خوانشی عرفانی از گل و بلبل(مرغ) با اتکاء بر رسالات کشف الاسرار فی حکم الطیور و الازهار، رمز الریاحین، بلبل نامه و مثنوی گل و بلبل
آرشیو
چکیده
گل و بلبل؛ تجلی جلوه ای عرفانی از استحاله دینی در هنر ایران است که بیش از سایر موضوعات در کتاب آرایی جولانگاه نگره های هنرمند و مکاتب فکری اوست. چنانچه شاعران با روایتی عاشقانه از داستان گل و بلبل –روایتی که در ادوار میانه ایران نزد عرفا و ادیبان مورد توجه قرار گرفت- در صدد بیان اندیشه برآمدند. نخستین بار عطار حکایتی مستقل از عشق بلبل به گل را در منطق الطیر آورده است و در ادامه این داستان در بلبل نامه و نزهت الاحباب وجوه صوفیانه آن مطرح می گردد. در بررسی داستان هایی که زبان حال الریاحین و مرغان است، نسخه عربی کشف الاسرار فی حکم الطیور و الاسرار و رمز الریاحین با قالبی مشابه به شرح و بسط زیبایی زیبارویان پرداخته اند ولی در بلبل نامه ها و خصوصا مثنوی گل و بلبل از شیخ ابوعلی قلندر به وجه صوفیانه آن اشاره شده است. داستان های گل و بلبل روایت های عاشقانه بود که دستمایه نگره های صوفیانه قرار گرفت و بی دلیل نبود که بن مایه تمام این متون عارفانه از منطق الطیرها نشات می گرفت. بلبل، مرغ سالکی بود که به منزل روح عاشق قلمداد می شد که در تلاش رسیدن به معشوقی دنیوی خود رابه خار و آتش کشیده است و مورد مذمت دیگر رهروان حقیقت قرار می گیرد تا به سوی عشق حقیقی رهسپار شود. این پژوهش با بررسی جمله منظومه هایی که به گل و بلبل پرداخته است، در پی پاسخ به این پرسش است که جایگاه گل و بلبل در ادبیات عرفانی ایران در دوره اسلامی چیست و ویژگی مرغ سالک را چگونه می توان تبیین کرد؟ دستاورد این نگارش طبقه بندی رسالات با محوریت گل و مرغان در دو وجه زبان حالی و عارفانه در پی فهم معنی گل و بلبل است. این نوشتار توانست با اتکا به تعابیر مذکور، مرغ خواب را در نقاشی گل و بلبل با بیان ادله ادبی تفسیر کند. این پژوهش با رجوع به منابع دست اول ادبی، جایگاه بلبل را شناخته و علت کاربرد فراوان آن را کنکاش می نماید. روش تحقیق توصیفی- تحلیلی است و در گردآوری منابع از روش کتابخانه ای استفاده شده است.متن
A Mystrical Reading of Gul-o Bulbul in Paintings and Mystical Literature Based on Kashf al-Asrar fi Hokm al-Tayyur val Al-Azhar, Ramz al-Ryahin, Bulbul Nameh and Masnavi-e Gol-o Bulbul
The story of Gol and Bulbul is a romantic story that was noticed by mystics and writers in the Middle Ages of Iran. For the first time, Attar has given an independent story about the love of a nightingale to a flower in Manteqh-o-alteir, and in the continuation of this story, its Sufi aspects are discussed in Bulbul Nameh and Nozhat al-Ahbab. In the analysis of the stories that are written in the language of al-Riyahin and Murghan, the Arabic version of Kashf al-Asrar fi Hokm al-Tayyur va al-Asrar and Ramz al-Riyahin have described the development of beauty in a similar format, but in Bulbulnamehs and especially Gol and Bulbul's Masnavi of Sheikh Abu Ali Qalandar mentioned its Sufi aspect. The stories of the flower and the nightingale were romantic narratives that became the basis of Sufi views, and it was not without reason that the basis of all these mystical texts originated from the Manteqh-o-alteir.The nightingale was a searching bird that was considered to be the home of the soul of a lover, who in an attempt to reach a worldly lover has exposed himself to thorns and fire, and is condemned by other pilgrims of truth in order to go to true love. This research, by examining the sentences of poems that deal with the flower and the nightingale, seeks to answer the question, what is the place of the flower and the nightingale in the mystical literature of Iran in the Islamic period, and how can the characteristic of the searcher be explained? This research, by referring to first-hand literary sources, recognizes the place of nightingale and explores the reason for its widespread use. The research method is descriptive-analytical and the library method was used in collecting sources. The findings show that the Meraj journey of the Prophet became the subject of mystical stories, a spiritual journey that was interpreted by the mystics as a journey through the mortal world and a step in the valley of love and its stages. The sages wrote treatises on this subject to be the basis of Manteqh-o-alteir, the best of which, according to Attar's narration, was written down. Although Ibn Sina's and Ghazali's Risalah al-Tayir and Sana'i and Khaqani's Risaleh al-Tayir were written before Attar, his work was a common chapter of all four works. The only commonality of all the schools was the belief in unity, which is the basis of Tariqat and Sufism, and the schools that were derived from them, and it is well evident in the words of Attar. In Manteqh-o-alteir Sanai and Khaghan regions, the number of Murghan does not reach thousands and there are only a few. And not all types, but those whose place is in the garden, rag and grass, and who love and admire the beauty of greenery, grass, and rhizomes. Their problem is not related to themselves. Rather, they want to choose the most beautiful among all those flowers, each of which shows off and emits fragrance in a way. This feature is also understood and deduced in Rams al-Rayahin and Kashf al-Asrar fi Hokm al-Tayyur and Al-Azhar Ibn Ghanem. In Manteqh-o-alteir of Attar, Marghan like a seeker, a soul in love walks in a difficult valley. The story of the nightingale and her love for the red flower, which is a symbol of worldly love, is the beginning of a love story in Manteqh-o-alteir, which she expands and expands on in the Bulbul Name and Nezhat al-Ahbab, and becomes the foundation of several centuries of Sufi love stories among mystics after her. A flower in Attar's eyes is pink, mortal, and has attributes such as beautiful, short-lived, falling under the feet, sitting with thorns, and in the fire of rose-water, which were mentioned before by poets; But atar's nightingale is sometimes the language and mood of atar himself. But the most obvious feature is the seeking Murqh and the spirit of love. Among other mystics, this attribute is imagined, the nightingale is sometimes a thousand-story teller who speaks the truth, al-Hamdukhan, Abjadkhan and Zandavaf. The nightingale, which is a symbol of attachment to earthly love, according to mystics, must be the soul of a lover who breaks the cage of his life and frees himself from these attachments in order to reach true love. This mystical aspect of his representation in the painting of Gol-o- Murqh is a sleeping Murqh that is observing.
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