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PERSIAN MYSTICAL THOUGHT Persian mystical thought has been analyzed critically by Abdolhossein Zarrinkoub , Abdolkarim Soroush and Dariush Shayegan . In Ghazzali , one can witness the fear-based mysticism in its most detailed and eloquent form; in Rumi , one can find love-based mysticism; in Hafez the pleasure-based mysticism. Under Rumi's influences, Abdolkarim Soroush is currently working on power-based or epic mysticism. In ancient Japan, physical and sensual fervor existed but they did not know love. In the west from the time of the ancient Greeks, human love and heavenly love differed. Human love (eros) began with physical liking. This concept developed gradually in Plato’s philosophy. However heavenly love (agape) is a spiritual life estranged from physical liking. Therefore, in Western thought, physical love and spiritual love were regarded always as contradictory. However, in Japanese fundamental thought, physical love and heavenly love were intertwined and there is no distinction between the pure and clean love of a man for other men and his loyalty to his lord. A more profound concept of love is found among Iranian mystics. Love is the opening chapter of mystics and travelers of the way. This lofty mystical love is developed from untold feeling and wholly forgets the beloved. He means love and his life is love and without love he is dead. {Link without Title} PERSIAN MYSTIC MUSIC
PERSIAN MYSTICAL POETRY Persian mysticism has a significant impact on Persian poetry. From about the twelfth century, lyric poetry was enriched with a spirituality and devotional depth not to be found in earlier works. This development was due to the pervasive spread of mystical experience. Sufism developed in all Muslim lands, but its literary expression reached its zenith in the countries located within the sphere of Persian cultural influence. As a counterpoise to the rigidity of formal Islamic theology and law, mysticism sought to approach the divine through acts of devotion and love rather than through mere rituals and observance. Love of God being the focus of the Sufis' religious sentiments, it was only natural for them to express it in lyrical terms, and Persian mystics, often of exceptional sensibility and endowed with poetic verve, did not hesitate to do so. The famous eleventh-century Sufi, Abu Sa'id of Mehna, for example, frequently used his own love quatrains (as well as others) to express his spiritual yearnings, and with the appearance of a vowed mystic poets like Attar and Eraqi , mysticism became a legitimate, even fashionable subject of lyric poems. Furthermore, as Sufi orders and hospices (khanaqahs) spread, mystical thought gradually became so much a part of common culture that even poets who did not share Sufi experiences ventured to express mystical ideas and imagery in their poems. {Link without Title} Mystical lyrics culminated in the ghazals of Rumi. Fired by an irresistible love of the divine and endowed with unusual poetic gifts, he wrote lyrics of extraordinary passion and musicality. The ecstatic fervor, explosive spontaneity, and rich but unconventional language of Rumi's lyrics place him in a class all his own. His Mathnavi, generally considered the greatest literary monument of sufism, is a long poem of twenty-seven thousand couplets designed primarily to expound and preach his dynamic mysticism. His method is anecdotal, his tone frequently lyrical. The complexity of Rumi's mystical thought, wedded to a loose, "centrifugal" treatment, and his indifference to polishing his language do not make the Mathnavi easy reading, but the work contains many charming stories, moving passionate lines, and well-expressed profound thoughts that account for its great popularity. {Link without Title} PERSIAN MYSTICAL FIGURES MODERN ART AND PERSIAN MYSTIC TRADITION Persian mysticism has a significant impact on Iranian modern art. WORLD EXPERTS IN PERSIAN MYSTICISM SEE ALSO |
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