2024, vol. 12, no. 3. Borodovskaya L.Z.

2024, vol. 12, no. 3, pp. 512-528

DOI: https://doi.org/10.22378/2313-6197.2024-12-3.512-528

EDN: https://elibrary.ru/AVKGDF

   POEM OF ABU BAKR QALANDAR RUMI “QALANDAR-NAME”
AS A SOURCE OF INFORMATION ON SUFI RITUAL MUSIC

L.Z. Borodovskaya
Kazan State Institute of Culture
Kazan, Russian Federation
lilianotka@yandex.ru

Abstract. This paper is devoted to analyze the text of Abu Bakr Qalandar Rumi’s poem “Qalandar-name” from the point of view of describing the Sufi ritual of listening to sama`. As it is known, Sufi zikr can be two types – “loud”, with singing, dancing movements and playing musical instruments, and “quiet” without any musical part.
Research materials: The statement of the author of the poem is of scholarly interest because the author welcomes both two types of zikr, as his Ushshaki group used singing, dancing and musical instruments. All these activities were used for the sole purpose of unity with the divine. The text of the poem is a source on Sufi rituals and their musical peculiarities in different tariqats. The poet also provides theoretical justifications for the permissibility of music in Sufi rituals, based on famous Sufi sheikhs of the earlier centuries.
Also the author of the poem displays a deep knowledge of the general Sufi Islamic culture of his time, often referring to poetic images of famous Sufi poets of different countries. The musical instruments presented in the poem give a deep insight into the fact that each group of dervishes may have had their own set of instruments and their own dances. A common genre for all Sufi groups in the world is the genre of munajat, which appears four times in the poem as a separate prayer chapter.
Results and novelty of the study: In this paper much attention is paid to the analysis of Sufi musical genres and instruments which were typical of that era. Also a number of the most favorite musical instruments are identified, which were widely used during the Sufi ritual of listening to sama`. The differences between the terms sama` (Sufi listening ritual) and the dance genre of Crimean Tatars “sema” and Tajik “samo” are explained separately. The musical instruments, such as arganun and organ, as well as musikar / musigar, which have different descriptions in historical and modern scientific literature, are also studied separately. The description of the organ in the context of the poem together with the image of the immortal bird Kuknus / Phoenix gives the readers the poem the image about two variants of the wind instrument – the Pan flute type and the keyboard type with mechas. Since we have not found a precise description of the organ and the arganun / musikar in the poem itself, this question remains open for future research. The poem “Kalandar-nameh” will no doubt be useful as a source on Sufi culture of different tariqats of the Middle Ages.

Keywords: Sufism, dhikr, munajat, sama`, arganun, organ, Kuknus, pan flute, sema

For citation: Borodovskaya L.Z. Poem of Abu Bakr Qalandar Rumi “Qalandar-name” as a source of information on Sufi ritual music. Zolotoordynskoe obozrenie=Golden Horde Review. 2024, vol. 12, no. 3, pp. 512–528. https://doi.org/10.22378/2313-6197.2024-12-3.512-528 (In Russian)

REFERENCES

  1. Abdullaeva S. Ancient Azerbaijani musical instruments. Access mode: https://azerhistory.com/?p=19759 (access data 09.03.2024). (In Russian)
  2. Abu Bakr Kalandar Rumi. Qalandar-name. Kazan: Marjani Institute of History of the Tatarstan Academy of Sciences, 2017. 1044 p. (In Russian)
  3. Abu Hamid Muhammad al-Gazali al-Tusi. “Kimija-ji sa‘adat” (Elixir of Happiness). P. 1. Moscow: Ihlas, 2011. 464 p. (In Russian)
  4. Abu Hamid Muhammad al-Gazali al-Tusi. “Kimija-ji sa‘adat” (Elixir of Happiness). P. 2. St. Petersburg: Peterburgskoe vostokovedeniye, 2007. 466 p. (In Russian)
  5. Bertels E.Je. Selected works. Sufism and Sufi literature. Moscow, 1965. 531 p. (In Russian)
  6. Borodovskaya L.Z. Musical and poetic genre munadjat in islamic culture of different peoples of the world. Kul’turnyj kod=Cultural code. 2022, no. 3, pp. 87–99. https://doi.org/10.36945/2658-3852-2022-3-87-99. (In Russian)
  7. Borodovskaya L.Z. Succession of sufi traditions of the yasaviya and naqshbandiya tariqas after the 14th century. Islamovedenie=Islamic studies. 2022, vol. 13, no. 1 (51), pp. 93–103. https://doi.org/10.21779/2077-8155-2022-13-1-93-103 (In Russian)
  8. Gummetova H.B. The Sema ritual as the main model of the Mevlevi Sufi tariqa. Problemy vostokovedenija=Problems of Oriental Studies. 2012, no. 1 (55), pp. 30–34. (In Russian)
  9. Dzhumaev A. Treatise on music “Kashf al-avtar” by Qasim ibn Dust Ali al-Bukhari (16th century) from the collection of the British Museum library. Zapiski Vostochnogo otdelenija rossijskogo arheologicheskogo obshhestva=Notes of the Eastern Branch of the Russian Archaeological Society. St. Peterburg: Peterburgskoe vostokovedeniye, 2006, pp. 91–98. (In Russian)
  10. Dzhumaev A. “The ordinance of Central Asian Musicians” translated by Chulpan. «Vostok Svyshe»=East Above. Iss. 23–24, 2011. Access mode: http://greylib.align.ru
    /1241/aleksandr-dzhumaev-ustav-sredneaziatskix-muzykantov-v-perevode-chulpana.html (access data 09.03.2024) (In Russian)
  11. Esipova M.V. The crimean tatars’ musical instruments in the context of islamic Asia and surrounding peoples’ musical cultures. Krymskoe istoricheskoe obozrenie = Crimean historical review. 2016, no, 2, pp. 146–166. (In Russian)
  12. Lahuti L.G. Music in Attar’s poems: melodies of the universe, the glorious spider and miraculous salvation. Conceptualization of Music in Abrahamic Traditions. Moscow: State Institute of Art Studies, 2018, pp. 242–251.(In Russian)
  13. Radjabov I. Treatises on music from the collection of oriental manuscripts of the Academy of Sciences of the Republic of Uzbekistan. Tashkent, 2020. 400 p. (In Russian).
  14. Radjabova M. The zeal of the Sufi dervishes, from the perspective of the saints (Samoi orifon dar aqvoli buzurgon). Vestnik Tadzhikskogo nacional’nogo universiteta. Serija filologicheskih nauk=Bulletin of the Tajik National University. Series of Philological Sciences. 2018, no. 8–2, pp. 248–254. (In Russian)
  15. Sajfullina G.R. Categories of Tatar traditional musical culture: an annotated dictionary. Kazan: Tatarskoe knizhnoe izdatelstvo, 2009. 176 p. (In Russian)
  16. Salitova F.Sh. The role of music in the system of spiritual values and culture of the medieval ancestors of Tatars. Zolotoordynskoe obozrenie=Golden Horde Review. 2021, Vol. 9, no. 3, pp. 460–477. https://doi.org/10.22378/2313-6197.2021-9-3.460-477. EDN: IWBFJU (In Russian)
  17. Sufiev Sh.Z. Genesis and evolution of the theme of “wine” and transformation processes in Persian-Tajik literature: dissertation. Dushanbe, 2017. 391 p. (In Russian)
  18. Sukhorukov A.N. Mevlevi Sufi order in Crimea in the 14th–19th centuries. Nauchnyj vestnik Kryma=Scientific Bulletin of Crimea. 2019, no. 2 (20), pp. 2–25. (In Russian)
  19. Chergeev A.A. Religious musical and poetic genres as a phenomenon of traditional music of the Crimean Tatars. Krymskie dialogi: kul’tura, iskusstvo, obrazovanie=Crimean dialogues: culture, art, education. 2021, no. 7 (15), pp. 3–5. (In Russian).
  20. Shamilli G.B. History of the music of Sheikh Abd al-Qadir Maraghi (1353–1435) in the aspect of the problem of non-orthodoxy in medieval Sufi texts. Muzykal’naja kul’tura v islamo-hristianskom kontekste= Musical culture in an Islamic-Christian context: materials of the All-Russian scientific and practical conference, Kazan, November 17–18, 2009. Kazan: Zhiganov Kazan State Conservatoire, 2009, pp. 20–29. (In Russian)
  21. Shayakhmetova A.K. Philosophical understanding of music and poetry in Sufism. Zhurnal Sibirskogo federal’nogo universiteta. Serija: Gumanitarnye nauki=Journal of the Siberian Federal University. Series: Humanities. 2022, Vol. 15, no. 1, pp. 103–114. https://doi.org/10.17516/1997-1370-0880. (In Russian)
  22. Shidfar B.Ja. The figurative system of Arabic classical literature (6th–12th centuries). Moscow: Nauka, 1974. 254 p. (In Russian)
  23. Schimmel A. The World of Islamic Mysticism. Moscow: Aletheia, 1999. 416 p. (In Russian)
  24. Akdeniz A. Analysis of kavvali religious music in terms of similarities between mevlevİ and Çİştİ sects. Black Sea International Scientific Journal. 2020, vol. 1, no. 46, pp. 413–428. https://doi.org/10.17498/kdeniz.732855. Access mode: http://dergikaradeniz.com/
    index.php/tr/sayi-46/2156-kavvali-dini-musiki-turunun-mevlevi-tarikati-ile-cisti-tarikati-arasindaki-benzerlikler-baglaminda-incelenmesi (access data 09.03.2024) (In Turkish)
  25. Djurabekova S. Arganun (Organon)-in the outlook of Medieval Eastern Thinkers. Eurasian music science journal. 2020, no. 2, pp. 85–92.
  26. Abu Abdullah Muhammad ibn Battuta Tanci. Ibn Battuta travelogue. Translation, review and Notes: A.Sait Aykut. Vol. 1–2. Istanbul: Yapı Kredi Publications, 2000, 1104 p. (In Turkish)
  27. Ocak A.Y. Marginal Sufism in the Ottoman Empire: Kalenderis 14th–17th Centuries. Ankara, 1992, pp. 112–115. (In Turkish)
  28. Riza Kurtulus, Iskender Pala. Mulemma. Islamic encyclopedia. P. 537–538. Access mode: https://cdn2.islamansiklopedisi.org.tr/dosya/31/C31010324.pdf (access data 09.03.2024) (In Turkish)

INFORMATION ABOUT THE AUTHOR

Liliya Z. Borodovskaya – Cand. Sci. (Art History), Associate Professor, Kazan State Institute of Culture (3, Orenburgsky tract, Kazan 420059, Russian Federation); ORCID: 0000-0002-5680-1187, Scopus AuthorID: 57577590100, ResearcherID: AFA-8129-2022. E-mail: lilianotka@yandex.ru

 Received  1.05.2024  Revised  31.07.2024
Accepted  30.08.2024