity and unity in plurality, Sheikh Mehmed Halid attributes the variety of things and existence in the universe to the Divine beauties of Allah. For those who can comprehend, the plurality/ abundance in existing objects in the universe indicates singularity and uniqueness of Allah. According to Sheikh Halid, Allah is independent from and beyond all the entities that exist in the universe. However, Allah, manifests Himself in the things that he creates and the actions he takes through His divine names and properties. According to Sheikh Halid, each object is a reflection of Allah’s divine properties. Every entity in the universe glorifies Allah with all their existence. For Sheikh Halid, Seyr u Suluk is the journey from weakness to perfection, from substance to meaning, and from things to reality. Considering Seyr u Suluk education as distancing one’s self from other beings, reaching purity of heart, disposing of all signs explains these concepts with pilgrimage metaphor. As a response to those who asks him what he meant by seyr u suluk, he says seyr u suluk is servitude and submission to Allah. In order for Seyr u Suluk to be meaningful, a person should enter the way of a murshid-i kāmil (perfect religious mentor), and should have sincerity, purity (being deprived of all sins) and dhikr. According to Sheikh Halid, someone who is not in trouble is not given a remedy. So as to bother is necessary for remedy to be arisen. Nuisances of the universe are also ephemeral as the universe itself. Therefore, it is unnecessary to bother things that are ephemeral. Because remedy is not available without being mature. According to Sheikh Halid, the procedure of gaining advantage from being mature; getting rid of the ego, feeling the love, being pioneer of the mission, being modest, to attain soul pleasure, escaping from fame, leaving the claim, the glory of salvation, proceeding dhikr, reaching the conquests and escaping from friendship of worldly things. According to Sheikh Halid, being mature is not setting about affiliation ceremony. Asceticism cannot be a show and claim authority. Sincerity is needed on the basis of seyr u suluk education. Asceticism which is an effort of making the religion a specific of Allah is to make intimacy with Allah. Sheikh Halid wants his murids who take part in ṭarīqa (sufī path) to decide on the sincerity. Sincerity is said to be the unique factor that makes sense the membership. Seyr u suluk which begins with being membership of mature murshid, which makes sense with proceeding worship and respecting the sincerity arises by teaching manners to soul. Seyr u suluk is trying to reform the soul. Teaching manners to soul is a challenging and significant task. The most important factor that ensure teaching manners to the soul to be achieved is dhikr. Dhikr practice which makes successful the teaching manner to the soul of seyr u suluk training increases the prudence and foresight of dervish. The unique task that murshid expects from his murid during the membership process is to adjust his soul and parlance to the dhikr of Allah. Dhikr of Allah is a product of fondness. According to Sheikh Halid, one who wants to be remembered in heaven should himself learn to remember Allah. Sheikh Halid gives too much importance to disciplining the tariqa where sufi training takes place. A murid should qualify his murshid whom he intimated to. Followers should gain sufficient advantage from the spiritual atmosphere in the dergāh of their murshid. The murid must be at the service of the murshid who trains him and should obey tariqa manners. Salik who achieves seyr u suluk, who maturates the sufi ethics and who gains sincerity through dihkr of Allah tries to achieve the Gnosis. The intent of being a human is to know Allah. The biggest disaster for human is to come upon unawareness. Sheikh Halid who assumes the the Arifs as sultans of walayah makes a comparison between the Arifs and the Zahids and prefers the Arifs. He thinks that the Zahids pay attention to the appearance, cannot reach the basis and cannot go beyond Allahliness show. Sheikh Halid, who encourages the Zahids to avoid comparing themselves with the Arifs, warns the ones who combat with the Arifs and reminds that Allah proclaims warfare to those who has hostility towards those surrendering themselves to Allah. Sheikh Halid lines up the ways of being mature and having wisdom as godly grace, asceticism, love, the mind of leaving, battle with the self, humility, dikhr and being woeful. Salvation process which Marifetullah will guide is to achieve the love of Allah. Love is the way of achieving the reunion. The reality can just be gained through love. However, gaining the divine love requires to be loved. Because, the way of gaining the divine love is to remove everything except Allah from one’s heart. (shrink)

In this article, it is often pointed out to a more specific area by using the term Ṣūfi art on the basis of the aforementioned understanding. Thus, an analytic approach is adopted along with the usage of deductive method, and a layer of meaning is tried to be established through criticism and analysis. Firstly, a basic framework was constructed by mentioning the origins of Ṣūfi art. Then the attention was drawn to the sacredness included in Ṣūfi art in terms of (...) its historical frame and ontological structure. It is asserted that Ṣūfi art is based on four basic arguments: beauty, creativity, transcendence, and imagination. Ṣūfis considered art as an activity of beauty and the expressive power of it. Relying on the basic motive that Allah is the Greatest Artist, the Ṣūfis believe that the beauty of their art is a manifestation of Divine Names. They saw art as an expression of manifestation and unveiling. The Ṣūfis, who deemed the world in terms of Divine Beauty (Jamāl), witnessed the manifestations of the Divine Attribute of Beauty in all things; as a result of this witnessing, the masterpieces of Islamic art came into existence. It is the sapiental and the gnostic outlook that underlies this success of the Ṣūfi orders (tariqa) in Islamic history. In Ṣūfism, the perfection (kamāl) presupposes the beauty (jamāl); and each beauty presupposes also the perfection. Therefore, it is not possible to distinguish beauty from perfection in the Ṣūfi art. The sense of loving the beauty is so strong for them that they have tried to reflect the perfect beauty they witness in their works of art, to give an external presence to the phenomenon of beauty and to make the spiritual reality visible that is innate within their beings. Ṣūfism is in a sense an effort to seek beauty. It has been an endless longing to seek, search and witness The All Beauty, that is God Himself. The effort to search for Divine Beauty is sometimes revealed by tune, and sometimes by harmonious words or by a single line. Then, they turn into music, poetry, calligraphy and illumination. According to the maxim stating “There is a path from heart to heart”, these works were transmitted from one generation to another, ensuring the continuity of this Divine tune. Despite the fact that Ṣūfi works make no pretensions to be art as such, they were widely accepted, influenced the masses and gained appreciation in that they were created by people with a sincere heart, intimate sentiments and a deep world of contemplation. The second stage of the gnostic dimension in Islamic arts has been tried to be expounded through the ultimate goal of Ṣūfi art. In Ṣūfi tradition, the aesthetics and sensitivity of art attract attention at every opportunity, but the Ṣūfis did not consider art as their main aim. For them, art denotes only a means. Ṣūfis, who appeal to the eyes, ears and mind with the artistic forms, endeavoured to permeate to the hearts with the spiritual atmosphere provided. With their performances, exuberance and success in different branches of fine arts, they mobilized the aesthetic sentiments in each person's nature and ensured that the human pleasure become accorded with the divine pleasure. Focusing on the sapiential and gnostic dimension of Islamic arts, the basic principles of Ṣūfi art are emphasized as the third stage. It is also suggested that these principles also have a religious content are marked with religious style, have a strong sense of sacredness, possess generality and the peculiarity, have symbolic and representative aspects, are based on symbolism and have traditional characteristics, their style of expression is based on revelation, and are not intended to provoke carnal desires. As to the fourth remarkable factor within the sapiential and gnostic dimension of Islamic art, the Ṣūfi worldview behind the mentioned artistic works is given. As to the fifth remarkable factor in the gnostic dimension of Islamic arts, the thought behind the world of art sustained in the dervish lodges (tekke) is discussed. These dervish lodges were emphasized as the most important places where the beautiful word, beautiful sound and beautiful line converge and these lodges were evaluated as the kitchen where the fine arts were prepared and as the boiler where the arts are cooked. It is due to these features that each of the dervish lodges in Ottoman Empire became a kind of education and fine arts centre. In these lodges, many musicians, composers, poets, illuminators, bookbinders, carvers, engravers and marbling masters were trained. While the dervishes in the dervish lodges exhibited their own unique works of art, they also carried out the requirements of their spiritual trainings (sayru sulūk). (shrink)

Qaside-i Khamriyya (meaning Wine Eulogy) of sufi poet Ibn-i Fārıḍ, in which he explained divine love through the metaphor of wine, attracted great attention in Islamic world and was translated into Arabic, Persian and Turkish. Scholars such as Davud-i Qayseri (d. 751 AH/1350 AD), Kemal Pashazāde (d. 940 AH/1534 AD), Abdulghani an-Nablusi (d. 1143 AH/1731 AD), Ibn Acibe (d. 1224 AH/1809 AD) explained this eulogy in Arabic, while poets such as Ali b. Shihābiddin al-Hamadāni (d. 786 AH/1385 AD), Molla Cāmi (...) (d. 898 AH/1492 AD), Idris-i Bitlisi (d. 926 AH/1520 AD) wrote commentaries in Persian. On the other hand, authors such as Abdussalam b. Numan b. Khalil (d. 1000 AH/1592 AD [?]), Ismail Anqaravi (d. 1041 AH/1631 AD), Abdulmacid-i Sivasi (d. 1049 AH/1639 AD), Qara Musṭafa Khulūsi (d. 1344 AH/1926 AD), Meḥmed Naẓım (d. 1345 AH/1926 AD) and Ṭahir al-Mavlavi (d. 1371 AH/1951 AD) translated the eulogy into Turkish. One of the authors who translators of this eulogy was Mehmed Said Efendi, sheikh of Uskudar Salimiya Takka, who lived in the 19th century. His work named Ṭarab-angiz (meaning Pleasure-provoking) is a condensed commentary with ornate prose of Qaside-i Khamriyya. In previous studies, Ṭarab-angiz was partly examined, and there was no mention about the identity and personality of the author. In the present research, the life and personality of Meḥmed Said Efendi is explained and the text of his work is examined.Summary: In Turkish literature which developed under the influence of Islam, translations and commentaries have important a place along with original texts. Coming within the sphere of Islam in early 10th century, Turks embarked on translating the texts immediately in order to learn their new religion and to perform its practices and continued to do so since then. Because they lived in the same culture and civilization climate, Turks learned Islam from Persians and were influenced by Persian language. However, adherents of this new religion also made direct translations from Arabic texts. The translations initially were made from religious works, but in time social, cultural and literary works, such as Persian classics and major eulogies of Arabic Literature, were also translated into Turkish by Turkish scholars. Qaside-i Burde by Ka‘b b. Zuheyr’in (d. 24 AH/645 AD), Qaside-i Nūniyye by Ebu’l-Fetḥ Busti’nin (d. 400 AH/1010 AD), Qaside-i Ṭanṭarāniyye by Ṭanṭarāni’nin (d. 485 AH/1092 AD), Qaside-i Münferice by Ibnu’n-Naḥvi’nin (d. 513 AH/1119 AD), Qaside-i Emāli by Ali b. Othman al-Ushi’nin (d. 575 AH/1179 AD) and famous eulogy named Qaside-i Bur’e by Muḥammed b. Said al-Buṣiri’nin (d. 695 AH/1296 AD) were among such works.Qaside-i Khamriyya by sufi poet Ibn-i Fārıḍ (d. 632 AH/1235 AD), also called sultan of minstrels, in which he explained divine love through wine attracted great attention in Islamic world and was translated into many languages and many commentaries were written on it. One of the commentary writers about this eulogy is Meḥmed Said Efendi, a 19th century sufi. His work entitled Ṭarab-angiz is a condensed commentary with ornate prose of Qaside-i Khamriyya.Studies conducted so far has partly dealt with the Ṭarab-angiz and identity and personality of Meḥmed Said Efendi have never been mentioned. Ṣarac mentioned, “It is a printed work but its writer, printing date, and the place was not found on the printed work”, while Yıldırım used the expression of “a work whose writer and production date is not known.” In his Ph. D. thesis entitled Translation and Commentary Tradition in Classical Turkish Literature in Anatolia, Ṣadık Yazar noted that the work belongs to Meḥmed Said, which was later cited by Aqdag. The final statement on this issue was made by İnce in his work entitled Arabic, Persian and Turkish commentaries of Qaside-i Khamriyya by Ibnu’l Fārıḍ. He examined a total of 18 commentaries and stated that no information is available about the life of Meḥmed Said although he mentioned Ṭarab-angiz.The birth date and place of Meḥmed Said Efendi are unknown. He is grandchild of Ali Behjet Efendi (d. 1238 AH/1823 AD), one of sheiks in Salimiya Dervish Lodge in Uskudar and son of Meḥmed Hidāyetullah Efendi (d. 1288 AH/1871 AD). Following the death of his father, Meḥmed Said Efendi himself served as the head dervish of this dervish lodge for 25 years and became a famous figure. He died in 1313 AH/1896 AD and was buried in the cemetery of the Salimiya Dervish Lodge.Meḥmed Said Efendi was the sixth sheikh of Salimiya Dervish Lodge. In many sources, he was mentioned as a venerable, righteous, devoutly religious, virtuous, polite and scholarly man. Meḥmed Said Efendi is thought to be a member of Mavlavi lodge of Naqshbandi Ṭariqa. He had successors such as Naqshi sheikh Uskudari Balabani Ḥasan Ḥusnu Efendi (d. 1347 AH/1928 AD) and Ismail Efendi (d. after 1307 AH/1890 AD). The poet had a commentary named Ṭarab-angiz in prose form and had a quatrain within the praising eulogy of Sheikh Ḥāmil Efendi (d. 1322 AH/1904 AD), head sheikh of Beylerbeyi Bedevi Dervish Lodge.It is clear from the expression, “A work by Meḥmed Said, the Imam of Central Dervish Lodge of Sultan Salim III,” at the beginning of Edition no: 450 in Suleymaniye Library, Pertev Pasha Collection and from the record of “Work: Ṭarab-angiz, Author: Ibnu’l-Fārıḍ, Translator and postscript writer: Meḥmed Said” in Edition no: 7350 of Marmara University Faculty of Theology Library that this work belongs to Sheikh Meḥmed Said Efendi. However, exact production date of this printed work is not known. The work consisted of 28 pages and in some editions a two-page correct-false chart was added.As usual, the work starts with an introduction section with expressions of “By the name of God, the Most Gracious, the Most Merciful,” “Praise be to God,” and “Peace be upon Prophet Moḥammad.” This section also includes a praise for followers of Prophet Moḥammad, “Who made sphere of prophecy an eternal rose garden through the holy light of their enjoyed manners in addition to making the Shari’a candle shined and and converting them to great flowers of service with their strong inspiration torchs.” The commentator then embarked on praising Qaside-i Khamriyya, mentioning that the men of ability became helpless in explaination of beauty, charm and freshness of unique expression richness and refined allegory blossoms of the eulogy and that reaching the shore of rhetoric could be possible through diving into the guided wisdom of sea. In fact, according to commentator, the men of literature should be aware of the difficulty of translating this unique eulogy into Turkish language. However, everyone should dive into the sea of insight as a knowledge diver, collect its share in pearls of utterance and in emeralds of wits, arrange and put them in the string of prose”. Therefore, he wrote the commentary about the eulogy as a service to humanity and as a contribution to his own stock of comfort in the present and afterlife as much as he could, no matter how little it could be, and named it Ṭarab-angiz. Like most commentators of Qaside-i Khamriyya, Meḥmed Said Efendi commented on only about 33 couplets of the eulogy which contained a total of 41 couplets, and did not cover couplets from 23 to 30 in his work. The commentator used couplet-by- couplet translation method and started with praising for Ibn-i Fārıḍ and his couplets. Then, he gives the Arabic originals of the couplets and starts commentary with the expressions such as “couplets of great intuition, imagery couplets, product of couplet, enlightenment of couplet and concept of couplet.” In preface section of the work, the commentator, who usually quoted hadith texts in Arabic and poems, does not use them in his commentary. He only uses some lines of Arabic prayers and a quatrain of Molla Cāmi (d. 898 AH/1492 AD). This is a quatrain rubāi in Persian language meaning that “If you want no sorrow and no grief of the destiny, drink wine in a pub, because swirling of the goblet and worries of the world do not share the same place just as the tune and the sorrow do not coincide.” The lack of touching on the meaning of words, etymological structure and grammar rules in couplets makes it different from others, except the translation of Aḥmed Ṣāfi Bey. (shrink)

During the Palembang Sultanate, the Sammaniyah order was the official religion of the Palembang palace. Sammaniyah tariqa scholars were also made officials and advisers to the sultan. This article aims to discuss the power relations of the Palembang Sammaniyah ulama in terms of continuity and change in the regime of power. From the 19th to the 20th centuries, the Sammaniyah tariqa lived and developed under five regimes of power, namely the Sultanate of Palembang Darussalam, the Dutch colonists, the Japanese invaders, (...) the Old Order and New Order. Palembang Sammaniyah tarekat scholars who are considered conservative (kaum tuo) have to deal with modern scholars (kaum mudo) because of the khilafiyah problem. As a result, there was a great shift by the Sammaniyah ulama in maintaining and developing the Sammaniyah order in Palembang. Firstly, the shift occurred in the role and function of the ulama of the tarekat, changing from religious leaders who teach Islamic religious knowledge to multifunctional scholars in dealing with modernism by utilising public space. Secondly, the charismatic nature of the Sammaniyah tarekat ulama formed the authority of the ulama so that the ulama could play a role in sociopolitical affairs in each power regime. Thirdly, contemporary tarekat scholars and Sammaniyah tarekat scholars who are considered conservative scholars could compete with mudo people who were considered religious reformers. Besides, the ongoing Islamisation challenged the Sammaniyah tariqa scholars in maintaining and developing the Sammaniyah tariqa.Contribution: This research will contribute to determining the relationship between power and the existence of scholars. The question that the article tries to explore is how the identity and existence of the ulama could survive every change of power in Palembang. This article will discuss the changes in power that have occurred in each period that caused a change in mindset and a shift in the identity of the ulama. This study discusses the power relations of the Palembang Sammaniyah ulama in changing regimes of power and finds the fact that power can affect the order. (shrink)

El presente artículo versa sobre Abū Zakariyyāʾ Yaḥyà al-Balansī, un discípulo fervoroso y distinguido del conocido maestro sufí Ibn Sabʿīn de Ricote. Hay poca información sobre Yaḥyà, y quizás por ello ha pasado desapercibido. En el trabajo se recogen estos datos para darlo a conocer. Yaḥyà al-Balansī (o algún antepasado suyo cercano) habría nacido en Valencia. Estuvo en Alejandría en compañía del šayḫ Abū l-Ḥasan al-Šāḏilī, quizás a partir del año 642/1244. Regresó a al-Andalus y, después, habría viajado nuevamente hacia (...) el Magreb. En Bugía, se encontró con Ibn Sabʿīn, en fecha desconocida, aunque debió de haber sido hacia el año 648/1250. Desde entonces se hizo discípulo incondicional suyo. Habría acompañado a Ibn Sabʿīn, hasta establecerse en La Meca, después de pasar por Túnez y Egipto. También estuvo en Medina y en el Líbano. Se deduce que Yaḥyà era un sufí viajero, al igual que Abū l-Ḥasan al-Šuštarī. Yaḥyà falleció en el año 665/1267 y fue enterrado en al-Balyana, en el Alto Egipto. En este trabajo se presentan los fragmentos de las pocas obras que nos han llegado, y se busca confirmar su autoría de Kitāb al-Sulūk fī ṭarīq al-qawm, la única epístola suya que se conserva completa. Al final, se traducen los fragmentos tanto de al-Wirāṯa al-muḥammadiyya, y un fragmento recogido por Ibn al-Ṭawwāḥ, como de otro fragmento que aparece al final de una Risāla de Ibn Sabʿīn. Del estudio de este acopio de datos se llega a dos conclusiones de relevancia: 1. Aunque en el encabezado de Kitāb al-Sulūk, Yaḥyà se presenta como hijo de Ibn Sabʿīn, en este trabajo se va a demostrar que no lo era. 2. Se confirma su autoría de Kitāb al-Sulūk. (shrink)