AMEA Humanitar Elmlər Bölməsi

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    Seyid Nigarinin təsəvvüfi görüşləri (Seyyid Nigari’s Mystic Thoughts)
    (III BEYNƏLXALQ HƏMZƏ NİGARİ TÜRK DÜNYASI MƏDƏNİ İRSİ SİMPOZİUMU, 2017) Nəzakət MƏMMƏDLİ
    Seyyid Nigari was a member of Naqshbandi sect as a great Sufi poet. The Naqshbandi sect is a current of thought playing a very important role in the history of Muslim and Turkish philosophical thinking. It traces its spiritual lineage to Prophet Muhammad, Abu Bakr, and Hazrat Ali. The genealogies called “Silsilahsharif” and “Silsilat al-Dhahab” (Golden Chain) mention the names of the great founders of the Naqshbandi sect in a chronological order. Vahdat-i Vucud philosophy has a special place in the literary activity of Nigari. The relations between Khalig (Creator) and makhlug (creature) are reflected with the words “nagsh” (ornament) and “Naggash” (Ornamenter). These words describe the ties between Alemi-Kull and alemi-cuz. A wise ashik (lover) should pay attention to the Naggash, but not the nagsh. According to the poet, as all creatures reflect God’s power, they deserve to be loved. The poet considered human face as a manifestation of the Truth (God) and therefore, he saw Holy Koran in human face and Koran ayets (verses) in the separate traits. Furthemore, it is possible to notice the influences of great thinkers such as Ibn-al Arabu and Imam Gazali on Nigari’s thoughts. In his works, Nigari remembered B.Naqshibandi, the Founder of the Naqshibandi sect, and his follower I.Shirvani with deep respect. Seyyid Nigari also held Mevlana’s character and literary activity in high esteem. The poet call people not to prefer the material world, not to love material richness. Nigari thought that the people should avoid love for material things and not obey anyone else except God. Each of his ghazals refers to one or more Koran ayets. His source of inspiration was mystery and philosophy of Koran. In his work named “Nigarnama” the poet described the stages which the salik passed. As in most of the mystical works, in “Nigarnama” the spiritual path of the Lover of God consists of seven stages, too. After passing through the stages of wish, love, decency, belief of oneness of God, amazement, satisfaction, disappearance, and immortality the Salik meets with God. Mystic thoughts are also reflected in “Chaynama” allegorical work by Seyyid Nigari. The samovar symbolizes murshid (teacher), and the cups represent murids (students). The samovar which is full of water and fire embodies the ashik who is moved to tears and burst into flames of love. Scent, taste, and colour of tea typify divine mysteries; and honey, sugar, cream and others represent divine meanings which are interpreted by the murshid’s narrative. Comparison of tea with a rose and its scent are associated with Haqiqat al-Muhammadiyya. Although in Sufism the barrel house is described as a place where divine meanings are manifested, the tea set symbolizes a more decent and educated gathering.