The Mi‘raj Narrative in Nizami Ganjavi’s Literary Heritage: A Study on Makhzan al-Asrar

Funda Türkben Aydın

Makale detayları

The Mi‘raj Narrative in Nizami Ganjavi’s Literary Heritage: A Study on Makhzan al-Asrar

Yazarlar:

Funda Türkben Aydın

Yayıncı:

Ataturk University

Ana Başlıklar:

Fars Dili | Edebiyatı ve Kültürü

Dergi:

Edebiyat ve Beşeri Bilimler Dergisi Issue 74, pp.1-19

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350637

pISSN:

2822-4779

Anahtar kelimeler:

Özet:

 Makhzan al-Asrar by Nizami Ganjavi which is a work of significant standing in Eastern literature, is distinguished by its Sufi and philosophical content. The poet pioneered several literary forms in his era, one of which is the mirajnameh, a genre narrating the Prophet Muhammads ascension miraj. In each of his works, Nizami gives special importance to the miraj sections that describe the Prophets ascent to the heavens. By addressing this miraculous event in a separate section apart from the naat praise, he established an original style. This study aims to analyze the cosmological and mystical imagery in the 68-verse miraj narrative within Makhzan al-Asrar. While depicting the Prophet Muhammads ascension and his encounter with God, Nizami creates a rich world of imagery by blending astrological, mythological, and Sufi elements. In the narrative, planets, layers of the sky, the concept of the seven heavens, and the Arsh Throne are examined, presenting a poetic portrait of Islamic cosmology. Nizami explores the miraj, a journey beyond time and space, portraying the transcendence of physical boundaries and the discovery of the spiritual realm in great detail. The duality of body and soul, the contrast between material and spiritual worlds, and the vision of God Rüyetullah are delicately handled in Nizamis poetry. The paradox of seeing and being seen is expressed poetically beyond theological debates. This narrative is a striking example of how a religious event can be transformed into a universal work of art.

 Makhzan al-Asrar by Nizami Ganjavi which is a work of significant standing in Eastern literature, is distinguished by its Sufi and philosophical content. The poet pioneered several literary forms in his era, one of which is the mirajnameh, a genre narrating the Prophet Muhammads ascension miraj. In each of his works, Nizami gives special importance to the miraj sections that describe the Prophets ascent to the heavens. By addressing this miraculous event in a separate section apart from the naat praise, he established an original style. This study aims to analyze the cosmological and mystical imagery in the 68-verse miraj narrative within Makhzan al-Asrar. While depicting the Prophet Muhammads ascension and his encounter with God, Nizami creates a rich world of imagery by blending astrological, mythological, and Sufi elements. In the narrative, planets, layers of the sky, the concept of the seven heavens, and the Arsh Throne are examined, presenting a poetic portrait of Islamic cosmology. Nizami explores the miraj, a journey beyond time and space, portraying the transcendence of physical boundaries and the discovery of the spiritual realm in great detail. The duality of body and soul, the contrast between material and spiritual worlds, and the vision of God Rüyetullah are delicately handled in Nizamis poetry. The paradox of seeing and being seen is expressed poetically beyond theological debates. This narrative is a striking example of how a religious event can be transformed into a universal work of art.

 Makhzan al-Asrar by Nizami Ganjavi which is a work of significant standing in Eastern literature, is distinguished by its Sufi and philosophical content. The poet pioneered several literary forms in his era, one of which is the mirajnameh, a genre narrating the Prophet Muhammads ascension miraj. In each of his works, Nizami gives special importance to the miraj sections that describe the Prophets ascent to the heavens. By addressing this miraculous event in a separate section apart from the naat praise, he established an original style. This study aims to analyze the cosmological and mystical imagery in the 68-verse miraj narrative within Makhzan al-Asrar. While depicting the Prophet Muhammads ascension and his encounter with God, Nizami creates a rich world of imagery by blending astrological, mythological, and Sufi elements. In the narrative, planets, layers of the sky, the concept of the seven heavens, and the Arsh Throne are examined, presenting a poetic portrait of Islamic cosmology. Nizami explores the miraj, a journey beyond time and space, portraying the transcendence of physical boundaries and the discovery of the spiritual realm in great detail. The duality of body and soul, the contrast between material and spiritual worlds, and the vision of God Rüyetullah are delicately handled in Nizamis poetry. The paradox of seeing and being seen is expressed poetically beyond theological debates. This narrative is a striking example of how a religious event can be transformed into a universal work of art.

 Doğu edebiyatında önemli bir yere sahip olan Nizâmî Gencevînin Mahzenül-Esrâr adlı eseri, tasavvufî ve felsefî içeriğiyle öne çıkar. Şair, kendi döneminde birçok edebî türe öncülük etmiştir. Bunlardan biri de mirâcnâmedir. Nizâmî, eserlerinin her birinde Hz. Muhammedin göğe yükselişini anlatan mirâc bölümlerine özel bir önem vermiş, bu mucizevî olayı naat bölümünden ayrı bir başlık halinde ilk kez Mahzenül-Esrârda ele alarak özgün bir üslup geliştirmiştir. Bu çalışmada, eserde yer alan 68 beyitlik mirâc anlatısındaki kozmolojik ve mistik imgelerin analizi yapılacaktır. Şair, Hz. Muhammedin göğe yükselişini ve Allah ile buluşmasını betimlerken astrolojik, mitolojik ve tasavvufî unsurları bir arada kullanarak zengin bir imge dünyası oluşturur. Anlatıda gezegenler ve gökyüzü katmanları, yedi kat gök anlayışı ve arş kavramları irdelenerek İslam kozmolojisinin şiirsel bir portresi çizilir. Nizâmî, zaman ve mekan ötesi bir yolculuk olan mirâcı tasvir ederken fiziksel sınırların aşılmasını ve manevî âlemin keşfini detaylı bir şekilde ele alır. Beden ve ruh ikiliği, maddî ve manevî âlemlerin karşılaştırılması, Allahın görülmesi Rüyetullah meselesi, Nizâmînin şiirinde ince bir hassasiyetle ele alınır. Görme ve görülme paradoksu, teolojik tartışmaların ötesinde, şiirsel bir dille ifade edilir. Bu anlatı, dini bir olayın nasıl evrensel bir sanat eserine dönüşebileceğinin çarpıcı bir örneğidir.

Makale detayları

The Mi‘raj Narrative in Nizami Ganjavi’s Literary Heritage: A Study on Makhzan al-Asrar

Yazarlar:

Funda Türkben Aydın

Yayıncı:

Ataturk University

Ana Başlıklar:

Fars Dili | Edebiyatı ve Kültürü

Dergi:

Edebiyat ve Beşeri Bilimler Dergisi Issue 74, pp.1-19

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350637

pISSN:

2822-4779

Nizami

Mi‘raj

Mi‘rajiyya

Mi‘rajnama

Cosmology

Sufism.Nizâmî

Mi‘râc

Mi‘râciyye

Mi‘râcnâme

Kozmoloji

Tasavvuf.

Sayı

Makale detayları

Yazarlar: Funda Türkben Aydın

Yayıncı: Ataturk University

Ana Başlıklar: Fars Dili | Edebiyatı ve Kültürü

Dergi: Edebiyat ve Beşeri Bilimler Dergisi Issue 74, pp.1-19

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001350637

pISSN: 2822-4779

Sayı

Yazarlar:

Funda Türkben Aydın

Yayıncı:

Ataturk University

Ana Başlıklar:

Fars Dili | Edebiyatı ve Kültürü

Dergi:

Edebiyat ve Beşeri Bilimler Dergisi Issue 74, pp.1-19

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350637

pISSN:

2822-4779