著者

黒柳 恒男

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.12, no.1-2, pp.1-16,168, 1969 (Released:2010-03-12)

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Pancatantra, famous collection of animal fables of Indian origin, was translated into Middle Persian by Burzoe in the sixth century, but this version was lost. In the eighth century, Ibn al-Muqaffa' translated the Middle Persian version into Arabic prose and named it “Kalila wa Dimna” after the names of two jackals in the text. This Arabic translation became the basis for subsequent Persian versions.First of all, in the tenth century the famous poet of the Samanid court, Rudaki put the Arabic version into Persian verse form at Amir Nasr's request, but no more than several verses of this epic have survived.Abu al-Ma'ali Nasr Allah, probably a native of Shiraz, translated the Arabic version into Persian prose about 1144, which was dedicated to Bahram-Shah of Ghazna. This version was made in such an elegant style that it had effect on many later Persian works, such as “Akhlaq-i-Nasiri” and “Marzban-nameh”.About the end of the fifteenth century Husain Wa'iz Kashifi made by far the best known Persian version, entitled “Anwar-i-Suhaili”, which was aimed at simplifying and popularising Nasr Allah's version. But his style was much more bombastic and florid, with many exaggerated expressions and considerably expanded parts.This bombastic version became simplified in India and Abu al-Fadl, a famous historian and minister under Akbar, compiled a book, entitled “'Iyar-i-Danish”, which was derived from Kashifi's version.

著者

黒柳 恒男

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.9, no.2-3, pp.163-186,232, 1966 (Released:2010-03-12)

被引用文献数

1

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It is noteworthy that the verdict given by Orientalists on the medieval Persian erudite scholar Nasir al-Din Tusi has changed in the course of time, especially after the Second World War. Before the War, he used to be condemned for his treachery to his master and the part played by him in the fall of Baghdad. But, on the contrary, after the War he is sometimes regarded as a benefactor to the renaissance of Islamic culture.So in this article the writer intends to re-examine his life at a crucial time through the following periods:(1)-His connection with the Ismailites.(2)-The role played by him in the fall of Baghdad.(3)-His academic activities in Maragheh.In conclusion his value should be estimated, not from the viewpoint of his political career, but from the standpoint of his great contributions to the re-birth of Islamic civilization after its destruction by Mongols.

著者

黒柳 恒男

出版者

Japanese Association of Indian and Buddhist Studies

雑誌

印度學佛教學研究 (ISSN:00194344)

巻号頁・発行日

vol.19, no.1, pp.108-111, 1970-12-25 (Released:2010-03-09)

著者

バーナード ルイス 黒柳 恒男

出版者

一般社団法人 日本オリエント学会

雑誌

日本オリエント学会月報 (ISSN:18841384)

巻号頁・発行日

vol.1, no.5, pp.45-55, 1956-09-10 (Released:2010-03-12)

著者

黒柳 恒男

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.7, no.3, pp.95-110,144, 1964

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Sufism played a great role in the classical Persian literature which flourished from the tenth century to the fifteenth century. We may regard a poet to be a Sufi by nature and a Sufi is incomplete without ecstacies of a poet.<br>The first Persian Sufi poet was Abu Said Abi'l Khair who employed ruba'i form as a mode of Sufi expression. Sanai, Attar, Rumi and Jami expressed Sufism chiefly in mathnavi form.<br>Persian Sufism found its highest expression in ghazal, the greatest exponent of which was Hafiz.<br>The conventional symbolic language is characteristic of Sufi poetry. It is said that every object mentioned by Sufi poets is typal of some philosophic or Sufi conception.<br>In this article I divided Sufi symbolic terms into the following five categories chiefly based on the great Sufi poet Iraqi's work.<br>(A) Terms on the parts of human body.<br>(B) Terms on wine<br>(C) Terms on religion.<br>(D) Terms on plants.<br>(E) Terms on nature.<br>(F) Terms on love.

著者

黒柳 恒男

出版者

日本印度学仏教学会

雑誌

印度學佛教學研究 (ISSN:00194344)

巻号頁・発行日

vol.19, no.1, pp.108-111, 1970

著者

黒柳恒男著

出版者

大学書林

巻号頁・発行日

2002

著者

黒柳恒男 土井久弥執筆

出版者

佼成出版社

巻号頁・発行日

1973

著者

黒柳 恒男

出版者

The Society for Near Eastern Studies in Japan

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.9, no.2, pp.163-186,232, 1966

被引用文献数

1

---

It is noteworthy that the verdict given by Orientalists on the medieval Persian erudite scholar Nasir al-Din Tusi has changed in the course of time, especially after the Second World War. Before the War, he used to be condemned for his treachery to his master and the part played by him in the fall of Baghdad. But, on the contrary, after the War he is sometimes regarded as a benefactor to the renaissance of Islamic culture.<br>So in this article the writer intends to re-examine his life at a crucial time through the following periods:<br>(1)-His connection with the Ismailites.<br>(2)-The role played by him in the fall of Baghdad.<br>(3)-His academic activities in Maragheh.<br>In conclusion his value should be estimated, not from the viewpoint of his political career, but from the standpoint of his great contributions to the re-birth of Islamic civilization after its destruction by Mongols.

著者

黒柳 恒男

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.17, no.2, pp.87-100,184, 1974 (Released:2010-03-12)

---

Jam-e Jam which means Jamshid's Cup, is one of the most traditional and favourite themes among the classical Persian poets. This Cup has been expressed in various names, such as Jam-e Kai Khosrou, Jam-e Jahan-numa, Jam-e Giti-numa, Jam-e Jahan-bin, Jam-e Alam-bin, Jam-e Jahan-ara, Jam-e Iskandar and Aine-ye Soleiman. Ferdousi, the greatest Persian epic poet, was the first one who used this Cup in his Shahname. He called it Jam-e Gitinumayi, which means the Cup representing the whole world, by which King Kai Khosrou found out the missing hero Bizhan. After this, this Cup was called Kai Khosrou's Cup until the twelfth century and many famous poets, such as Unsuri, Masud-e Sad-e Salman, Muizzi and Khaqani used this Cup in their poems in the traditional and mythical way.But after the twelfth century, this Cup began to be called Jam-e Jam and was employed as a mode of Sufi expression. The famous Sufi poet Sanai interpreted this Cup for the first time as Sufi's pure heart in his Tariq al-Tahqiq. After him many Sufi poets, such as Attar and Sadi adopted his interpretation. This Cup found its highest expression in Hafiz's ghazals, in which he expressed this Cup in different ways and meanings. The true understanding of this term is regarded as an important key to appreciate his implicative poems.In short, we may conclude from the use of Jam-e Jam in Persian literature that Persian poets who flourished in the Islamic periods were greatly influenced by their pre- Islamic traditions, wherein we make out the Persian cultural continuity and consistency.

著者

黒柳 恒男

出版者

The Society for Near Eastern Studies in Japan

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.17, no.2, pp.87-100,184, 1974

---

Jam-e Jam which means Jamshid's Cup, is one of the most traditional and favourite themes among the classical Persian poets. This Cup has been expressed in various names, such as Jam-e Kai Khosrou, Jam-e Jahan-numa, Jam-e Giti-numa, Jam-e Jahan-bin, Jam-e Alam-bin, Jam-e Jahan-ara, Jam-e Iskandar and Aine-ye Soleiman. Ferdousi, the greatest Persian epic poet, was the first one who used this Cup in his Shahname. He called it Jam-e Gitinumayi, which means the Cup representing the whole world, by which King Kai Khosrou found out the missing hero Bizhan. After this, this Cup was called Kai Khosrou's Cup until the twelfth century and many famous poets, such as Unsuri, Masud-e Sad-e Salman, Muizzi and Khaqani used this Cup in their poems in the traditional and mythical way.<br>But after the twelfth century, this Cup began to be called Jam-e Jam and was employed as a mode of Sufi expression. The famous Sufi poet Sanai interpreted this Cup for the first time as Sufi's pure heart in his Tariq al-Tahqiq. After him many Sufi poets, such as Attar and Sadi adopted his interpretation. This Cup found its highest expression in Hafiz's ghazals, in which he expressed this Cup in different ways and meanings. The true understanding of this term is regarded as an important key to appreciate his implicative poems.<br>In short, we may conclude from the use of Jam-e Jam in Persian literature that Persian poets who flourished in the Islamic periods were greatly influenced by their pre- Islamic traditions, wherein we make out the Persian cultural continuity and consistency.

著者

黒柳 恒男

出版者

The Society for Near Eastern Studies in Japan

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.12, no.1, pp.1-16,168, 1969

---

Pancatantra, famous collection of animal fables of Indian origin, was translated into Middle Persian by Burzoe in the sixth century, but this version was lost. In the eighth century, Ibn al-Muqaffa' translated the Middle Persian version into Arabic prose and named it "Kalila wa Dimna" after the names of two jackals in the text. This Arabic translation became the basis for subsequent Persian versions.<br>First of all, in the tenth century the famous poet of the Samanid court, Rudaki put the Arabic version into Persian verse form at Amir Nasr's request, but no more than several verses of this epic have survived.<br>Abu al-Ma'ali Nasr Allah, probably a native of Shiraz, translated the Arabic version into Persian prose about 1144, which was dedicated to Bahram-Shah of Ghazna. This version was made in such an elegant style that it had effect on many later Persian works, such as "Akhlaq-i-Nasiri" and "Marzban-nameh".<br>About the end of the fifteenth century Husain Wa'iz Kashifi made by far the best known Persian version, entitled "Anwar-i-Suhaili", which was aimed at simplifying and popularising Nasr Allah's version. But his style was much more bombastic and florid, with many exaggerated expressions and considerably expanded parts.<br>This bombastic version became simplified in India and Abu al-Fadl, a famous historian and minister under Akbar, compiled a book, entitled "'Iyar-i-Danish", which was derived from Kashifi's version.

著者

黒柳 恒男

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.7, no.3-4, pp.95-110,144, 1964 (Released:2010-03-12)

参考文献数

19

---

Sufism played a great role in the classical Persian literature which flourished from the tenth century to the fifteenth century. We may regard a poet to be a Sufi by nature and a Sufi is incomplete without ecstacies of a poet.The first Persian Sufi poet was Abu Said Abi'l Khair who employed ruba'i form as a mode of Sufi expression. Sanai, Attar, Rumi and Jami expressed Sufism chiefly in mathnavi form.Persian Sufism found its highest expression in ghazal, the greatest exponent of which was Hafiz.The conventional symbolic language is characteristic of Sufi poetry. It is said that every object mentioned by Sufi poets is typal of some philosophic or Sufi conception.In this article I divided Sufi symbolic terms into the following five categories chiefly based on the great Sufi poet Iraqi's work.(A) Terms on the parts of human body.(B) Terms on wine(C) Terms on religion.(D) Terms on plants.(E) Terms on nature.(F) Terms on love.