Djelo ‘Dalīl al-sāʾirīn’ Imām-zāde Ḥasana al-Būsnawīja i faḍāʾilska literatura: tekstualni autoritet i sveti prostor

Author(s): Dženita Karić / Language(s): Bosnian Issue: 65/2016

In classical Islamic culture faḍāʾil literature represents one of the most popular prose genres, attracting numerous contributors from diverse and competing intellectual and sectarian persuasions from the early 8th century well into the period of the ‘Gunpowder Empires’ (Marshall Hodgson). The richness of this genre is expressed in the impressive range of themes it addresses, as well as in its complex relationship to the ‘canonical’ hadith tradition. Notwithstanding this variety, the faḍāʾil literature enjoyed an extraordinary diachronic resilience. This paper will describe the main characteristics of the genre and will present an outline of its development, along with an overview of the relevant scholarly literature. It will also explore the growth of key themes, placing them in a typological framework; particular attention will be paid to the faḍāʾil of cities and regions. Finally, this paper will present the Dalīl al-sāʾirīn ʾilā ziyārat Ḥabīb Rabb al-ʿālamīn of Imām-zāde Ḥasan in the context of the Otto¬man reworking of this genre, calling attention to the discourse of space, which created new relationships of belonging and possessing. This paper will not concern itself with the authenticity of the hadith-reports used in the work, but will focus on their deployment in the textual representation of Medina, along with their potential reception.

Predgovor o samoći u svijetu teologije i znanosti

Author(s): Rusmir Mahmutćehajić / Language(s): Bosnian Issue: 74-75/2016

Tekstovi objavljeni u ovom broju časopisa Forum Bosnae izvorno su odabrani da budu osnova za raspravu “Um, razumnost i muslimanska tradicijaˮ. Ta rasprava vođena je u okviru Desete međunarodne konferencije “Jedinstvo i razlike u Evropiˮ, održane od 2. do 4. augusta 2015. godine u Mostaru. I raspravu i objavljivanje ovih tekstova podržala je zaklada “Kalam Research & Media” iz Dubaija. Na osnovi iste podrške prevedeno je djelo The Cambridge Companion to Classical Islamic Theology, ur., Tim Winter. U zajedničkom proučavanju tog teksta, organiziranom u akademskoj grupi nazvanoj Bosanski kelamski kolegij, razmatrani su mogući sadržaji za spomenutu konferencijsku raspravu i njihov značaj u razumijevanju bosanske religijske pluralnosti u vidiku muslimanskog umskog naslijeđa. U tom raspravljanju primijenjena su različita iskustva iz svijeta savremenih znanja o zajedničkim proučavanjima i razumijevanjima teksta. Takva iskustva stečena su prvenstveno u zajedničkim proučavanjima svetih tekstova različitih tradicija, a moguće ih je primijeniti na sve vrste tekstova usmenih predaja i obrednih postupaka.

Bâtınî Ekolleri Anlamada Anahtar Bir Kavram: Ezılle/Gölgeler Nazariyesi

Author(s): Ali Avcu / Language(s): Turkish Issue: 2/2016

There are numerous studies on the esoteric sects in Islam. Though in these studies they have been discussed from different respects, none of them draws attention to the place and importance of the theory of shadows (aẓilla) in the esoteric sects. In this article, after the identification of the meaning of the theory of shadows, it has been argued that the concept of shadows has a central role in understanding the esoteric system of thought. In this context, it has been tried to reveal the central effect of the theory of shadows on the basic ideas of esoteric sects.

Ритуал «захоронения аромата» 埋香мэхян на юге корейского полуострова: проблемы реконструкции

Author(s): Anna Sergeevna Shmakova,Bae Kidong,Elena Edmundovna Voytishek / Language(s): Russian Issue: 6/2016

Among various types of rituals that emerged in the mainstream culture of East Asia, the “incense burial” ritual 埋香 (Chin. maixiang, Kor. maehyang) holds a prominent place. It is connected with agar wood (Aquilaria agallocha Roxb.), which has long been well known in Eastern countries. Originating from South China in ancient times as a funeral ceremony when a dead body was surrounded by aromatic timber chips, the “incense burial” ritual failed to de-velop in China. Since the 7th century in Chinese literary tradition, the term “incense burial” was mentioned as “to bury a beauty”, or “to bury a beautiful young woman”. As said above, the tradition of “incense burial” hasn’t been well developed in China or on Japanese islands, but it was broadly spread on the Korean Peninsula, especially from the 8th to the 14th centuries; the period considered as the medieval times of Korean history. The article declares that the “incense burial” ritual involves two stages: the ritual burial of aromatic wood in the ground with the aim of “wearing out” and possibly accompanied by kindling, as well as the installation of a stone stele 埋 香 碑 maehyangbi in honor of this event. Both stages could be separated in time by tens and hundreds of years. The authors of the article define the typology of the maehyangbi steles found so far in the south of the Korean Peninsula, which reveal their value as important historical, archaeological and epigraphic monuments, consider a close relationship between the maehyang ritual and Buddhism (in particular, with the cult of the Buddha Maitreya), and designate a similarity of cultural and historical processes in the culture of Eastern Asia.

Odlike ljudi iz pisama autoriteta u islamskom učenju El-Gazalija

Author(s): Abū Ḥāmid Muḥammad ibn Muḥammad El-Gazali / Language(s): Bosnian Issue: 73/2016

In his letters to Sultan Sanjar, Ghazali rebelled against formal religiosity although he himself was deeply religious. He gave wise advice to rulers, governors and other state officials, pouring out heavens of anger and insults on the exploiters, ruthless rulers and corrupt political, ecclesiastical and other officials who illegally used the power and position. He realized that if he wasn’t the first to change and free him from some spiritual diseases he suffered from, he would fail to change both rulers and the ordinary man, and to teach the basic principles of universal significance, managing the development of human society towards the spiritual basis.

Hamza-Dede Orlović's tekke in Konjević Polje ( Socio-historical significance of Hamza-Dede Orlović's Tekke in Konjević Polje for the region of Srebrenica)

Author(s): Adib Đozić / Language(s): English Issue: 3/2014

For understanding of the most actual questions of Bosnian-Herzegovinian society and state it is necessary, among other things, to consult socio-historical and cultural facts, i.e. the content of Bosnia’s closer and further past. Srebrenica with its surroundings in BiH history presents one of the most significant areas due to many preserved material and written historical data for appropriate understanding and interpretation of the past and current socio-political events. Thereare three especially significant facts that emphasise the signficance of Srebrenica region for BiH’s past and presence. Srebrenica is one of the oldest urban settlements not only in Bosnia but in the Balkans and Europe in general. The second fact is that the region of Srebrenicare presents one of the richest deposits of lead, zinc, bauxite, silver on the Earth. If we take into account the healing powers of water Guber, then the image of the natural wealth of the region of Srebrenica becomes more complete.

Tekija Hamza-Dede Orlovića u Konjević polju

Author(s): Adib Đozić / Language(s): Bosnian Issue: 3/2014

For understanding of the most actual questions of Bosnian-Herzegovinian society and state it is necessary, among other things, to consult socio-historical and cultural facts, i.e. the content of Bosnia’s closer and further past. Srebrenica with its surroundings in BiH history presents one of the most significant areas due to many preserved material and written historical data for appropriate understanding and interpretation of the past and current socio-political events. There are three especially significant facts that emphasise the signficance of Srebrenica region for BiH’s past and presence. Srebrenica is oneof the oldest urban settlements not only in Bosnia but in the Balkans and Europe in general. The second fact is that the region of Srebrenica represents one of the richest deposits of lead, zinc, bauxite, silver on the Earth. If we take into account the healing powers of water Guber, then the image of the natural wealth of the region of Srebrenica becomes more complete.

16th Century Genius, Matrakçı Nasuh, ed. E. Bener, İzform Matbaacılık & Gizgrup Basım, Istanbul 2015

Author(s): Jasmina Ćirić / Language(s): English Issue: 2/2015

Dokument o načinu uništavanja arhive Islamske vjerske zajednice

Author(s): Jakub Durgut / Language(s): Bosnian Issue: 51-52/2011

Dokument koji objavljujemo čuva se u Arhivi Islamske zajednice u Pljevljima, datiran je sa 10. XII 1949. godine, potpisao ga je Sado Vodopić, sekretar islamskog sveštenstva. Dokument nam svjedoči o načinu na koji je uništavana dragocjena arhiva u ispunjavanju naredbi viših organa, koji su se „brinuli” o tome da sakupe što više „starog papira” u akciji koja je trebalo da obezbijedi sirovinu za proizvodnju celuloze. Ovo je bila praksa koja se provodila u čitavoj zemlji.

Prava žena u islamu: Mitovi Zapada i Realnost

Author(s): Ismar Šabović / Language(s): Bosnian Issue: 50/2011

Zašto žene moraju nositi veo i zarove u islamu? Zašto one moraju biti potpuno obučene, od glave do pete? Da li se muškarci u islamu boje ženske seksualnosti? Zašto se žene moraju moliti u džamijama u pozadini, iza muškaraca? Kako to da u konzervativnim islamskim zemljama žene ne smiju same hodati ulicom, bez pratnje muškarca? Zašto nema ženskih vjerskih vođa u islamu?

Zapis o Sulejmaniji

Author(s): Branislav Mirković / Language(s): Bosnian Issue: 69-70/2016

Istanbulska džamija Sulejmanija lebdi nad morem i mijenja s njim boje i nijanse. Svjetlost koju nebo sipa, i podešava oblacima, prenosi se iogleda posvuda po vodi, na svakom uglu grada pa i na džamijskim zidovima. Zbog stalnog vjetra more poigrava, kao zastrašeno da se kamenje građevina dignutih po stranama bregova ne raspe, sruči k vodi i ošteti je. Mramorno more, s paradoksom u imenu, potakne pomiso o pokretljivosti kamena pa se u podsvijesti okušava čvrstina svake građevine.

Kučanska džamija – kulturno dobro

Author(s): Author Not Specified / Language(s): Bosnian Issue: 69-70/2016

U prethodnom dvobroju našeg časopisa (br. 67-68), objavljenom početkom decembra 2015. godine, u rubrici Aktuelnosti, predočili smo javnosti zahtjev da se Kučanska džamija u Rožajama stavi pod posebnu zaštitu države. Zahtjev je, u ime podružnice „Almanaha“ u Rožajama, 2. novembbra 2015. godine podnio Aldemar Ibrahimović Upravi za zaštitu kulturnih dobara, dodatno tražeći da se preduzmu privremene mjere zaštite tog nepokretnog kulturnog dobra.

Islam i muslimani u Gvajani: podele, dobrobit države i veze sa muslimanskim svetom

Author(s): Vladimir Ćirić / Language(s): Serbian Issue: 2/2014

Gvajana je sa ukupnom populacijom od 7,3 odsto muslimana jedina zemlja zapadne hemisfere koja je stalna članica Međunarodne islamske konferencije. Osim kratkog istorijskog pregleda doseljavanja muslimana u Gvajanu sa Indijskog potkontinenta, u ovom radu su predstavljeni pojedini aspekti preko kojih se muslimani u Gvajani ostvaruju društveno i kako utiču na društvo i blagostanje gvajanskog naroda u celini. Posebno su istaknuti problemi sa kojima se gvajanski muslimani svakodnevno susreću, kao što su arabizacija, sunifikacija i sukob tradicionalističkih i reformatorskih struja. Zbog veze Gvajane sa Iranom, koja je u sve većem procvatu, u radu je obrađen i odnos između ove dve zemlje.

Dinamika humano-božanstvene civilizacije s osvrtom na stanovišta Bernarda Luisa

Author(s): Mirsad Hadžajlić / Language(s): Bosnian Issue: 1/2014

Objektivna naučnoistraživačka evaluacija donedavno vodeće civilizacije svijeta, dakle islamske civilizacije, na temelju istraživanja čuvenog islamologa Bernarda Luisa, pokazuje njen kolaps, kako u oblasti vojne i ekonomske moći tako i u oblasti kulture i nauke. Pogotovu je izgleda islamska civilizacija sa svojim inherentnim podvajanjem u tri kategorije ljudi - musliman-nemusliman, rob-gospodar, žena-muškarac - daleko prevaziđena modernim društvenopolitičkim učenjem o slobodnom i građanskom društvu, ljudskim pravima, toleranciji i slično. Kroz jedno filozofsko razmatranje čovjekova bića kao takvog, ovaj rad dolazi do definicije čovjeka koja je, naravno, prihvatljiva, kako sa čisto racionalnog i neposredno spoznajnog stanovišta tako i sa stanovišta tradicionalnih teza o čovjeku. Oba ova izvora spoznaje pokazuju da čovjek, kao u biti božansko biće - koje može da bude pod utjecajem sotone, pa i sotonsko biće - zapravo obitava, odnosno njegova bit egzistira, u mitološkom svijetu. Budući da suvremeni naučnoistraživački standardi odbacuju mitološko kao nenaučno, ma kako precizne i objektivne analize da nude, u stvari se, kao takvi, ne mogu primijeniti u humanističkim, pogotovu u religijskim, naukama. Prema mitološkom opisu svijeta, iako je sam Bog dao sotoni mogućnost djelovanja protiv čovjeka, ipak je prije toga dao čovjeku mogućnost pokazivanja i dokazivanja svoje superiornosti. U tom smislu se islamska civilizacija pojavljuje kao civilizacija humanocentrične božanstvenosti i teocentrične humanosti; ako ima podvajanja, to je samo da se pospješi ta humanost i da se zaštiti od sotonskog antihumanog zagovaranja i spletkarenja. Dakle, islamska čovjekoljubiva civilizacija je, manjim ili većim intenzitetom, postojala i postoji u svakom kutku povijesti i svijeta gdje postoji briga, učenje i rad da se očuva i unaprijedi božanstvenost čovjekova bića. Ovaj rad iznosi dokaze da je ta božanstvenost mjeriva standardima empirijske znanosti i da je moguće i zaštititi je i u jednom svehumanom pregnuću raditi na njenom intenziviranju.

KAKO SAM SNIMALA SERIJU O DŽAMIJAMA U CRNOJ GORI

Author(s): Nada Rahović / Language(s): Bosnian Issue: 33-34/2006

Ideja da snimam džamije došla je neosjetno. Kao da je spavala u meni i odjednom me osvojila bez borbe. Pisati o nečemu što nedovoljno poznajem teško je, a tek snimati – vrlo opasno, jer slika odaje više od riječi. Strah postoji, svjesna sam, uvukao se u mene kao hladnoća u kosti i smeta mi da se uhvatim u zagrljaj sa idejom koja me mami i sve više osvaja. Strah, od čega? Od nepoznate staze kojom hodam u mislima, u noćima kada mislim da spavam, a tek pred zoru shvatam da cijelu noć tumaram od ideje do realizacije. Šta ako pogriješim? Kako će to ljudi protumačiti? Da sam muslimanka, bilo bi mi lakše. Ako napraviš grešku u svom ataru, manja je šteta nego u tuđem. Ideja me ne napušta, ne priznaje moja opravdanja, stoji ispred mene kao imperativ, zahtijeva od mene da izađe kao dijete iz majčine utrobe i počne da živi.

“Yılbız” Sözcüğü Üzerine

Author(s): Servet Ertekinoğlu / Language(s): Turkish Issue: 34/2017

We often talk about the mysterious power about the things we have difficulty understanding. This situation has not changed until today from the first people. Mythologies and beliefs have also been shaped by these mysterious forces. Thus, people have able to explained more easily the events that their power is not enough or they are not capable of any intervention. Turks have to interact with many cultures in terms of the geography they live in, which naturally results in the placement of the concepts of those cultures into the language. It is a clear indication of this interaction that the Islamic terms are Persian, such as prayer and fasting in Turks who adopt Islam through Persians. But in the early times when the Turks accepted Islam, this interaction took time. For example, in Kutadgu Bilig, we can say that the use of the words Bayat, Idi, and Tanrı instead of the word of Allah is a matter of new acceptance of the Muslims of the Karahans. We can also see that the word yek is used instead of the words Şeytan, iblis. With the acceptance of Islam, the Turks, while accepting a new belief system, maintained their tradition from their previous lives by combining this new belief system and into new form. Such behaviors, which called superstitious beliefs by religion, have been accepted as a part of religion by the people and have continued to be exhibited today. To say “touch wood (Şeytan kulağına kurşun)” and to tap the wood three times is one of them. Thus, it has thought to be protected from the evil eye. In this article, we will focus on the word "yılbız" which is used in Anatolia as "touch wood (yılbız kulağına kurşun)".

MEVLUD U VRIJEME DINASTIJE FATIMIJA

Author(s): N.J.G. Kaptein / Language(s): Bosnian Issue: 10/2002

Podaci o mevludu (mawlid al-nabi) u vrijeme dinastije Fatimija su vrlo rijetki. Primarni izvori koji spominju mevlud - izgubljeni su, te su, sljedstveno tome, fatimijske svetkovine mevluda poznate samo posredno iz djela kasnijih autora, ponekad u obliku doslovnih navoda i iz fatimijskih izvora savremenih toj dinastiji, dok se u drugim slueajevima moze pokazati da se ovi kasniji autori oslanjaju na ove izvore, cak i onda kad pasazi koji SU ukljuceni nisu doslovni navodi.

ISLAM I POVIJESNA TOPOLOGIJA MUSLIMANSKOG SVIJETA U BOSNI

Author(s): Muhamed Filipović / Language(s): Bosnian Issue: 5/2001

Postalo je već pravilo i aksiom muslimanskog mišljenja da mogućnost propasti Bosne kao države nosi sa sobom i propast muslimana, odnosno propadanje islama u njoj i obratno, da nestanak muslimana i islama u Bosni ujedno znaèi sigurnu propast Bosne kao kulturnopovijesnog subjekta i kao posebne države.

Austrumu motīvi Jūlija Straumes daiļradē

Author(s): Imants Ļaviņš / Language(s): Latvian Issue: 20/2017

Textile artist Jūlijs Straume (1874–1970) is one of the leading masters of Latvian applied art. He is widely known for his richly ornamented textiles and attempts to introduce in Latvia the technique and traditions of Persian carpet weaving current in the Near and Middle East. Up to now, researchers have usually focused on the ornaments resembling Latvian textiles as well as patterns and stylised natural motifs composed by the artist himself. Straume has been praised for his ability to use vernacular ornaments in the carpet weaving technique not typical for Latvians. Oriental motifs in the artist’s output received less attention while carpet making traditions and historical legacy unavoidably influence their design and the use of ornament. Straume undoubtedly drew inspiration while collecting, collating and restoring sketches of traditional carpet designs of the Caucasian peoples. This Oriental influence was noticed but often depreciated.In 1925, two Oriental-style carpets made after Straume’s designs received the gold medal at the International Exhibition of Modern Decorative and Industrial Arts in Paris. One of them complies with the traditions of Georgian vernacular art but the other, made in collaboration with the Georgian artist David Tsitsishvili (1901–1986), was made in the style of the Safavid dynasty (1501–1736). One of the works awarded in Paris is the carpet “Miri” (1925) that, according to some researchers of Straume’s work, was titled with the Georgian term for the totality of technical and stylistic means of pattern making in the Persian technique. The carpet is filled with stylised floral ornaments in a grid-based composition known in the Caucasus as shabaka. This kind of filling is widespread in both Caucasian and Persian carpets. The “Miri” carpet stands out with its artistic and technical execution even among traditional Caucasian and Iranian carpets. It demonstrates that a complete composition of motifs can be assembled from simple elements. The other Straume carpet awarded at the 1925 exhibition is known by two titles: “Jungle” and “Hunt” (1924). This item fully complies with the canon of the Safavid dynasty’s court carpets and is especially lavish and artistically valuable. It belongs to the group of animal carpets that emerged in Anatolia in the 14th century. While working on the design of this canonical example, Straume studied animal carpets in depth, mastering the style, composition, colour range and symmetry of court carpets as well as traditional animal and floral motifs. There is documentary evidence that particular attention was paid to the “Emperor’s Carpet” held by the Museum of Applied Arts in Vienna. In line with the accepted canon, the main field is fiery red. The life of wild animals is depicted on a background of floral motifs. Stylised floral motifs – arabesques – are placed all over the field and used as a basis for various flower motifs. Dividing the field in four, it is evident that the animals in each part are symmetrical mirror images of the creatures in the adjacent quarters. The carpet’s composition is based on detailed mirror symmetry along both the vertical and horizontal axes. Each quarter is quadrupled, creating a double mirror image. The making of such a carpet demanded perfect skills from the artist as well as the weaver. Unlike with other symmetrical carpets, in this case whoever created the design had to make the technical drawing for the entire carpet. In the field of the carpet “Hunt”, the artists have included several lions stalking antelopes. Near the central medallion, there is a dynamic battle between a leopard and a fallow-deer. Another leopard observes the struggle from a distance. Several lynxes and pheasants are also seen in the main field. Ornamental motifs and blocks in the carpet “Hunt” are rather similar to another of Straume’s works – an Oriental-style stationery box. The surface of its cover resembles a traditional medallion-based carpet. The background of the cover field is wine-red and contains the compositional block of a kitabe medallion whose central part is filled with symmetrical double islimi patterns and arabesques. This ornamental block is completely identical to the one seen on the main border of the carpet “Hunt”. The box cover features two closed compositional blocks and kitabe along the longitudinal axis in both directions from the medallion and perpendicular to it. The artist has depicted mirror images of paired birds in the centre of both blocks on a background of arabesques and flowers. Two bashlyg (gubpa) blocks conclude the medallion’s composition along the longitudinal axis. Yet another two stylised pairs of birds are placed in the cover corners. A drawing on the inner cover helps to recognise the birds painted on the outer part. The pair of birds here represents the unmistakably most beautiful motif in Oriental art – the mythical bird called Simurg. The image of this bird has been widely used already in the art of the Sasanian dynasty (224–651). Detailed analysis of the prize-winning carpets and the stationery box confirms the artist’s wide-ranging knowledge of Oriental ornaments, their traditional motifs and blocks, their origins and symbolic meaning. The article has only just begun to explore Straume’s original works of his Caucasian period, and it is already clear that the output of that time, so significant in his life, is artistically no less valid than the works created in Latvia. The study of this subject deserves to be continued as researchers have so far not turned to ethnographic drawings as well as a large part of Straume’s legacy created under the influence of traditional Oriental art.

MUS'AB B. 'UMEJR, R.A., - PRVI AMBASADOR DAVE U ISLAMU

Author(s): Šefik Kurdić / Language(s): Bosnian Issue: 02/2004

Mus’ab b. ‘Umejr, r.a. was one of the most diligent students of Allah’s Prophet, Muhammed s.a.w.s. He embraced Islam in his early years and wove into it all of his physical and spiritual strength. Even though his parents had mistreated him because of his devotion to Islam, by depriving him of food, drink and clothing, he remained steadfast on his path of truth and became an example to other young men on how to fight for ideals, which surpass the mundane life and its needs. The methods he used in his da’wa became the paradigm for all future generations. Namely, using his discerning selection he converted two key men in Medina and by doing so, made it possible for half of the population of this city to embrace Islam, but he also made way for a normal arrival of muhajeers from the idolatrous Mecca into the city of Medina which was to become a nucleus from which a new, united and a unique generation of Muslims emerged - the likes of which would never emerge again until the Day of Judgement.