چکیده:
The use of imagery in Sufi didactic texts is generally either for decoration or for clarification. Najm al-Din Razi in Mersad al-Ebad utilizes imagery for both reasons, but his primary goal is to make mystical concepts tangible. To this end, the author employs various techniques and has attempted, among others, to present clear and tangible visual clusters through relevant comparative additions to explain predominantly complex mystical concepts. Careful examination of this didactic text reveals that the author has a preference for specific visual clusters. The problem of this research is the reason for the repetition of specific visual clusters in Mersad al-Ebad and the frequency order of each of them. The results of the research show that the educational function of visual clusters is formed through imagery based on the lifeworld of the audience and the correspondence between content and image. Najm Razi has used imagery from domains of daily Iranian life, government, agriculture, travel, education and writing, nature, stories of prophets, and images related to birds to facilitate the teaching of mystical themes. Additionally, the correspondence of visual clusters with the subject is another of his didactic techniques. He uses images related to 'travel' to explain the theme of سلوک (spiritual journey), images of 'agriculture and farming' to explain concepts related to ontology, images related to education and writing to express concepts such as following the Pir (teacher) and creation (insha), and images related to birds and flight for the theme of the captivity of the human soul and the necessity of its return. In this way, in addition to literary ability, he has demonstrated his art in the matter of education.
خلاصه ماشینی:
Najm Razi has used imagery in the domains of everyday Iranian life, government, agriculture, travel, education and writing, nature, stories of prophets, and images related to birds, has used to facilitate the teaching of mystical themes.
In this section, only the origin of the images chosen by Najm Razi, the extent of use and frequency of each image, and most importantly, the reasons for the author's inclination toward specific imagery clusters for presenting and explaining mystical themes are analyzed.
Zahra Taheri (1395), "Stylistic Investigation of the Visual Language of Mirsad al-Ibad," is an article that, in the eleventh symposium on the promotion of Persian language and literature, addressed the structures of imagery and thought of Najm al-Din Razi and concluded that the author, for the purpose of teaching, avoided ambiguity and complexity, and most imaginary forms were taken from nature and tangible matters.
To explain and clarify his intellectual system, Najm Razi has spoken in the section on 'origin' about the subject of the Muhammadan reality, the relationship between man and God and the vicegerency of man, the purpose of creation, the flow of love in existence, types of knowledge and true knowledge; in the second chapter, about the conditions of spiritual path (suluk); and in the chapter on 'return' about the place of return for human souls, as well as other complex mystical topics and matters, and in all cases, he has utilized imagery.
(
, 
, 
)
