Husrev u Shirin-Farhad u Shirin Masnavis and Ferhad as the Primary Hero in Turkish Literature

The story of Husrev and Shirin, which was first put into poetry in Firdevsi's Shahname, was later written by many poets. It is undoubtedly NizamiGanjavi who brought the story of Husrev and Şirin to the real fame in Persian literature. Nizami's Husrev u Shirin Masnavi inspired many Persian and Turkish poets who came after him. Each poet has immortalized this story according to his own imagination. In Turkish literature, poets have produced original works by changing the story according to their own traditions and belief cultures instead of translating the story from Persian literature. In this context, Ali Shir Nevayi and Lamii Chelebi's Farhad u Shirin masnavis are two remarkable works. While Hüsrev was the main hero of Husrev u Shirin masnavis in Persian literature, the real hero was Farhad in these two masnavis. In Turkish folk literature, Ferhad stands out as the only hero without mentioning Husrev. This is a result of the efforts of Turkish poets to construct a new story with Farhad. In our study, the subject of why a story whose main hero is Husrev evolved into Farhad in Turkish literature will be examined

Lârandali Shânî’s Avâmilin Verse

With the spread of Islam among communities belonging to different languages and cultures, it has become essential for Muslims to learn the language of Islamic sources. Some scholars, who were aware of this situation, have tried to close the gap in the field by producing works on the language and grammar of Arabic since the first period of their conversion to Islam. One of these works is al-Avamilu'l-Mi'e, which was written by ‘Abd al-Kâhir al-Jurjânî (d. 471/1078), an Iranian-origin Arabic language scholar. Since the first period, a lot of work has been done on this work in prose or verse in the form of translation and commentary in different languages, especially Arabic, Persian and Turkish. The first of these works awâmil, written by Muhammad b. Hishâm Hirawî (d. 737/1337). It is composed in a Persian verse in 30 couplets. Since the 10th century in the Anatolian, many studies have been carried out, especially in prose, in the field where Turkish is spoken. Especially, studies on different subjects and forms carried out in the Anatolian field since the 19th century attract attention. One of the poets who continued this verse tradition, which started with Birgiwi (d.981/1573), was one of the poets of the 19th century, LârandaliShânî. This work was aconcise translation of Awamil-I Jurjaniby Shâni. I also examine the way in which Shanî deals with the awamil in it and introduce the work in terms of its form and content as well as present the work’s transcription.

Islam and the Other: A Study on the Image of The Other in Early Muslim Societies

In this study, the Byzantine image in the religious and literary texts produced by Muslim societies in the first four centuries of the Hijra has been examined in terms of historical process. To this end, first, a theoretical basis has been established within the framework of the concepts of identity, difference, other, and othering. Then, the imagery of Byzantium is analyzed through the interpretation of the first five verses of the Surah Rûm, with regards to naming, politics, religion, culture, science, philosophy, art and women's descriptions. The main argument of the study is that the Byzantine image of Muslims cannot be addressed independent of the relationships established with Byzantium. From a historical point of view, it is seen that the image of Byzantium, which was initially positive, turned into negative depending on the course of relations and was balanced over time in terms of change, while the style and content of political and political imagery varied, there is very little variation in descriptions of social life with regards to Constantinople, Byzantine craftsmanship, family life and women. While the Qur'an and the Sunnah culture formed the basis of the Byzantine perception in the early days, political developments became dominant over time. On the other hand, Muslims did not deal with Byzantium in a monolithic, shallow and reductive way, but they used the distinction between “us” and “them” to improve the image of Islam and reinforce Muslim identity.

Technical Analyses of Necib El-Kilani’s Novel “Ramadan Habîbî”

Najib el-Kîlânî, who lived in Egypt from 1931 to 1995, is one of the important figures in Islamic literature. He dabbled in literature when he was young and wrote about a hundred works. The period he lived and the countries he visited gave him the opportunity to get to know the problems faced by the Islamic society. The author depicted these problems that he witnessed in his works. Najib el-Kîlânî, who focuses on the social, political, economic and religious problems of the Muslim community in his literary works, deals with 1973 Egypt-Israel war in his novel “Ramazan Habîbî” that is the focal point of our research. The novel is about the expansionist policy of the Jews, the unjust oppression they faced and the struggle of the Egyptian people against America's hypocrisy. In the novel, the struggle of the Egyptian people against Israel for the liberation of the Sinai Desert and the Suez Canal, the occupied lands, is told. It is about the war between the Arabs and Israel in 1973, known as the Ramazan War (Yom Kippur War). It relates the overnight seizure of the “Bar-Lev Line”, which Israel says is impassable. In this study, Najib el-Kîlânî’s novel “Ramazan Habîbî” will be examined technically and thematically within the framework of issues such as the cultural corruption experienced by the Arab society, their approach to Zionism and the problem of the sense of belonging for their homeland.

The Identity of Khidr, the Companion of the Prophet Moses

In this study, the Byzantine image in the religious and literary texts produced by Muslim societies in the first four centuries of the Hijra has been examined in terms of historical process. To this end, first, a theoretical basis has been established within the framework of the concepts of identity, difference, other, and othering. Then, the imagery of Byzantium is analyzed through the interpretation of the first five verses of the Surah Rûm, with regards to naming, politics, religion, culture, science, philosophy, art and women's descriptions. The main argument of the study is that the Byzantine image of Muslims cannot be addressed independent of the relationships established with Byzantium. From a historical point of view, it is seen that the image of Byzantium, which was initially positive, turned into negative depending on the course of relations and was balanced over time in terms of change, while the style and content of political and political imagery varied, there is very little variation in descriptions of social life with regards to Constantinople, Byzantine craftsmanship, family life and women. While the Qur'an and the Sunnah culture formed the basis of the Byzantine perception in the early days, political developments became dominant over time. On the other hand, Muslims did not deal with Byzantium in a monolithic, shallow and reductive way, but they used the distinction between “us” and “them” to improve the image of Islam and reinforce Muslim identity.

Husrev u Shirin-Farhad u Shirin Masnavis and Ferhad as the Primary Hero in Turkish Literature

The story of Husrev and Shirin, which was first put into poetry in Firdevsi's Shahname, was later written by many poets. It is undoubtedly NizamiGanjavi who brought the story of Husrev and Şirin to the real fame in Persian literature. Nizami's Husrev u Shirin Masnavi inspired many Persian and Turkish poets who came after him. Each poet has immortalized this story according to his own imagination. In Turkish literature, poets have produced original works by changing the story according to their own traditions and belief cultures instead of translating the story from Persian literature. In this context, Ali Shir Nevayi and Lamii Chelebi's Farhad u Shirin masnavis are two remarkable works. While Hüsrev was the main hero of Husrev u Shirin masnavis in Persian literature, the real hero was Farhad in these two masnavis. In Turkish folk literature, Ferhad stands out as the only hero without mentioning Husrev. This is a result of the efforts of Turkish poets to construct a new story with Farhad. In our study, the subject of why a story whose main hero is Husrev evolved into Farhad in Turkish literature will be examined.

The General Features and Status of the Illumination Art in the Great Seljuk Period

The most important reason for the enrichment of decorative arts (especially illumination art) in Islamic societies in various periods is the prohibition of depiction in Islam. The art of illumination, which was mostly used to decorate the Qur'an in different historical periods of Iran, including the Great Seljuk period, was influenced by the arts of previous periods and became a source of creativity and inspiration for Muslims and sometimes non-Muslim artists in other countries. This research was carried out in order to examine the status and general characteristics of illumination art during the Great Seljuk period. The descriptive-analytical method was used in the research. As a result, during the Great Seljuk period, the Qur'an manuscripts were made of paper instead of leather. The richness of motifs, patterns and colours, the use of various colours and geometric arrangements draw attention to the illuminations of this period. According to the results of this study, the most important illumination examples of the Great Seljuk period were used in the Quran manuscripts. In these manuscripts, it is seen that motifs such as schemes, six and eight-pointed stars and golden circles are used to decorate the headlines (serlevha pages), the heads of the sura, the interlines and zahriye parts. In addition, the illumination samples of the Great Seljuk period positively affected the later periods, especially the Ilkhanid and Memlukid periods, as well as all other arts. Great Seljuk elegant illumination samples with the beauty of their patterns, the order and delicacy of the motifs and the use of colours are masterpieces of Islamic art.

Approaches in Chinese Interpretation of the Noble Quran

This research aims to illustrate the trends of interpretation in the Chinese language by explaining the factors that gave rise to them and explain the basis for its approach, the issues of concern or the issues from which their own position was taken. The research found that the social trend, mental orientation and the deviant trend, influenced by external and internal factors, was reflected in the interpretation in Chinese language In China, with the influence of the world's mental currents, his mind ruled in the Ghebis and reduced the position of the age in interpretation and diminished the value of the old interpreters in interpretation and others. The deviant trend was manifested by the influence of the Qadian kins, an intrusion into Chinese-language interpretation.The deviant trend was manifested by the influence of the Kadian artefacts, an intrudent on Chinese interpretations. The trend was followed by this trend on the basis of her beliefs in the Khatamiyat al-Nabah, Al-Jinnah, Nar, Al-Wah and other issues, so that the impact of It is an intruder to the Chinese interpretation, and the author of this trend, based on her beliefs, was reflected in the Khatamiya al-Nabah, Al-Jinna, Al-Nar, Al-Awah and other issues,the impact of the deviation is clearly demonstrated.

Artistic Employment of Quranic Symbols in Modern Syrian Poetry

Modern poetry has paid attention to artistic symbols, due to the moral hoarding that these symbols carry, which in a brief phrase can refer to a long story or event that the text is not likely to include in its entirety. The symbol fulfills this function, which summarizes the pronunciation and satisfies the meaning. The study dealt with modern Syrian poetry in the first half of the twentieth century until before the free poetry and afterwards, and it was examined by poets such as Omar Abu Risha, Khalil Mardam, Muhammad al-Bazm, Omar Abu Qus and others. The research revealed the Qur’anic symbols that these poets used artistically, taking advantage of the semantic loads that refer to them. Prior to that, the research had drawn attention to the necessity of separating the Qur’anic symbols from the mythical symbols that tend to fiction rather than reality. Some researchers used to say that there are legends in the Qur’an and described some of its stories as myths, so it was necessary to point out the danger of this link that contradicts Islam and the Qur’an, which falsehood cannot approach it from before it or from behind it.

Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey

The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that the ornamental composition of the mihrab includes inscriptions, vegetal and geometric decorations. Also, these decorations were made in embossing and hollowly technique. There is no information about the artist of the stucco decorations of the altar. Although there is no date inscription on the mihrab, it is similar to the examples of the Great Seljuk period in terms of general shape and decoration features. Also according to the results of this research, the stucco decorations in this mihrab, It is very similar to the decoration of the first Islamic era of Iran, obtained from Neyshabur excavations, stucco decorations discovered from Samarra Exploration, architectural ornaments of the Qarakhanid period, stucco decorations from the Ghaznavid Period, Anatolian Seljuk Architectural decorations and stucco decorations of the Ilkhanid Period of Iran.