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Tasavvufî hakikatleri dile getirirken sûfîlerin remiz, sembol ve hikâyelerden istifâde etmeleri oldukça yaygındır. Sûfîlerin böyle bir yöntem kullanmalarının çeşitli sebepleri vardır. Sembol ve hikâyeler yoluyla anlatımın açıklanması uzun süren hakikatleri çok daha özlü ve anlaşılır bir biçimde ifâde imkânı sunması, idrâk edilmesi zor olan hususları insanın muhayyilesine yaklaştırarak daha kolay anlaşılmasını sağlaması, okuyucuda merak uyandırarak dikkatini canlı tutması ve anlatılan hakikatlerin daha kolay akılda kalmasını sağlaması bu sebeplerden bazılarıdır. Bu ve benzeri sebeplerle sûfîler, çeşitli remizlerden faydalanmış ve bazı hakikatleri bir hikâye kurgusu içinde dile getirmişlerdir. Tasavvufî hakikatleri anlatmada remiz ve hikâyelerden faydalanan sûfîlerden biri de 14. yüzyılda, İlhanlılar döneminde, bugünkü İran topraklarında yaşamış bir Kübrevî şeyhi olan Alâüddevle-i Simnânî’dir (ö. 736/1336). Simnânî, gençlik yıllarında İlhanlı sarayında Argun Han’ın (1284-1291) yanında bulunmuş ve on yıl kadar ona hizmet etmiştir. Daha sonra yaşadığı mânevî bir hâl üzerine içinde bulunduğu bu hayatı terk ederek tasavvufa yönelme arzusu duymuştur. Hemen sarayı terk edememişse de daha evvel ihmâl ettiği ibadetleri yerine getirmeye, kılmadığı namazlarını kaza etmeye başlamış, kendi kendine çeşitli zikirler yapmış, Kur’ân okumuş ve yiyeceğini son derece azaltmıştır. Kendi kendine uyguladığı bu riyâzat neticesinde meydana gelen şiddetli açlık ve uykusuzluk sebebiyle bedeni yorgun düşmüş ve hekimlerin tedavisinde âciz kaldıkları bir hastalığa yakalanmıştır. Bu hastalığı saraydan ayrılmak için iyi bir fırsat olarak gören Simnânî, iyileştikten sonra geri dönme şartıyla saraydan ayrılmak için Argun Han’dan izin alıp memleketi Simnan’a gitmiş ve Argun’un kendisini zorla alıkoyduğu dönemi saymazsak bir daha saraya dönmemiştir. Bir müddet kendi kendine ibâdet ve riyâzatla meşgul olduktan sonra Bağdat’ta bulunan Kübrevî şeyhi Nûreddîn Abdurrahman İsferâyînî’ye (ö. 717/1317) intisâb etmiş, sülûkünü tamamlamış ve ondan irşâd icâzeti almıştır. Çok sayıda mürîd yetiştirmiş, tasavvufun çeşitli konularına dair Arapça ve Farsça pek çok eser kaleme almıştır. Tasavvuf tarihinde daha çok İbnü’l-Arabî’nin (ö. 638/1240) varlık anlayışına yönelttiği eleştirileriyle tanınan Simnânî, başta letâif konusu olmak üzere tecellî, ricâlu’l-gayb, mânevî tecrübeler gibi pek çok konuda tasavvuf tarihine önemli katkılarda bulunmuş ve kendisinden sonra gelen sûfîleri etkilemiştir. Kübreviyye tarikatının günümüze ulaşan kollarının Simnânî’ye dayanıyor olması, onu tasavvuf tarihi açısından önemli kılan bir diğer husustur. Simnânî, tasavvufun gerek nazarî gerekse amelî bazı meselelerini açıklamada remizlerden faydalanmıştır. Onun Farsça olarak kaleme aldığı Risâle-i Şatranciyye isimli küçük risâlesi, tasavvufun zühd, uzlet, fütüvvet, istikamet gibi amelî konularının satranç taşları üzerinden anlatıldığı bir eserdir. Satrançla ilgili kavramlar ve özellikle de satranç taşları, pek çok yazar tarafından çeşitli konuları anlatmada sembol olarak kullanılmıştır. Bu bağlamda Mevlânâ Celâleddîn-i Rûmî (ö. 672/1273), Sâdi-i Şîrâzî (ö. 691/1292) ve Hâfız-ı Şîrâzî’nin (ö. 792/1390) isimlerini anabiliriz. Yine dîvân edebiyatında bir remiz olarak satrançtan istifâde edildiği bilinmektedir. Aynı zamanda sûfî kimliğiyle tanınan bazı dîvân şâirleri satrancı tasavvufî hakikatleri anlatmada bir araç olarak kullanmışlardır. Buna örnek olarak da 17. yüzyılın ilk yarısıyla 18. yüzyılın ikinci yarısında yaşamış bir Bektâşî dervişi olan Azbi Baba Dîvânı’nda bulunan “Satrançnâme” isimli şiir zikredilebilir. Bu çalışmaya konu olan Risâle-i Şatranciyye ise müstakil olarak satranç terimleri üzerinden tasavvufun bazı konularını dile getirmek üzere kaleme alınmıştır. Simnânî, söz konusu risâlesinde satranç taşlarını kişileştirmiş ve her birinden kendilerinde bulunan sırları anlatmalarını ve kendisine nasihat etmelerini istemiştir. Böylece sırasıyla piyon, vezir, fil, at, kale ve şâhın yanına giderek onlardan sırlarını öğrenmiştir. Bu risâleyle yazar, hem kendi sülûk anlayışında önemli yeri bulunan tasavvufî kavramları açıklamakta hem de müridlerine bu hususlara riâyet etmeleri hususunda ders vermektedir. Risâlenin kısalığı ve sembolik bir anlatıma sahip oluşu, bu hakikatlerin kolayca anlaşılmasını ve akılda kalmasını sağlamaktadır. Böylece Simnânî’nin müridlerini eğitmede sembolik dilden yararlandığı anlaşılmaktadır.
The truth is the truth, the truth is the truth, the truth is the truth, the truth is the truth, the truth is the truth. There are many reasons for the use of such methods. The explanation of the story through symbols and stories is some of the reasons that the long-lasting truths can be expressed in a much more concrete and understandable way, that the facts that are difficult to realize can be easily understood by bringing the person closer to his imagination, that the reader can be curious and keep his attention alive and that the truths that are told can be more easily remembered. These and similar reasons, the Sufis have taken advantage of various remedies, and some truths have been told in a fiction story. Thus, the truth is the truth, and the truth is the truth, and the truth is the truth, and the truth is the truth. In the century, in the time of the Gods, a Kubriti sheh who lived in today's Iranian land was Alâüddevle-i Simnânî (e.g. of 1336 and 1336). Simnânî, in his youth years, was near Argun Han (1284-1291) and served him for up to ten years. He then wanted to go back to his life, and then he wanted to go back to his life. If he did not leave the palace immediately, he began to fulfill his prayer before him, he did not make his prayers, he made himself various memories, he read the Qur’an, and he reduced his food to a great deal. As a result of the severe hunger and insomnia that occurred as a result of this self-application, the body was tired and caught into a disease that the doctors were poorly treated. Simnani, who sees this illness as a good opportunity to leave the palace, took permission from Argun Han to leave the palace with the condition of healing after he returned, and went to his hometown Simnan, and without counting the period that Argun forced him to stop, he has never returned to the palace again. After a period of time he was engaged in worship and riyadh in Baghdad, the Kubriti Sheikh Nûreddîn Abdurrahman Isferaiini (a.s.). 17:17 And he made him, and he made him, and he made him, and he made him. He has raised a lot of teachers, he has received many works in Arabic and Persian on various subjects of Tasavvuf. It is more than the Arabs in the history of Tasavuf. 638/1240) The Simnânî, recognized by his criticism of the understanding of the existence, has made significant contributions to the history of Tasavvuf in many matters, such as the subject of the latâf, the recâlu’l-gayb, the mannevî experiences, and has influenced the tsufîs that come after him. The fact that the covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant of the Covenant. He is the one who has the right to do so, and he is the one who has the right to do so, and the one who has the right to do so. His little resurrection named Risâle-i Şatranciye, which he received in Persian, is a work in which tasavvuf’s operational subjects, such as zühd, uzlet, fütüvvet, statikamet, are described through the shadows. The concepts related to the chess, and especially the chess stones, have been used as symbols by many writers in telling various topics. This is the righteousness of the righteous. 672/1273, and the Sadi-i Şirâzî. 691/1292) and the Hâfâsâsâsâsâsâsâsâ We can mention the names of 792/1390. It is known that he was once again in the literature as a remise from the satellite. Also, some of the dîvân poems, known as the Sufy identity, used as a tool in telling the truths of the satrancy tasavvufy. For example, a poem called "Satrançnâme" can be mentioned in the Azbi Baba Divan, a Bektâşî dervişi who lived in the first half of the 17th century and in the second half of the 18th century. The subject of this work is Risâle-i Şatranciye, but it has been given a pencil to speak some of the tasavvuf's subjects through the chess terms. In his prophecy, Simnani personalised the satrancy stones and asked each of them to tell the secrets in him and to advise him. Thus, accordingly, he came to the pioneer, the vesir, the elephant, the horse, the castle and the sheh, and learned their secrets from them. The writer is the one who gives the knowledge of the word, and the one who gives the knowledge of the word, and the one who gives the knowledge of the word, and the one who gives the word. The shortness of the Messiah and its symbolic narrative make it easy to understand and keep these truths in mind. It is clear that Simnani is used by symbolic language in teaching his pupils.
It is quite common for Sūfīs to make use of symbols and stories when expressing mystical truths. There are various reasons for the Sūfīs to use such a method. Some of these reasons are that it provides the opportunity to explain the truths that normally take longer, to explain through symbols and stories in a much more concise and understandable way, to make matters that are difficult to comprehend easier to understand by bringing them closer to the imagination of the human being, to keep the attention alive by arousing the readers’ curiosity, and to make the truths much easier to memorize that some of these reasons. For these and similar reasons, Sūfīs have benefited from various symbols and expressed some truths in the form of a story. One of the Sūfīs who made use of stories and symbols for explaining mystical truths was ʿAlāʾ al-Dawla Simnānī (d. 736/1336), who was a Kubravī sheikh who lived in today’s Iranian lands during the Īlkhānid period in the 14th century. Simnānī was next to Arghūn (1284-1291) in the Īlkhānid Palace during his youth and served him for ten years. Later, upon a spiritual state he eperienced, he had a desire to abandon this life he was in and to turn to Sūfism. Although he could not leave the palace immediately, he began to perform the prayers he had neglected before, to make various remembrances by himself, to recite the Qur’ān and to reduce his food excessively. Due to the severe hunger and insomnia that occurred as a result of this self-administered asceticism, his body got tired, and he got a disease that the physicians were incapable of treating. Considering this disease as a good opportunity to leave the palace, Simnānī took permission from Arghūn to leave the palace and went to his hometown Simnān under the condition of returning after he recovered, and if we do not consider the period when Arghūn forcibly detained him in the palace, he did not return to the palace again. After engaging in self-worship and asceticism for a while, he initiated to the Kubrevī sheikh Nūr al-Dīn Abdu ʿAbd al-Raḥmān Isfarāīnī (d. 717/1317), who was in Baghdad, completed his sulūk and received the ijāza from him. He trained many disciples and wrote many works in Arabic and Persian on various subjects of Sūfism. Known for his criticisms of Ibn al-Arabī’s (d. 638/1240) understanding of existence in the history of Sūfism, Simnānī made important contributions to the history of Sūfism in many subjects such as the subject of latāif, tajallī, rijāl al-ghayb and spiritual experiences. He influenced the Sūfis who came after him. The fact that the branches of the Kubraviyya are based on Simnānī is another issue that makes him important for the history of Sūfism. Simnânî made use of the symbols in explaining some theoretical and practical issues of Sūfism. His small treatise called Risāla-ye Shatranjiyya, written in Persian, is a work in which the practical subjects of Sūfism such as zuhd (renunciation), uzlah (seclusion), futuwwah and istiqāmah are explained through chess pieces. Concepts related to chess, and especially chess pieces, have been used by many authors as symbols to describe various topics. In this context, we can mention the names of Rūmī (d. 672/1273), Saʿdī (d. 691/1292) and Hāfez (d. 792/1390). Again, it is known that chess was benefited as a symbol in the Dīwān literature. At the same time, some of the dīwān poets known with their Sūfī identity used chess as a tool to tell Sūfī truths. As an example, the poem “Satrançnâme” in the Dīwān of Azbī Baba, a Bektāshī dervish who lived between the first half of the 17th century and the second half of the 18th century, can be cited. Risāla-ye Shatranjiyya, which is the subject of this study, was written separately to express some issues of Sūfism over chess terms. Simnānī personified chess pieces in his treatise and asked each of them to tell the secrets they had and to give advice to him. Thus, he went to the pawn, queen, bishop, knight, castle, and check, and learned their secrets from them. With this treatise, the author both explains the mystical concepts that have an important place in his understanding of sulūk and teaches his disciples to obey these issues. The shortness of the treatise and its symbolic expression make these truths easy to grasp and keep in mind. Thus, it is understood that Simnānī benefited from symbolic language in educating his followers as well.
Field : İlahiyat
Journal Type : Uluslararası
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