In this article, the life of Göynüklü Ibrāhīm Ḥaḳḳī Efendi will be analyzed. Ibrāhīm Ḥaḳḳī Efen-di was born in Göynük in the middle of 1294/1878 according to the Rūmī calendar. Since his father was a mudarris, he has become familiar with ʿulamāʾ circles since his childhood. He spent the first years of his education life in Göynük, where he was born. He completed the later stages of the education process in Istanbul. He returned to Göynük after completing his mad-rasa education (...) and obtaining his ijāzāt and he undertook various official duties in his hometown until 1946, the date of his death. He served as the Muftī of Göynük for the longest time among the duties he has undertaken. It is known that he had continued this duty in the last period of the Ottoman Empire and the first years of the Turkish Republic. Therefore, Ibrāhīm Ḥaḳḳī Efendi is the last muftī of the Ottoman period and the first muftī of the Republic period in Göynük. Ibrāhīm Ḥaḳḳī Efendi is the subject of this article because we think that his position is important. According to our findings, there has not been any study on Ibrāhīm Ḥaḳḳī Efendi yet. In this respect, the article will enable Ibrāhīm Ḥaḳḳī Efendi to known in the light of archive sources and other available information/documents. The article includes informations about his life, family, education, hodjas, scientific background and the duties he undertook. In order to obtain this information, we first applied to the Istanbul Muftī’s Mashīkhat Archive and to the Religious Affairs Presidency Archive. From the aforementioned archives, the registry files of Ibrāhīm Ḥaḳḳī Efendi were obtained. In addition, other sources that will contribute to the article have been carefully scanned. Ibrāhīm Ḥaḳḳī Efendi took the exam of the lectern sheikhdom and was found successful after his madrasah education. But, since the appointment to the lectern sheikhdom was made ac-cording to a certain hierarchy, his turn did not come. Upon this, Ibrāhīm Ḥaḳḳī Efendi returned from Istanbul to his hometown, Göynük and undertook a number of official duties from this date until his death. Court membership, mudarrisship and muftīship are among his official duties that he undertook. His name was chosen and determined by the local units for the duty of muftī and he was appointed to the post with the approval of Shaykh al-Islām. Ibrāhīm Ḥaḳḳī Efendi had served as the muftī of Göynük between 1912-1946 without any interruption. His long service as a muftī is enoug to reach a positive opinion about his education, scientific knowledge, personal characteristics, and his position in the eyes of administrators and society. Because the fact that a person has held the same post for thirty-four years is at least a sign of trust in him. However, when he was first appointed as muftī, some objections were raised against him. It is possible to list these objections under the headings such as taking sides in favor of Ibrāhīm Ḥaḳḳī Efendi when he was elected as the mufti, ignoring the applications of other candidates and his lack of scientific knowledge. These objections that submitted to the officials were not ignored by the local authorities, on the contrary, they were addressed. Even, these objections were investigated by more than one governmental institution. As a result of the investigations, it was determined that the allegations made against Ibrāhīm Ḥaḳḳī Efendi were unfounded. As a result, this amount of information has been identified for Ibrāhīm Ḥaḳḳī Efendi at least for now. It would be appropriate to state that the contents of the article is open to improvement with the information and documents that are likely to be obtained later. (shrink)

: Most discussions of Yamaga Soko's philosophical development as a Confucian scholar in Tokugawa Japan suggest that in his later years he moved away from Confucianism and toward a religio-philosophical celebration of Japan's supposed uniqueness. It is shown here, however, that Soko's nativism, set forth in his Chucho jijitsu, was later eclipsed by his final philosophical work, the Gengen hakki, wherein he articulated a kind of naturalistic numerology, based vaguely on the Yijing. This shift in Soko's thought can be viewed (...) as a return to Neo-Confucianism, the earliest philosophical paradigm that he had embraced. Moreover, the successive shifts in his thinking can be understood in terms of the vicissitudes of his life, first in his exile to the Kansai area, near the ancient imperial capital of Kyoto, and then later in his pardon and return to Edo, the shogun's capital. Perhaps most importantly, this final shift in Soko's thought reveals that this prominent early modern thinker did reach his philosophical climax not in defiant opposition to Neo-Confucianism, nor in a sustained celebration of Japan's political traditions and their superlative nature, but instead in a return to modes of metaphysics akin to those typically deployed by Neo- Confucians themselves in their attempts to understand the changing nature of the cosmos and their political place within its flux. (shrink)

This work is devoted to the consideration of key aspects of the philosophical work of Ismail Hakki Bursev, a prominent Turkish Sufi thinker, adherent of the Talaquat Halvatiya. The figure of Ismail Hakki Bursay is of particular importance in the context of his work, the purpose of which was the translation and commentary of the works of the prominent Sufi thinker, Mohdtsin Ibn-Arabi, the "Great Sheikh" of the Sufi tradition. In this way, Bursev tried to acquaint Ibn-Arabi with a wider (...) audience, primarily Turkic. However, Bursev did not dwell solely on translations and commentary, but created his own doctrine based on the creative reception of the Ibn-Arabi teachings. (shrink)

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)