The aim of this study is to analyze the information in the social media which is being produced and included into the stream by mass media in the context of digital ethics and cyber security. The principles of digital ethics includes norms that takes individual’s privacy of life into consideration. In addition to being a concept related to cyberspace, computer, and computer networks, it also includes the whole human-made activities, for this reason manipulation techniques in cyberspace appear as an important (...) cyber threat to users. As it comes to the purpose of coping with cyber threats the development of digital etic rules is essential. As a result of the violation of digital etic rules, wrong and false information is formed and individuals are misinformed. In the study, social media, which aims to bring individuals together on the basis of "being the same", has been evaluated within the scope of the culture industry concept of Adorno and Horkheimer. In this direction, content with a manipulative nature has been analyzed in the context of digital ethical principles. Then, social media threats encountered in cyberspace in general and information manipulation, in particular, are compared in the context of cybersecurity strategies implemented by states. As a result, it has been observed that the manipulative nature of information increases as it moves away from the principles of digital ethics. For this reason, it has been determined that all actors of cyberspace must be effective in order to develop and apply cyber ethics rules. (shrink)

Pythagoras and Pythagoreanism have a different position in the ancient philosophy tradition. The reason for this is the eclectical structure of Pythagoreanism which has syncretized from Orphism, Indian and Egyptian religions with philosophy. Orphism of these religions is especially important for affecting Pythagoreanism the most and giving to the ancient Greek religion a mystical content. Orphism which is a mystery cult is based on Orpheus, the poet, who sometimes is identified with Pythagoras in philosophy and the history of religions. Orpheus, (...) was attributed divine character by virtue of his beautiful voice and hymns in the ancient history, has brought many religious and philosophic elements such as reincarnation and unity with God to the Greek religion. The way of life and creeds of Orphism based on asceticism and wisdom, first affected Italian philosophy starting from Pythagoras and, later influenced both philosophy and the other religions such as Judaism and Christianity through Plato. The reason for this was the Orphism’s stronger theological structure than the Greek religion had. Thus, philosophy, the Miletus philosophers tried to purify from the Homeric religion, has regained some spirituality through Orphism and Pythagoras. Pythagoras, a philosopher and a religious leader, accepted students to his philosophy school by initiation in Crotone. In this way, Pythagoreanism gained the quality of both a school of philosophy and a community of mystery. In this school, Pythagoras constituted a strong natural philosophy based on the idea of arkhe consisting of numbers, and the system of mathematics and music. At the same time, for he was a religious leader, Pythagoras used his school both to teach philosophy and to celebrate the teletaic mystery rituals of Orphism. According to the Pythagoreans, as a master, Pythagoras has united with the spirit of Dionysos and has privileged to rise to the World-Soul of God. Due to this union, it has been believed that Pythagoras received revelations from Dionysos and knew the secrets of God’s spirit. Similarly, Pythagoras’ students of philosophy also joined these rituals. They, on the one hand, witnessed to the divine union of Pythagoras, on the other hand, experienced the communication with the subordinate gods, called daemons, allied to Dionysos. Through these mystical rituals in Pythagorean school, it was believed that the philosophical knowledge was not only a reasoning, but also a divine wisdom obtained from the divine word. Therefore, Pythagoreanism accepted that philosophy is from God and it is a way of life which rises the human to the divine level. According to Pythagoras philosophy, thinking about God is equal to dealing with natural philosophy. Because Pythagoreanism, that has a pantheistic belief in God, has acknowledged God and nature as the same. Additionally, the natural philosophy of the school was established on the Monad idea which has been accepted as the World-Soul. For Pythagoreanism, Monad is not a number, but it is the ONE as the source of all numbers and a theological principle. The ONE, which symbolizes God and the cosmic unity, brings into existence the life by limiting the chaos caused by the TWO. Similarly, the TWO, not a number but a principle, has been used in a positive sense in Anaximander and was called apeiron, meant “infiniteness”. But, for Pythagoras, infiniteness was a negative circumstance. For this reason, the TWO/Apeiron has been accepted as a female being which corresponds to limitless absence and evil. By Monad’s confinement the Apeiron had been passed into the cosmos, the cosmic harmony had been balanced and a spheric being had emerged. This is “unity” which corresponds with both the World Soul Monad and the nature in the Pythagorean philosophy. This study will discuss the notion of Monad which is known as the World-Soul and God in Pythagorean philosophy, from a perspective of the history of religions. In this context, the sources and knowledge of history of philosophy will be used by methods of the history of religions. Starting from Orphism, Monad will be discussed within similar mythical elements. Thus, the origin of the Pythagorean philosophy in ancient religions will be determined and the theological infrastructure will be shown. (shrink)

Religious Reflection Scales yield cross-cultural data suggesting that religious traditions have potentials to integrate intellect with faith. This investigation extended analysis of that possibility to Sunni Muslim university students in Malaysia and also examined the hypothesis that Islamic commitments to knowledge promote religious openness. Faith and Intellect Oriented Religious Reflection correlated positively and predicted openness. The Truth of Texts and Teachings factor from the Religious Schema Scales essentially assesses a form of fundamentalism and displayed direct linkages with religious openness as (...) well. Ilm factors from the Ummatic Personality Inventory correlated positively with religious openness and mediated associations of Islamic Religious Reflection with other constructs. Quest as a presumed index of religious openness proved to be incompatible with sincere Muslim commitments. These findings supplemented previous Muslim, Christian, and Hindu data in confirming the potential openness of religious traditions. (shrink)

This study aims to reveal high school students’ perceptions of COVID-19 and schools in the pandemic process through metaphors. In the study, phenomenology research design based on the qualitative research method was used. The study was carried out with the participation of 134 students at all grade levels from high school. The data were analyzed by content analysis. The metaphors were categorized according to their similarities, and their frequency values were calculated. Seventy-six metaphors and eight categories about COVID-19 were reached, (...) and “flu,” “prison,” and “snake” are the metaphors that have the highest frequency values. They explained the metaphors by making associations with the disease, fast-spreading and damaging things. In the COVID-19 process, 78 metaphors and eight categories were found out for the school. Based on the metaphors created by the students, suggestions were made depending on the research results. It was determined that students had negative perceptions about the COVID-19 pandemic and the school in this process, and it was suggested that this could be eliminated again with educational activities. (shrink)

The dervish lodge cuisine in the Ottoman lodge structuring has a central importance. The lodge cuisine helped Anatolia turn into a homeland. Travelers took shelter in the lodges in Anatolia. So, these buildings were a safe haven for those who travel. Lodge’s kitchens were always open. These kitchens offered a delightful “Sheikh Baba’s Soup” anytime and these kitchens gave peace and serenity to Anatolia. This article analyzes the Ottoman lodge food culture in the context of a manuscript which belongs to (...) an imaret. This manuscript called Majmūʿa al-fawāʾid was written in between 1240-1250 (1825-1835) in Istanbul. This work belongs to the period of Sultan Mahmud II and the Hudāyī Lodge Foundation. Institution Employees and accounting records were disclosed in this manuscript in which the names of kitchenware are mentioned and recipes are found. This work gives detailed information about foods that are cooked in the Hudāyī Lodge Foundation’s imaret kitchen. -/- SUMMARY Eating is thought always to be important and it is considered worthwhile to eat with guests and travelers in Turkish culture. In the process of Islamization, the dining table was accepted “Halil İbrahim’s Table” and this approach has strengthened further the hospitality. Eating with people, preparing the table for the guests, travelers and the needy were regarded as a factor increasing the fertility of the table. In addition, these movements were considered an act of social cooperation and deepen the collective consciousness. Especially the sufis played a dominant role in the process of Islamization in Anatolia and depending on this, they undertook various social and cultural functions that including catering. In this regard, the lodge was seen as a complex and this structure encompasses different units such as imaret or soup kitchen, mosque, tomb, library, dervish cells, public fountains, bakery and bathhouse. Travelers stay in the imaret and supply their needs, they also nurture themselves spiritually as well. Lodges were a safe haven for these travelers and lodge’s kitchens were open every hour of the day with serving the delicious “Father’s Soup.” Therefore, lodges became a representative of peace. These kitchens take reference the advices of the prophet about eating and serving meals. In addition, the effects of the old Turkish culture and of the Yesevī tradition on these kitchens are witnessed. While many documents related to the food culture in Anatolia could remain to us, regarding the life of lodges especially, information about the kitchens is still limited. Ali Eşref Dede’s cookbook, Yemek Risalesi, is one of the works written about the dishes of Ottoman period. This work is very important in relation to the Mevleviyye as well. This manuscript was written in the 19th century by Sheikh Ali Eşref Dede at Edirne. Majmūʿa al-fawāʾid, one of the other important sources that should be included in the Ottoman lodge food literature. This manuscript is registered in the Istanbul Metropolitan Municipality Atatürk Library Muallim Cevdet Yazmaları (number, 224). Two works were written in the same century. In Majmūʿa al-fawāʾid there are some financial and agricultural information concerning to “Hüdâyî Lodge’s Foundation”. This manuscript includes valuable information about accounting records and officers employed in imaret and other institutions. On the other hand, there are various recipes in this manuscript about the imaret meals, also lists of kitchenware and food materials. This record is thirty pages and was written during Mahmud II. period. Majmūʿa al-fawāʾid is related to Aziz Mahmud Hudāyī Lodge that is placed in a high and strategic location in Uskudar that connects Istanbul to Anatolia. This was a complex structure and established in a place of ten thousand square meters. It consisted of imaret, sheikh’s house (haremlik), mosque, tomb, library, dervish cells, bakery and bath. As mentioned above, Majmūʿa al-fawāʾid contains important information about Aziz Mahmud Hudāyī Lodge’s kitchen and recipes. In fact, the manuscript also provides several alternatives to some of the recipes. This record exhibits the structure of the order and the nutritional forms of the Sufis. Thus, to some extent, it is possible to analyze the theoretical and philosophical direction of the order. Because eating in the lodges is not an action just to satisfy a person's stomach. Rather there is a dining ritual in the lodge. In this frame, the importance of the dining table was emphasized in the lodge tradition in the dimension of human education and socialization. In the sense of Sufism, the information about food reveals symbolic and allegorical meanings, sometimes directly or indirectly. Rituals related to food are closely related to the educational process of the dervishes. In this respect, on the sacred journey of dervish it is necessary to eat food permissible in the religion. In this regard, the books about the customs of the order contain considerable information. Giving valuable information about meals Majmūʿa al-fawāʾid contains main course and dessert recipes. It revealed the food habits of the dervishes and the people who were living at that time. The recipes also contain some interesting features applicable in the Turkish kitchen today. In addition, the names of meals and desserts contribute to the richness of the Turkic language. There are soups and salads, meat grills and stew varieties, fish dishes, pastry varieties, dessert varieties, cookies and halvahs. Meals are cooked with butter mainly. Lamb and sheep are preferred in the meals. The use of spices is high. For example, cinnamon is used even when cooking meat and fish. The manuscript seems to have thirty recipes but there are also different cooking methods in the manuscript. Different cooking methods were used together in some meals as frying, boiling and baking. For this reason, the number of recipes in the manuscript increases even more. This article entitled “The Ottoman Dervish Lodge Cuisine and Majmūʿa al-fawāʾid” has been latinized by simplifying the manuscript based on with a single copy. In this article the place and importance of the lodge cuisine in a mystical life has been analyzed in addition to presenting valuable information about the literature that is related to the Anatolian Lodge Cuisine, the Ottoman Cuisine, and recepies cooked in the Ottoman. Furthermore, the work briefly presents some about the lodge because it is related to Aziz Mahmud Hudāyī lodge. Moreover, a dictionary section has been added for understanding the relatively abandoned words in the manuscript. Similarly, measurements and weigh units are briefly given in Majmūʿa al-fawāʾid. (shrink)

Eşrefoğlu Rumi and Ümmî Kemal are prominent practitioners of Ottoman Sufi poetry—literature that emerged from the environment of Anatolian Sufi orders. The parallel histories of the transmission of their two divans help clarify details of the poets’ lives. Conversely, biographical facts may help explain details and oddities of those transmission histories, which themselves may also illuminate features of the late fifteenth- and sixteenth-century Ottoman religious and political landscape of increasing theological rigidity in the face of Safavid pressure and probable persecution (...) of those deemed beyond the pale, features that are still poorly understood. In light of a recent essay by Walter Andrews on prevailing editing practices in Ottoman literature, I offer a critique of the recent handling of both divans. After noting previously unrecognized copies of each, I also make suggestions for further study of their poems. (shrink)

The Late Bronze Age gypsum mould discussed hère was first interpreted as a gold worker's mould. It wears the matrices, for the "lost wax" process, of three figures. At one side, a man is shown holding a jug in each hand and wearing a short kilt and a short-sleaved, tightly fitting garment. He probably formed part of a ritual scène. At the other side are two figures fighting with spears and wearing kilts with horizontal stripes. They may hâve formed a (...) "lutte sportive", a fréquent thème in Aegean iconography. The object under discussion is actually a mould for the décorative éléments of a four-sided bronze stand. Such stands are well known in Cypriot bronzeworking and this mould expands their décorative repertory. (shrink)

In this article, it is often pointed out to a more specific area by using the term Ṣūfi art on the basis of the aforementioned understanding. Thus, an analytic approach is adopted along with the usage of deductive method, and a layer of meaning is tried to be established through criticism and analysis. Firstly, a basic framework was constructed by mentioning the origins of Ṣūfi art. Then the attention was drawn to the sacredness included in Ṣūfi art in terms of (...) its historical frame and ontological structure. It is asserted that Ṣūfi art is based on four basic arguments: beauty, creativity, transcendence, and imagination. Ṣūfis considered art as an activity of beauty and the expressive power of it. Relying on the basic motive that Allah is the Greatest Artist, the Ṣūfis believe that the beauty of their art is a manifestation of Divine Names. They saw art as an expression of manifestation and unveiling. The Ṣūfis, who deemed the world in terms of Divine Beauty (Jamāl), witnessed the manifestations of the Divine Attribute of Beauty in all things; as a result of this witnessing, the masterpieces of Islamic art came into existence. It is the sapiental and the gnostic outlook that underlies this success of the Ṣūfi orders (tariqa) in Islamic history. In Ṣūfism, the perfection (kamāl) presupposes the beauty (jamāl); and each beauty presupposes also the perfection. Therefore, it is not possible to distinguish beauty from perfection in the Ṣūfi art. The sense of loving the beauty is so strong for them that they have tried to reflect the perfect beauty they witness in their works of art, to give an external presence to the phenomenon of beauty and to make the spiritual reality visible that is innate within their beings. Ṣūfism is in a sense an effort to seek beauty. It has been an endless longing to seek, search and witness The All Beauty, that is God Himself. The effort to search for Divine Beauty is sometimes revealed by tune, and sometimes by harmonious words or by a single line. Then, they turn into music, poetry, calligraphy and illumination. According to the maxim stating “There is a path from heart to heart”, these works were transmitted from one generation to another, ensuring the continuity of this Divine tune. Despite the fact that Ṣūfi works make no pretensions to be art as such, they were widely accepted, influenced the masses and gained appreciation in that they were created by people with a sincere heart, intimate sentiments and a deep world of contemplation. The second stage of the gnostic dimension in Islamic arts has been tried to be expounded through the ultimate goal of Ṣūfi art. In Ṣūfi tradition, the aesthetics and sensitivity of art attract attention at every opportunity, but the Ṣūfis did not consider art as their main aim. For them, art denotes only a means. Ṣūfis, who appeal to the eyes, ears and mind with the artistic forms, endeavoured to permeate to the hearts with the spiritual atmosphere provided. With their performances, exuberance and success in different branches of fine arts, they mobilized the aesthetic sentiments in each person's nature and ensured that the human pleasure become accorded with the divine pleasure. Focusing on the sapiential and gnostic dimension of Islamic arts, the basic principles of Ṣūfi art are emphasized as the third stage. It is also suggested that these principles also have a religious content are marked with religious style, have a strong sense of sacredness, possess generality and the peculiarity, have symbolic and representative aspects, are based on symbolism and have traditional characteristics, their style of expression is based on revelation, and are not intended to provoke carnal desires. As to the fourth remarkable factor within the sapiential and gnostic dimension of Islamic art, the Ṣūfi worldview behind the mentioned artistic works is given. As to the fifth remarkable factor in the gnostic dimension of Islamic arts, the thought behind the world of art sustained in the dervish lodges (tekke) is discussed. These dervish lodges were emphasized as the most important places where the beautiful word, beautiful sound and beautiful line converge and these lodges were evaluated as the kitchen where the fine arts were prepared and as the boiler where the arts are cooked. It is due to these features that each of the dervish lodges in Ottoman Empire became a kind of education and fine arts centre. In these lodges, many musicians, composers, poets, illuminators, bookbinders, carvers, engravers and marbling masters were trained. While the dervishes in the dervish lodges exhibited their own unique works of art, they also carried out the requirements of their spiritual trainings (sayru sulūk). (shrink)

Hurufat registers are important archival documents that show the regional practices in a city. The dervish lodges and zawiyas in Izmit were recorded in those registers between 1711-1806. This study mainly focused on four dervish lodges, three zawiyas, and one tekke. The units in the derwish lodges and zawiyas that have survived today are shrines and public baths. According to the obtained registers, the dervish lodges and zawiyas in the Izmit district were mostly located in the central neighborhoods, and (...) a few were in villages and hamlets. This study dealt with four dervish lodges, three zawiyas, and one tekke. As can be read in the registers, the study findings showed that the sects of "Mevleviyye," "Halvetiyye," and “Bayramiyye” had several lodged and zawiyas in the city that were categorized under three groups (i.e., dervish lodge, zawiya, and tekke) in our study. The name and duty of founders (bâni) in archival documents are acknowledged as historical documents. This study aimed to present information about the appointments, positions, founders, and assets in structures that have not survived to the present day, thus enlightening the period. It also gave information about the restorations, construction plan and material, and the current status of the surviving dervish lodges and zawiyas, supported with images, archive documents, and field research findings. The mentioned structures (i.e., the dervish lodges and zawiyas) were architecturally classified in the light of archive documents and old images. The regional plans were also considered in describing the locations of the lodges and zawiyas in the city. In this sense, the topographical and architectural information about the dervish lodges and zawiyas in İzmit was valuable information sources. (shrink)

Prvi deo ovog rada predstavlja kraci uvod u sufizam kao osobeni vid ispoljavanja unutrasnje, misticke dimenzije islama. U tom odeljku razmatra se povest, doktrina i ritualna praksa glavnih derviskih redova. U drugom delu, koji se uglavnom temelji na autorovom preliminarnom terenskom istrazivanju postojecih derviskih zajednica u Bosni i Hercegovini, vise paznje posveceno je ozivljavanju islamskog misticizma u savremenom kontekstu. U terminima sociologije religije, revitalizacija sufizma u BiH bi se mogla razumeti u sirim okvirima obnove klasicne religioznosti na Balkanu. Nakon Drugog (...) svetskog rata bila je na snazi dugogodisnja zabrana delatnosti derviskih redova u BiH, cemu je najvise doprinela modernisticki nastrojena Islamska zajednica koja je imala podrsku vladajucih struktura. To, svakako, treba uzeti u obzir kada se razmatra pitanje odnosa izmedju islamske ortodoksije i misticizma. Potpuna obnova sufizma usledila je tek devedesetih godina, po raspadu Jugoslavije i zavrsetku ratova. Tu je, dakle, rec o obnovi klasicne religioznosti, jer se sufizam, jos od osmanskog perioda, razvijao unutar ortodoksnog islama u Bosni. (shrink)

Hājjī Bayrām Walī’s religious guidance activities that he took over from Somuncu Baba (Ḥamīd al-Dīn Aqsarāyī) were not limited with Ankara and nearby it. These activities continued by expanding with Bayrāmī tekke lodges and zāwiyas which were established by khalīfas trained by him. As a result of this expanding, Shaykh Luṭfullah, one of the khalīfas, led to establishment of waqf and works related to it such as mosque, madrasah and zāwiya in Balıkesir and nearby it. There has not been (...) any detailed study about life of Shaykh Luṭfullah and his services. In this article, the waqf established by Shaykh is analyzed in terms of its trustees, sources of income, in charges, repairs and inspection of zāwiya. Documents analyzed for this article present that Shaykh Luṭfullah contributed to taking shape of religious and cultural structure of Balıkesir and nearby it in the 15th century. His services were not only on spritual bases under the roof of the mosque but he also had an effect on the economic, social and educational life of the region. Thus, Shaykh Luṭfullah and his zāwiya set an important example of the active and dynamic aspect of Anatolian wisdom (irfān) involved in life.Summary: Hājjī Bayrām Walī’s religious guidance activities that he took over from Somuncu Baba (Ḥamīd al-Dīn Aqsarāyī) were not limited with Ankara and nearby it. These activities continued by expanding with Bayrāmī tekke lodges and zāwiyas which were established by khalīfas trained by him. Hājjī Bayrām Walīwas one of the leading sufis who contributed to the formation of sufistic educational tradition. He played a role as an important attraction center in the middle of Anatolia and provided guidance for significant individuals such as Aq Shams al-Dīn (d. 863/1459), Yazıcızāde Muḥammad Bīcān (d. 855/1451) and Eşrefoghlu Rūmī (d. 874/1469-70?). One of such individuals, who completed his spiritual journey under the guidance of Hājjī Bayrām Walīwas Shaykh Luṭfullah from Balıkesir. He became khalīfa at the end of his duty with Hājjī Bayrām Walī. Luṭfullah Efendi descended from Isfendiyarids ancestry. He had left his job, in which he held a high position, and attended to the sect and settled in Balıkesir city. There is limited information about him, but it is known that he went to Ankara in order to help to establish Turkish bath upon the request of some significant figures of the time and there he met his mentor Hājjī Bayrām Walī. As a result of their conversations, the two became close to each other.Shaykh Luṭfullahinvited Hājjī Bayrām Walīto Balıkesir where their relation continued and increased. Luṭfullah Efendi established a beautiful house for his Shaykh Hājjī Bayrām Walīwho stayed in Balıkesir for a while. When he left for Ankara, the Shaykh charged Luṭfullah Efendi with the duty of spreading Bayrāmiyyateachings in Balıkesir and its neighborhood by entitling him as ‘Khalīfa’. Besides the fact that the exact date of his death is not known, it is recorded that Luṭfullah Efendi died at the beginning of the period of Meḥmed II’s (1451-1481) reign. His tomb is located in ahazire(an Ottoman word used for burial area reserved for special people especially in mosques or sufi lodges) in the Mosque called with his name after his death. It is known that Shaykh Luṭfullah had a son named Bahā’ al-Dīn (d. 895/1489-90)and a grandson named Shaykh Muḥyīal-dīn Meḥmed (d. 952/1545-46). Shaykh Luṭfullah carried out significant services in the mosque and zāwiya, which he built with his own budget and he contributed to various important and permanent services that continued throughout centuries. However, as much as we could determine, there is no study about the waqfor service fields of his buildings. In this article, the goal is to analyze some of the tangible surviving heritages of Shaykh Luṭfullah. The analysis is based on the documents in the related archives. In this context, mosque/waqfestablished by Shaykh Luṭfullah Efendi is analyzed under the subtitles of “administrator, resources of income/real properties, his servicemen, renovations-expenses of the mosque and inspection of the zāwiya”. Based on the relevant archive documents, it is understood that after the death of Shaykh, in order to be able to continue the services of the mosque and zāwiya, the authority of ruling his waqfpassed to his son, MawlānāBahā’ al-Dīn. It is known that Bahā’ al-Dīnwas very careful about the distribution of his father’s waqfincomes among the ones in need. He also established a sūfī-hāne building in Balıkesir. After Bahā’ al-Dīn, his son Muḥyīal-dīn Meḥmed (the grandson of Shaykh Luṭfullah) took the charge of the waqf. After his period, this duty continued to be spread among his ancestry until the beginning of the last century. The waqfcontinued to the services through the income obtained from the real estates. Based on the analyzed documents, it is determined that income-expense calculations of the waqfwas inspected from time to time, and the services of zāwiya was controlled occasionally in order to see if they continue to do so. Shaykh Luṭfullah Mosque, one of the most important historical artifacts in Balıkesir, has served Muslims for almost five hundred years and it went through various kinds of repairs. It is deemed suitable to analyze reparations, expansions and renovations in two different groups: Before Balıkesir earthquake in 29 January 1898 and after the earthquake. It is important to know that almost fifty percent of houses and buildings in Balıkesir city center was completely destroyed, many people died or seriously injured in the earthquake. Shaykh LuṭfullahMosque was completely demolished as well. It should be mentioned that the mosque had already been in bad condition before the earthquake. According to a document written one week before the earthquake, the mosque was very old and it could not meet the demands of the community any more as it was so small. After the devastating earthquake, ‘Abd al-Ḥamīd II ordered its renovation. Upon this order, the mosque was rebuilt and expanded. The name of ‘Umar ‘ᾹlīBey, Mutasarrıf(governor of an Ottoman province) of Qarasīis mentioned in the documents about the renovation of various buildings including Shaykh Luṭfullah Mosque after the 1898 Balıkesir earthquake. It is seen that various services in different positions were provided in Shaykh Luṭfullah Mosque where the mosque workers were the ones who mainly carried out these services. These duties were: “Imamate, oratory, muezzin-tutor, ministry and nāsih, children’s teacher, ferrāş, tabbākh and supervision”. These duties show that besides religious services, Shaykh Luṭfullah waqfused to provide educational services as well. On the other hand, based on the analyzed documents, we can assume that the needy could eat in this center, which used to serve like a social aid and solidarity waqf. In this article, specific detailed information is presented about some workers served in the waqf. Information about the name, date and salary of these workers is also included. When the waqfand services of Shaykh Luṭfullah are analyzed, it can be seen that he was a significant figure, carried out important missions just like his mentor Hājjī Bayrām Walī. It should be noted that Luṭfullah Efendi used to conduct sufistic conservations in the mosque he established but did not make religious ceremonies in his zāwiya in Mihaliç (Karacabey); he preferred to transform it into a center in which the needy can be fed and provided for their needs. In this respect, the Zāwiya of ShaykhLuṭfullah sets a significant example, which duly presents the active and dynamic aspect of Anatolian wisdom. (shrink)

As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music (...) became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Qur'an are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal (permissible) or haram (prohibited). Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf (Islamic Mysticism), also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music (also known as Tasawwuf Music). Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Qur’an recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Qur’an is recited according to the Maqam (Melodic modes of recitation) requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Qur'an and the scientific understanding of music. When a connection between the Qur’an and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name “Fem-i Muhsin”. Hafız (a title used for a person who has memorised the Qur’an in its entirety) Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Qur'an education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Qur'an education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Qur'an to a degree of perfection and was proud of being a Hafız, where he believed that the Qur'an harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Qur’an according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Qur’an recitation, Hafız Bekir was able to take the listeners on a spiritual journey. A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Qur’an recitation according to the Istanbul Maqam style. In this study, Hafız Bekir’s dual identity as both a musician and Qur’an Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Qur'an education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties. (shrink)

This study aims to reveal the Turkish religious music practices of Jawharism, a sect based on Qadiri and Rifai, founded in Bagcilar, Istanbul. The historical process of the establishment of Jawharism was firstly mentioned, and then the musical activities of the "Association for the Promotion and Sustenance of Sufi Music and Culture", which enabled it to spread in a cultural sense, were discussed. As a result of archives, interviews and observations, the relationship of Jawharism with music was determined, the types (...) of music performed in the dhikr and the compositions belonging to the lodge were identified. In addition, through the sound recordings and note archives obtained as a result of the research, the works specific to the lodge were arranged and notated, and it was aimed to introduce the Turkish religious music repertoire to new works. Genres such as salawat, imamet, tasbihât, istighfar, taravih composition, odes and hymns are performed in the lodge, and especially the compositions of salawats and tasbihâts in the maqam of uşşak, rast, hicaz and segah are sung specifically for the lodge. Meşk evenings are also organized and many hymns, suğl, tevşih, nefes, mersiye, etc. are practiced. Composed genres are performed. The problem of this study is, is the relationship between dhikr and music of Jawharism compatible? How is the statues of Jawharism in Turkish religious music?, Qualitative research methods such as source scanning, data collection, sampling, comparison and citing sources were used in our study determined as a method. We can express the importance of this study as the importance of Jawharism's relationship with music, as it used music effectively and trained many musicians and composers. (shrink)

Sheikh Halid Sufi, as a Sufi poet, addresses human being as the main subject of his sufist dicourse. He is an important figure of our recent history as he primarily adopted the goal of human perfection and revealed a doctrine of humanity in the school of knowledge. In advance of our current century, when human is seen just in physical respect, he lived as a man of heart who handled human being with an integrated approach within the aspects of matter (...) and spirituality, the world and the hereafter, individual and community, body and soul. In this communiqué, I will discuss Sheikh Halid Effendi’s ontology and his point of view on the place of human being in the realm of existence. He seeks human perfection and wishes people to free themselves of shabby desires and regain their disposition. He recommends people to achieve purity in order to reach the rank of being a mirror to God’s reflections. As a Sufi poet, he attaches importance to carrying out the education of divine journey, wrapping up in mystical ethics, having the identity of wisdom and gaining the aesthetics of love so as to reach the perfection. SUMMARY Sheikh Mehmed Halid was born in 1273/1856 in Sivas. He graduated from Ottoman Junior High School. He attended the 1893 War. In 1880, he started his professional career at a state office. Until 1899, he served in several positions, as assistant judge in Erbaa Lower Court, as Prosecuting Deputy Attorney in Sivas, as Prosecuting Judge assistant in Lower Court and head clerk in Darende, as head clerk in Lower Court in Tonus/Altınyayla, and as prosecuting judge in Kuruçay. He died in 1931 and was buried in Sivas Yukarı Tekke Graveyard. Sufism (tasawwuf) is an education for integrity towards maturity, in a way to prufiy the self from evils of nafs (self) and to reach the love of Allah. This spiritual educational journey is called ‘Seyr-u Suluk’. Sheikh Mehmed Halid completed his Seyr u Suluk as a dervish (student) of murshid (mentor) Kastamonulu Ganizade Mehmed Sadık Baba. Sheikh Mehmed Halid wrote three books called Hilafetnāme, Mektubāt, and Divan. He deals with issues of Sufism (mysticism) in these works. Primarily, his works dwells into the matters of morals, worship, good manners (adab), customary practices, ingenuity, existence, and love. Sheikh Mehmed Halid’s sole attempt is to explain the relationship among Allah, man and universe in an understandable way. According to Sheikh Mehmed Halid’s conception of Sufism, existence is unique and that existence is only Allah. The existence of Allah is absolute while the existence of assets is relative. Things do not exist on their own. Universe is like a mirror. What is reflected in the mirror of universe are the shadows of Allah the Omnipotent. The graces of The Divine are reflected in this mirror. All the things that exist in the universe proves the Self of Allah and his properties. Each of the things in the universe are the words of Allah. The existence of the universe is a result of Allah’s mercy. Man is the fruit of the tree of the Universe.Man is both the embodiment and the reflection of Allah. We want to discuss the position of man in between Allah and the universe with Sheikh Halid’s verses. Perceiving plurality in unity and unity in plurality, Sheikh Mehmed Halid attributes the variety of things and existence in the universe to the Divine beauties of Allah. For those who can comprehend, the plurality/ abundance in existing objects in the universe indicates singularity and uniqueness of Allah. According to Sheikh Halid, Allah is independent from and beyond all the entities that exist in the universe. However, Allah, manifests Himself in the things that he creates and the actions he takes through His divine names and properties. According to Sheikh Halid, each object is a reflection of Allah’s divine properties. Every entity in the universe glorifies Allah with all their existence. For Sheikh Halid, Seyr u Suluk is the journey from weakness to perfection, from substance to meaning, and from things to reality. Considering Seyr u Suluk education as distancing one’s self from other beings, reaching purity of heart, disposing of all signs explains these concepts with pilgrimage metaphor. As a response to those who asks him what he meant by seyr u suluk, he says seyr u suluk is servitude and submission to Allah. In order for Seyr u Suluk to be meaningful, a person should enter the way of a murshid-i kāmil (perfect religious mentor), and should have sincerity, purity (being deprived of all sins) and dhikr. According to Sheikh Halid, someone who is not in trouble is not given a remedy. So as to bother is necessary for remedy to be arisen. Nuisances of the universe are also ephemeral as the universe itself. Therefore, it is unnecessary to bother things that are ephemeral. Because remedy is not available without being mature. According to Sheikh Halid, the procedure of gaining advantage from being mature; getting rid of the ego, feeling the love, being pioneer of the mission, being modest, to attain soul pleasure, escaping from fame, leaving the claim, the glory of salvation, proceeding dhikr, reaching the conquests and escaping from friendship of worldly things. According to Sheikh Halid, being mature is not setting about affiliation ceremony. Asceticism cannot be a show and claim authority. Sincerity is needed on the basis of seyr u suluk education. Asceticism which is an effort of making the religion a specific of Allah is to make intimacy with Allah. Sheikh Halid wants his murids who take part in ṭarīqa (sufī path) to decide on the sincerity. Sincerity is said to be the unique factor that makes sense the membership. Seyr u suluk which begins with being membership of mature murshid, which makes sense with proceeding worship and respecting the sincerity arises by teaching manners to soul. Seyr u suluk is trying to reform the soul. Teaching manners to soul is a challenging and significant task. The most important factor that ensure teaching manners to the soul to be achieved is dhikr. Dhikr practice which makes successful the teaching manner to the soul of seyr u suluk training increases the prudence and foresight of dervish. The unique task that murshid expects from his murid during the membership process is to adjust his soul and parlance to the dhikr of Allah. Dhikr of Allah is a product of fondness. According to Sheikh Halid, one who wants to be remembered in heaven should himself learn to remember Allah. Sheikh Halid gives too much importance to disciplining the tariqa where sufi training takes place. A murid should qualify his murshid whom he intimated to. Followers should gain sufficient advantage from the spiritual atmosphere in the dergāh of their murshid. The murid must be at the service of the murshid who trains him and should obey tariqa manners. Salik who achieves seyr u suluk, who maturates the sufi ethics and who gains sincerity through dihkr of Allah tries to achieve the Gnosis. The intent of being a human is to know Allah. The biggest disaster for human is to come upon unawareness. Sheikh Halid who assumes the the Arifs as sultans of walayah makes a comparison between the Arifs and the Zahids and prefers the Arifs. He thinks that the Zahids pay attention to the appearance, cannot reach the basis and cannot go beyond Allahliness show. Sheikh Halid, who encourages the Zahids to avoid comparing themselves with the Arifs, warns the ones who combat with the Arifs and reminds that Allah proclaims warfare to those who has hostility towards those surrendering themselves to Allah. Sheikh Halid lines up the ways of being mature and having wisdom as godly grace, asceticism, love, the mind of leaving, battle with the self, humility, dikhr and being woeful. Salvation process which Marifetullah will guide is to achieve the love of Allah. Love is the way of achieving the reunion. The reality can just be gained through love. However, gaining the divine love requires to be loved. Because, the way of gaining the divine love is to remove everything except Allah from one’s heart. (shrink)

With this study we have done on the nawba, which was widely performed until about a century ago, but whose examples we can not find very often in our geography today, new information has emerged about its performance in different places and times. We first became aware of the nevbe record, which was recorded with the personal efforts of Hasan Sevil, in 2018, and as of 2021, we started to work on this record for approximately one hour. We examined the (...) flow of this performance, which was performed with the participation of 14 people, and recorded some of the naşîde and hymns. We talked to the head of the nawba, Sheikh Muhammed Kayali, for detailed information about our deficiencies in the lyrics and the performance of the nawba. The Kayali family has continued the mystical tradition in Haleb since Sheikh İsmail Kayali. In 2013, a part of the family immigrated to Turkey by necessity. In this way, we gained new information about İsmail Kayali, Kayaliya tariq and mystical culture, about which we do not know much. With this study, we aimed to give the general flow of the nevbe form and some examples of naşîde through the example of Kayaliya. Since the notation of all the performances in the recording would be too much for the volume of the article format, we thought it appropriate to consider them in a larger study. (shrink)