Zahirites; Islamic philosophy; knowledge, theory of (Islam).

Kitāb al-Mabādiʼ wa-al-ghāyāt fi-̄mā tataḍammanah ḥurūf al-muʻjam min al-ʻajāʼib al-āyāt -- Kitāb Mīm wa-al-wāw wa-al-nūn -- Kitāb al-Alif, wa-huwa kitāb al-aḥadīyah -- Kitāb al-bāʼ, wa-huwa Kitāb al-ḥaqāʼiq al-ilahīyah -- Risālat al-ḥarf wa-al-maʻná, wa-huwa tafhīm maʻānī al-ḥurūf -- Kitāb al-yāʼ, wa-huwa Kitāb al-hūw -- Risālat al-kalām fi ̄ḥurūf al-muʻjam wa-maʻānīhā -- Risālat al-ʻiqd al-manẓūm fī khawāṣṣ al-ḥurūf.

Al-Mu'jam Al-muḫtaṣ of Murtadā Al-Zabīdī (d. 1205/1791) in which a scholar recorded his teachers, the books that he obtained the right to narrate during his education life and the chain of transmission from his teachers to the author, is one of the important representatives of the mu'jam genres in 12th/18th century. It can be said that the mu'jam that Zabīdī wrote to record the important people in his life, goes beyond the standard mu'jam with its compilation style, sources, diversity of (...) biographers and anecdotes about the writing activity of the period. Based on Zabīdī's teachers, students and contemporaries, their origins, specialization and profession, the dates of their deaths, the dates of his encounters with them, the extent of his friendships, the dated rihle route, the lecture places and the books he taught, a panorama about the mu'jam will be drawn. The mu’jam, which includes 635 biographies, has a wide range of written and oral sources, especially ijazat and samā sources. Zabīdī's correspondence with scholars from different regions, taqrīz/appreciation written for his famous books and poems belonging to scholars of the period are among these sources. Numerous taqrīzs on his Tāj al-ʿArūs and Sharḥ Al-Iḥyā's point to their fame at that time, while Mu’jam, which has the appearance of an independent poetry anthology due to the poems that reach tens of pages, reveals his unknown poetic side. On the other hand, some couplets recorded in Persian and Turkish show his knowledge of these languages. Zabīdī is a versatile personality who lived in different geographies such as India, Yemen and Egypt and met many scholars there. Rihles in different regions of Yemen such as Zabid, Moravıa and Mocha, as well as inside Egypt, including Damietta, Raşıt, Fuwwah and Asyut, show that Zabīdī traveled frequently for the sake of knowledge. Egypt, where he went in 1167 (1753) with the advice of his teacher al-Aydarūs and spent thirty-eight years of his life, has an important place in his scientific adventure. Recording sufis, merchants and janitors as well as famous people from different fields such as poets, jurists and muhaddis in biographies reflects Zabīdī's extensive contact reaching various segments of society through the aforementioned rihles. While Zabīdī was obtaining knowledge through both these journeys and ijazat, he also gave ratification/ijazat to the students who came to him. While he prefers ijazat of al-musalsal bil awwaliyyah and Al-Awail Ṣaḥīḥ/al-Kutub al-Sittah for those who come to him for short periods of time on the occasion of pilgrimage, but on the other hand he gaves ijazat of Ṣaḥīḥ al-Bukhari, Shamail Tirmidhi, Sharḥ Al-Iḥyā and Al-Amali for his long-term students. Lessons, both open to the public in mosques and with more private groups at home, were held in informal rather than systematic/formal style like in the madrasah. The books that Zabīdī received the right to transmit through his rihles are listed below under the "textbooks" heading. When a book is mentioned in whichever biography, it can be implicitly considered the person has the elevated chain of transmission of the book. Similarly, it can be revealed in which region and by whom tranmits the short chain of a book. This reveals the unknown aspects of regional and temporal writing style. On the other hand, it is possible to find other traces of the background of writing and representation/taqrir through the mu'jam. For instance, a book was sometimes typed as a result of the students' compilation of lecture notes of their masters, sometimes when a person obtained a book he needed and he abbreviated important parts and copied a special copy for himself or a student could only get permission for giving lectures after he had written a book. The mu’jam includes besides of Zabīdī's books, the books written by the biographers in the form of "he has many books" or by mentioning the name directly. Even the recording of details such as the reason for writing, date and content information reveals the unknown aspects of the book writing style of the period. Ultimately, the importance of mu’jam, which was written as the result of a life spent with learning, although it is not well known in terms of genre; is to mention the biographical information collected from many different secondary sources, compiled as a result of long effort, such as history and tabaqat-tarajim about the scientific life of the author together with their evidences. Therefore, these kinds of books, that are mostly written by the author himself or his close student, in which the teacher constitutes its main element, is a primary source in the determination of the biographical information of the author, as well as the book and isnad, deserve to be examined separately because of their potential to shed light on the unknown aspects of the hadith history and literature of the later period. (shrink)

al-Zarkashī, an ethnic Turk, is an important hadith, fiqh and commentary scholar who lived during the Mamlūks period. He was taught by some of the leading scholars of his era, such as Alā al-Dīn Mughultay (d. 762/1360), Imād al-Dīn Ibn Kashīr (d. 774/1372) ve Jamal al-Dīn al-Asnawī (d. 772/1370), and he grew up under their mentorship. Nevertheless, his only well-known student is Birmāvī (d. 831/1428). Almost half of his works have been related to fiqh and methodology of fiqh, and he (...) has also written some important works in the field of hadith. Among these, especially al-Tadhkira, al-Nukat alā Ibn al-Salāh, al-Nukat alā al-Umda fī al-Ahkām ve al-Icāba are worthy of mention. The work named al-Tadhkira, which we built our work upon, is the first known work to have been preserved in the field. Due to his being a first in his field, he was vastly studied as to how he evaluated the narrations and what kind of procedure he followed. In this work of his, not only the criticism but also the application of the text criticism adds to the importance of the work. Then, on the basis of this work, scholars such as al-Sakhāwī and al-Aclūnī made complementary works on the same subject. Summary: It is inevitable for a person to be shaped by the society he lives in. During the time when al-Zarkashī lived, Egypt was under the rule of the Mamlūks. The history of Mamlūks is examined under two periods: 1. Bahrī or Turkish Mamlūks (745 / 1344 - 794-1391) 2. Burjī or Circassian Mamlūks (784 / 1382 - 923 / 1517) period. Our author lives in both periods. About forty years of his life was in the period of Bahrī and the rest was in the period of Burjī. In both periods, the state did not have a full political authority in the country, but this was not the case in education and training. In fact, on the contrary to the political situation, scientific activities have accelerated by the arrival of many scholars to the land of Mamlūk because of the Mongol invasions coming from the east and the Crusades from the west. The increase of scientific activity was caused not only by the coming of the scholars but also by the support given by the Mamlūk sultans. In fact, they built many new madrasas in addition to the resurrection of the old ones. In addition to madrasas during the Mamlūks period, mosque, hāngāh, ribat and zāwiya are also among the educational places.Hadith, fiqh and Tafsir scholar al-Zarkashī is originally Turkish. He was born in Cairo at 745 under the conditions mentioned above. His family learned of gold and silverworking because of their subsequent settlement to Egypt, and they made their living with this craft. A person who performs this is called Zarkash in Arabic. Muhammad ibn Bahādır, who learned and did this job, was known as al-Zarkashī. al-Zarkashī, known for his love of science since childhood, was trained hadith by Alā al-Dīn Mughultay (d. 762/1360) and Imād al-Dīn Ibn Kashīr (d. 774/1372) in Damascus, and fiqh by al-Asnawī (d. 772/1370). Among his beneficiaries are distinguished personalities such as al-Subkī (d. 756/1355), al-Azraī (d. 783/1381) and al-Bulqīnī (d. 824/1421). The most remarkable of his student is al-Birmāvī (d. 831/1428).It is known that he wrote about fifty works in hadith, tafsir, fiqh, methodology of fiqh and other fields. Especially among these works al-Burhān fī ʻUlūm al-Qur’ān, al-Tadhkira, al-Ijāba, al-Bahr al-Muhīt fî Usūl al-Fiqh ve al-Mansūr fī al-Qawāid is worth mentioning. Studies on al-Burhān and al-Bahr were carried out at the level of Master and PhD.al-Zarkashī did not hesitate to criticize any person for whom he had found his mistake. For example, even though he has a great love for him, and even because of this love, he has been given the name of al-Minhāj, the criticism of al-Nawawī is the clearest indication of the value given to science. Not just him, critics of scholars such as al-Hākim al-Naysābūrī and Ibn ʻAbd al-Barr who are recognized as authority in hadith can also be considered in this framework.The work named al-Tadhkira which we have studied in our work is of importance in that it shows the accumulation of knowledge in the field of hadith. In order to compose this work, it is necessary to have enough information in this field since the riwāyas must be criticized in terms of isnād and text. To compose his work, al-Zarkashī has benefited from about a hundred and forty works related to hadith, tafsir, al-siyar, history, tabakāt, commentary, jarh - taʻdīl, ilal and maghāzī. The use of such works is an effort to reach all sources and right information as much as possible. Some of these sources are basic hadith books such as al-Bukhārī (d. 256/870) al-Sahīh, Muslim (d. 261/875) al- Sahīh, Abū Dāʾūd (d. 275/889) al-Sunan, al-Tirmidhī (d. 279/892) al-Sunan, al-Nasā’ī (d. 303/915) al-Sunan, Ibn Mādja (d. 273/887) al-Sunan, Mālik ibn Anas (d. 179/795) al-Muwatta, Ahmad ibn Hanbal (d. 241/855) al-Musnad, al-Dārimī (d. 255/869) al-Sunan, ʻAbd al-Razzāq al-Sanʻānī (d. 211/826-27) al-Musannaf, Ibn Abī Shayba (d. 235/849) al-Musannaf, Ibn Rāhwayh (d. 238/853) al-Musnad, al- Bazzār (d. 292/905) al-Musnad, Abu Yaʻlā el-Mawsilī (d. 307/919) al-Musnad, Ibn Hibbān (d. 354/965) al-Sahīh, al-Tabarānī (d. 360/971) al-Muʻjam al-Awsat and al-Muʻjam al-Kabīr, al-Hākim al-Naysābūrī (d. 405/1014) al-Mustadrak.al-Zarkashī divided the riwāyas he had studied into eight subjects. These are judgments, wisdom, zuhd, medicine, virtue, prayer, story, words and riwāyas circulating in language. He shares the information he obtains from sources about him after mentioning the riwāyas he will examine. For example, it is mentioned that there is not a hadith which is transmitted as a hadith, it is a word of a sahāba, tābiun or a person. He transferred on the riwāyas the sources mentioned in the sources, but also stated that he did not participate in some information as the place came.The author has evaluated the narrators of the riwāyas from the point of jarh and taʻdīl. He did not only evaluate riwāyas in terms of isnād, but also text criticism. This activity is a distinctive feature of his work.al-Zarkashī gave information about the misrepresentation of the name of the narrators. He also explained the strange words that are difficult to understand in the text. It is a manifestation of his knowledge in the fiqh area that some of the riwāyas that are considered weak are expressed in some sects. The author described some errors about the riwāyas. For example, he stated that a riwāya that is said to be marfūʻ is a mavkūf. al-Zarkashī also included verses, hadiths and poems about the riwāya that he had studied while writing his work or he defended it by saying that it is not the case of a riwāya that is said to be fictitious.Perhaps it is the weakest point of al-Zarkashī’s work not to give any information about some riwāya, only to mention their isnāds. He also found some riwāyas that did not have a reliable isnāds and stated that their meanings are correct. This knowledge has become an enlightening characteristic for later generations.This work has a great significance in showing that the majority of the riwāyas that spread among the people are not hadiths. As a matter of fact, 73% of the riwāyas examined in the work are weak or irrelevant riwāyas. This work of al-Zarkashī is unique. The existence of such a work has not been determined before him. This work constituted the basis of the works written by scholars such as al-Sakhāwī and al-Aclūnī in the same subject after him. (shrink)

Ṣāliḥ Nābī (d. 1914) is a person who lived in the last periods of the Ottomans and is a medical graduate and interested in Turkish music. In 1910, he received a work called al-Falsafa al-Mūsiḳī (Philosophy of Musica). In this study, the effects of music on the human soul, music history, and musical understanding in the Ottoman period were found. Throughout history, many musical compositions have been received and reflected some philosophical thoughts. But an independent study of philosophy and music (...) is not found before the 20th century. For this reason, Ṣāliḥ Nābī's al-Falsafa al-Mūsiḳī work is remarkable in terms of its title. There are brief explanations about various issues in the work but the most important issue that attracts our opinion is the musical perception of the period. Because Ṣāliḥ Nābī, as a witness at that time, thinks that music has been neglected for a long time in the Ottoman Empire. This is the reason why he has already taken him to a work. In this article, it has been tried to be given to today's musical literalism. Summary: Ṣāliḥ Nābī was born on May 5, 1886, in Istanbul Yedikule. After his primary and secondary education, he started the Military Medicine Faculty in Cengelkoy on March 13, 1901. He graduated in 1911 after having studied for a total of ten years here. Prior to his graduation he worked as assistant at Bel-Air Hospital in Switzerland for a while. He died at the age of twenty-eight in 1914 after having practiced medicine in several different regions.Ṣāliḥ Nābī, who died at a young age, has two works that arrive present days. One of them is the graduation thesis named Mental Illnesses and Bel-Air Hospital in the Twentieth Century. In this work that he published in 1911, he made suggestions about the architectural works to be done in this area by making use of some of the examinations in Switzerland Bel-Air Bâmârhânesi where he served as an assistant for a while. The other work, which is also the subject of our work, is named al-Falsafa al-Mūsiḳī(Philosophy of Musica).Al-Falsafa al-Mūsiḳīis composed of thirty-two pages. The first fascicle, which is the subject of our work, is the only known number of this work that planned to be published as monthly magazines. This work is written to explain the subjects of music and philosophy. But this work could not continue because of Ṣāliḥ Nābī’s participation in the Balkan Wars after his graduation and later his death at a young age. Al-Falsafa al-Mūsiḳīconsists of three parts, one of which is the introduction part. Under the heading entitled "Medhal", the cultural and musical environment of the Ottomans in those days is mentioned and the purpose of writing the work is explained. The second part is about the musical influences on soul. This section examines the following topics: Musical influence on soul, the importance and service of the ancient Greeks to music, some notes about music in history. The name of the last part is “Mūsiḳīnin İctimā’iyāt ve Tārihle Munāsebeti (Relation of Music with Sociology and History)”. Under the last title these subjects are respectively discussed: the place of music in social life, the origins of music, the invention of some instruments used by the ancient Greeks, especially the "lyric", the services of the ancient Greeks as music, the development of music in the Arab world and its pioneers, the effect of the invention and dissemination of musical notation.As you can see, although the author uses “music” and “philosophia” words in the name of work, he has made statements on many issues. We will examine these issues under five headings in terms of better understanding of the work and on the subject matter integrity. These are: The origin of the word of “al-Mūsiḳī/music”, the musical thought in the work, the history of music, the musical understanding and works in the Ottoman in the twentieth century and the music-literature relation. Since the topics under these headings will be given in detail in the article, we can summarize them briefly as follows. There is some information in the sources of musicology that the origin of the word of “al-Mūsiḳī/music” is derived from the ancient Greeks. According to this idea, word of “al-Mūsiḳī/music” comes from “musa” which is the goddess of poetry and music. But Ṣāliḥ Nābī did not accept this claim. The author states that this word is used to be by the ancient Greeks, but also existed long before them. Moreover, Sālih Nâbî states that such thoughts arise as a result of a mistake such as searching for the origin of everything in the ancient Greeks. Ṣāliḥ Nābī states that music is art that can express the deepest feelings of the soul. This is the humane direction of music. On the social side, music is the most important means of revealing the structure of a society and the world of thought. For this reason, the development of music shows the development of the country. Therefore, music is important in child bringing-up and in the first education period of a child. Because the generation who knows the music, senses the deepest feeling of the soul (which is the conscience, they also have moral norms that are socially necessary. There are some explanations of music history in the work of Ṣāliḥ Nābī. The author bases musical history before the creation of Adam. Because the voice was there before man was created. The works of the ancient Greeks in the history of music cannot be denied. They have reached important information on issues such as instrument inventions, influence of music on soul, the fact that music becomes a science, and they have conveyed them to future generations with their works. The author, who stated that similar works were done in the world of Islam, gives two examples with the mention of Fārābī and Ibrāhīm al-Mavsilī. One of the issues that the author is talking about is the influence of music on soul. Ṣāliḥ Nābī is a doctor interested in music. He had also done research on this subject, prepared a thesis as mentioned before, and published his work. The author, explaining this effect of music, has given examples in the history that some wars have been gained thanks to music.One of the most remarkable parts of the work of Ṣāliḥ Nābī is that he analysed the situation of the Ottoman Empire at that time. The author criticizes the current rulings for their indifference to Turkish music. Moreover, he expresses that they are trying to dig root of Turkish music for a while. During this period, a disconnection between the Ottoman palace and the people has begun. Because in the Ottoman palace music is considered to be an elite art and the pleasures of the people are ignored. The author, describing this negative situation, states that despite all of this, there is a correction in the current state of Turkish music in its period. Now the Ottoman palace was not indifferent to Turkish music. In addition, some theoretical studies about Turkish music have begun to emerge in the Ottoman Empire.The author, who also deals with the relationship between music and literature, expresses that these two fields are very close to each other. Therefore, a good poet should know music and a good musician should know literature. (shrink)

RésuméDepuis la redécouverte de la Muqaddima d'Ibn Khaldūn à l’époque moderne, l'identité intellectuelle de cet auteur fait débat: était-il un penseur révolutionnaire dans le sens moderne du terme, rompant avec les manières de penser classiques et médiévales, ou plutôt un intellectuel musulman conservateur ne s’étant pas aventuré au-delà des horizons musulmans traditionnels? Par un examen attentif de la préface à la Muqaddima, cet article montre comment l'auteur se représentait son propre projet et pourquoi il jugeait celui-ci nécessaire. Le portrait d'Ibn (...) Khaldūn qui s'en dégage alors est celui d'un révolutionnaire – mais non pas au sens moderne du terme – qui n'a pas craint de remettre en question la tradition afin de réformer l'horizon moral et politique de la société. Cet examen de la seule préface n'apporte certes pas une réponse définitive à la question du statut radical ou conservateur de la pensée d'Ibn Khaldūn, mais il permet de mettre en contexte son conservatisme – apparent et réel. (shrink)