THE PERCEPTION OF THE SKY AND TRACES OF ISLAMIC ASTRONOMY IN NAVĀ’Ī’S SEB‘A-YI SEYYĀR

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Makale detayları

THE PERCEPTION OF THE SKY AND TRACES OF ISLAMIC ASTRONOMY IN NAVĀ’Ī’S SEB‘A-YI SEYYĀR

Yazarlar:

Hacer Tokyürek

Yayıncı:

Cukurova University

Ana Başlıklar:

Türk İslam Edebiyatı | Tarihi Kuzey Doğu Türk Dili (Harezm | Kıpçak | Çağatay)

Dergi:

Çukurova Üniversitesi Türkoloji Araştırmaları Dergisi Vol.10 Issue 1, pp.172-224

Belge Tipi:

Makale

Yayın Tarihi:

1/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001348026

pISSN:

2587-1900

Anahtar kelimeler:

Özet:

 Ali Shīr Navāīs Seba-yı Seyyār is a masnavi that, while primarily focused on literary narratives, incorporates terminology and symbolic elements reflecting the astronomical and cosmological knowledge of its era. Written in 1484, this work, though centered on the love stories of Bahrām and the seven beauties, also contains significant concepts and insights related to Islamic astronomy. Navāīs work combines Ptolemys geocentric universe model with the Quranic cosmology and reinterprets this synthesis from a Sufi perspective. The text thoroughly examines the connections between celestial movements, the cosmic order, and the spiritual ascension of the human soul. The subject of this study includes terms associated with the heavens frequently found in work, such as arsh, āsmān, charḫ, falak, aflāk, gardūn, gunbad, kök, semā, sipihr, and various compound phrases derived from these terms. While many of these concepts serve as literary metaphors, they also play a critical role in conveying the astronomical and cosmological knowledge of the period. Navāīs use of these terms demonstrates his intention to merge Islamic cosmologys scientific and philosophical heritage with an aesthetic narrative. For instance, arsh the Throne of God and farsh the Earth symbolize the relationship between celestial and terrestrial realms, while charḫ celestial sphere represents the cyclical nature and cosmic order of the universe. Additionally, āsmān the heavens alludes to celestial grandeur and divine authority. References to the layers of the sky and the symbolic meanings of planetary movements are intricately linked to the spiritual ascent of the human soul. In the work, the cosmic connections between the heavens and the earth are constructed, drawing inspiration from the cosmology of the Quran and Sufi thought. In this context, Seba-yı Seyyâr should be regarded as a literary work and a significant source reflecting its eras scientific, cosmological, and mystical knowledge. Navāīs work illustrates his remarkable ability to express Islamic civilizations scientific and cultural legacy within an aesthetic framework, offering readers both scientific and spiritual perspectives through the reinterpretation of celestial elements in a metaphysical context. Furthermore, the texts use of astronomical terms and celestial concepts clearly indicates Navāīs profound understanding of the astronomical knowledge of his era.

 Ali Shīr Navāīs Seba-yı Seyyār is a masnavi that, while primarily focused on literary narratives, incorporates terminology and symbolic elements reflecting the astronomical and cosmological knowledge of its era. Written in 1484, this work, though centered on the love stories of Bahrām and the seven beauties, also contains significant concepts and insights related to Islamic astronomy. Navāīs work combines Ptolemys geocentric universe model with the Quranic cosmology and reinterprets this synthesis from a Sufi perspective. The text thoroughly examines the connections between celestial movements, the cosmic order, and the spiritual ascension of the human soul. The subject of this study includes terms associated with the heavens frequently found in work, such as arsh, āsmān, charḫ, falak, aflāk, gardūn, gunbad, kök, semā, sipihr, and various compound phrases derived from these terms. While many of these concepts serve as literary metaphors, they also play a critical role in conveying the astronomical and cosmological knowledge of the period. Navāīs use of these terms demonstrates his intention to merge Islamic cosmologys scientific and philosophical heritage with an aesthetic narrative. For instance, arsh the Throne of God and farsh the Earth symbolize the relationship between celestial and terrestrial realms, while charḫ celestial sphere represents the cyclical nature and cosmic order of the universe. Additionally, āsmān the heavens alludes to celestial grandeur and divine authority. References to the layers of the sky and the symbolic meanings of planetary movements are intricately linked to the spiritual ascent of the human soul. In the work, the cosmic connections between the heavens and the earth are constructed, drawing inspiration from the cosmology of the Quran and Sufi thought. In this context, Seba-yı Seyyâr should be regarded as a literary work and a significant source reflecting its eras scientific, cosmological, and mystical knowledge. Navāīs work illustrates his remarkable ability to express Islamic civilizations scientific and cultural legacy within an aesthetic framework, offering readers both scientific and spiritual perspectives through the reinterpretation of celestial elements in a metaphysical context. Furthermore, the texts use of astronomical terms and celestial concepts clearly indicates Navāīs profound understanding of the astronomical knowledge of his era.

 Ali Shīr Navāīs Seba-yı Seyyār is a masnavi that, while primarily focused on literary narratives, incorporates terminology and symbolic elements reflecting the astronomical and cosmological knowledge of its era. Written in 1484, this work, though centered on the love stories of Bahrām and the seven beauties, also contains significant concepts and insights related to Islamic astronomy. Navāīs work combines Ptolemys geocentric universe model with the Quranic cosmology and reinterprets this synthesis from a Sufi perspective. The text thoroughly examines the connections between celestial movements, the cosmic order, and the spiritual ascension of the human soul. The subject of this study includes terms associated with the heavens frequently found in work, such as arsh, āsmān, charḫ, falak, aflāk, gardūn, gunbad, kök, semā, sipihr, and various compound phrases derived from these terms. While many of these concepts serve as literary metaphors, they also play a critical role in conveying the astronomical and cosmological knowledge of the period. Navāīs use of these terms demonstrates his intention to merge Islamic cosmologys scientific and philosophical heritage with an aesthetic narrative. For instance, arsh the Throne of God and farsh the Earth symbolize the relationship between celestial and terrestrial realms, while charḫ celestial sphere represents the cyclical nature and cosmic order of the universe. Additionally, āsmān the heavens alludes to celestial grandeur and divine authority. References to the layers of the sky and the symbolic meanings of planetary movements are intricately linked to the spiritual ascent of the human soul. In the work, the cosmic connections between the heavens and the earth are constructed, drawing inspiration from the cosmology of the Quran and Sufi thought. In this context, Seba-yı Seyyâr should be regarded as a literary work and a significant source reflecting its eras scientific, cosmological, and mystical knowledge. Navāīs work illustrates his remarkable ability to express Islamic civilizations scientific and cultural legacy within an aesthetic framework, offering readers both scientific and spiritual perspectives through the reinterpretation of celestial elements in a metaphysical context. Furthermore, the texts use of astronomical terms and celestial concepts clearly indicates Navāīs profound understanding of the astronomical knowledge of his era.

 Ali Şîr Nevâyînin Seba-yı Seyyār adlı eseri, mesnevi türünde kaleme alınmış olmakla birlikte, dönemin astronomi ve kozmoloji birikimini yansıtan terim ve sembolik unsurlarını da içermektedir. 1484 yılında yazılan bu eser, her ne kadar Behramın yedi güzel ile olan aşk hikâyelerine odaklansa da İslam astronomisine dair önemli kavram ve bilgileri barındırmaktadır. Nevâyînin bu eseri, Batlamyusun Dünya merkezli evren modelini Kuran-ı Kerim kozmolojisiyle birleştiren bir anlayışla ele alınmış ve bu model, tasavvufî bir perspektifle yeniden yorumlanmıştır. Eserde, gök cisimlerinin hareketleri, kozmik düzen ve insan ruhunun manevi yükselişi arasındaki bağlantılar kapsamlı bir şekilde işlenmiştir. Bu makalenin konusu olan gökyüzüyle ilişkilendirilen arş, āsmān, çarḫ, felek, eflāk, gerdūn, günbed, kök, semā, sipihr gibi terimler ve bu terimlerden türetilmiş çeşitli tamlamalar eserde sıkça yer almaktadır. Bu kavramların büyük bir kısmı edebî bağlamda metaforik anlamlar taşısa da, dönemin astronomik ve kozmolojik bilgisini sunma açısından da önemli bir işleve sahiptir. Nevâyînin bu terimleri, İslam kozmolojisinin bilimsel ve felsefi mirasını estetik bir anlatımla birleştirme amacıyla oluşturduğu gözlemlenmiştir. Örneğin, arş Allahın tahtı ve ferş yeryüzü kavramları, göksel ve dünyevi alanlar arasındaki ilişkiyi ifade ederken; çarḫ gökyüzü çarkı, evrenin döngüsel yapısını ve kozmik düzenini sembolize etmektedir. Ayrıca, āsmān gökyüzü kavramı, göksel yücelik ve ilahi kudret gibi metafizik unsurlara atıfta bulunmaktadır. Gökyüzünün farklı katmanlarına yapılan göndermeler ve gezegenlerin hareketlerinin sembolik anlamları, insan ruhunun manevi yükseliş arayışıyla ilişkilendirilmiştir. Eserde gökyüzü ve yeryüzü arasındaki kozmik bağlar hem Kuran-ı Kerim kozmolojisinden hem de tasavvufî düşünceden esinlenerek kurgulanmıştır. Bu bağlamda, Seba-yı Seyyār, yalnızca edebî bir eser olarak değil, aynı zamanda dönemin bilimsel, kozmolojik ve tasavvufî birikimine ışık tutan önemli bir kaynak olarak değerlendirilmelidir. Nevâyînin bu eseri, İslam medeniyetinin bilimsel ve kültürel mirasını estetik bir düzlemde ifade etme yetkinliğini göstermekte ve göksel unsurları metafizik bir bağlamda yeniden yorumlayarak okuyucusuna hem bilimsel hem de manevi bir perspektif sunmaktadır. Ayrıca, eserde yer alan astronomi terimleri ve göksel kavramların işlenişi, Nevâyînin dönemin astronomi bilgisine vakıf olduğunu açıkça göstermektedir.

Makale detayları

THE PERCEPTION OF THE SKY AND TRACES OF ISLAMIC ASTRONOMY IN NAVĀ’Ī’S SEB‘A-YI SEYYĀR

Yazarlar:

Hacer Tokyürek

Yayıncı:

Cukurova University

Ana Başlıklar:

Türk İslam Edebiyatı | Tarihi Kuzey Doğu Türk Dili (Harezm | Kıpçak | Çağatay)

Dergi:

Çukurova Üniversitesi Türkoloji Araştırmaları Dergisi Vol.10 Issue 1, pp.172-224

Belge Tipi:

Makale

Yayın Tarihi:

1/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001348026

pISSN:

2587-1900

Chagatai Turkic

Seb‘a-yı Seyyār

Islamic Astronomy

Astronomical Terminology

SkyÇağatay Türkçesi

Seb‘a-yı Seyyâr

İslam Astronomisi

Astronomi Terimleri

Gökyüzü

Sayı

Makale detayları

Yazarlar: Hacer Tokyürek

Yayıncı: Cukurova University

Ana Başlıklar: Türk İslam Edebiyatı | Tarihi Kuzey Doğu Türk Dili (Harezm | Kıpçak | Çağatay)

Dergi: Çukurova Üniversitesi Türkoloji Araştırmaları Dergisi Vol.10 Issue 1, pp.172-224

Belge Tipi: Makale

Yayın Tarihi: 1/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001348026

pISSN: 2587-1900

Sayı

Yazarlar:

Hacer Tokyürek

Yayıncı:

Cukurova University

Ana Başlıklar:

Türk İslam Edebiyatı | Tarihi Kuzey Doğu Türk Dili (Harezm | Kıpçak | Çağatay)

Dergi:

Çukurova Üniversitesi Türkoloji Araştırmaları Dergisi Vol.10 Issue 1, pp.172-224

Belge Tipi:

Makale

Yayın Tarihi:

1/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001348026

pISSN:

2587-1900