Showing posts with label Sufism. Show all posts
Showing posts with label Sufism. Show all posts

Friday, July 17, 2026

Love Is the Only Religion | The Life of Rumi

He is one of the most widely read and popular poets of all time globally. He wrote primarily in Persian, and also in Arabic, Turkish, and some Greek. And he's been dead for almost 800 years. His name is Jalal ad-Din Muhammad Rumi. And to become the voice millions turned to for love, he first had to lose the person he loved most. This is that story.

Whirling Dervish in Konya, performing the Mevlevi Sema, the sacred Sufi dance where continuous spinning symbolizes the spiritual journey toward divine love.


In 1207, in Balkh—a jewel of the Persian world—a boy is born into a family of immense prestige. His father, Baha al-Din Walad, is a towering theologian and mystic, known as Sultan al-Ulama—the Sultan of the Scholars. The whole city expects greatness from this child. Rumi grows up a prince in a kingdom of knowledge, surrounded by philosophy, theology, and law. His mind is a sword—sharp, brilliant, and disciplined.

Blue Mosque of Balkh. In 1220–1221, Genghis Khan’s forces annihilated the city  in modern-day northern Afghanistan. Despite its peaceful surrender, the Mongols massacred the population and leveled the city's infrastructure. This catastrophic sacking left one of the Silk Road's greatest centers of learning in ruins for over a century.

Then, 
Mongol armies sweep across the land like an apocalypse, reducing entire cities to ash. In 1214, Rumi’s family flees their Transoxianan homeland, refugees with a library on their backs. Early on, he learns his first great lesson: Everything you build can burn. Everything you love can be lost.

» Don't grieve. Anything you lose comes round in another form. «

On the road of exile, in the city of Nishapur, an old poet named Attar, one of the greatest spiritual masters of the age, sees the father walking ahead of his quiet, thoughtful son. Attar gifts the young Rumi a copy of his own mystical epic, the Asrar-Nama (The Book of Secrets), and utters a prophecy: 
 
» Here comes a sea, followed by an ocean. Your son will one day set the hearts of the world on fire. «

Years of wandering follow until in 1228 the family finally settles in Konya, a prosperous sanctuary in Anatolia. Rumi is now 21 years old and his life begins to take root. He marries his childhood love, Gawhar Khatun, and they have two sons. When his father passes away in 1231, Rumi inherits his position as head of the madrasa (theological school). For the next nine years, under the guidance of his father's finest disciple, Sayyid Burhan al-Din, he hones his craft. 
 
» He whose intellect overcomes his desire is higher than the angels. «
 
He masters law, ritual, and complex theology—the outer dimensions of faith. By the time he is 37, Jalal al-Din reaches the pinnacle of worldly and religious success. He is the most celebrated scholar in a city of scholars. His life is a portrait of pious perfection—orderly, respected, and intellectually fulfilled. He builds a fortress of knowledge around himself, a perfect world with no room for doubt. Yet behind his eyes lies an emptiness he cannot name. Admired by many, he feels understood by none.
 
Jalal al-Din Rumi (1207–1273), Persian Sufi mystic, theologian, and poet who spent most of his life in Konya, where his encounter with Shams of Tabriz transformed him from a respected religious scholar into an ecstatic singer of divine love. He is best known for his lyrical Divan-e Shams-e Tabrizi and the didactic Masnavi, and remains one of the world's most widely read spiritual poets, inspiring the Mevlevi "whirling dervish" tradition and cross-cultural seekers centuries after his death. 
» Your son will one day set the hearts of the world on fire. «
  
Suddenly, a wild, 60-year-old wandering dervish walks into his life: Shams of Tabriz. He asks Rumi a single, piercing question: "The great mystic Bayazid once cried out, 'Glory be to me, how magnificent I am!' Yet the prophet Muhammad, peace be upon him, closer to God than any man, confessed, 'We have never known you as you truly deserve to be known.' So tell me, how can this be? Why did the lesser man boast while the greater man bowed?"
  
Baltoro Glacier "river of ice", Karakoram, Pakistan. Tracing ancient Silk Road paths, the 1,300-kilometer Karakoram Highway overcomes extreme altitudes at Khunjerab Pass (4,693m) to connect Pakistan and China, serving today as the economic backbone of regional overland trade.

» As you start to walk on the way, the way appears. «
 
In that instant, Rumi understands: true greatness is not the ego shouting; it is the soul surrendering. The question strikes him so deeply that, legend says, he faints. When he awakens, the rigid professor is gone. He is a seeker. Two oceans meet.

"You are not a drop in the ocean. You are the entire ocean in a drop." Many popular English quotes attributed to Rumi are actually creative reinterpretations by Coleman Barks, who blended separate fragments rather than offering literal translations. These reimagined phrases often obscure the original Persian context, such as the focus on divine love and spiritual, rather than emotional, ecstasy.

» You are not a drop in the ocean. You are the entire ocean in a drop. «

For months, they are inseparable, entering into total seclusion for forty days. In Shams, Rumi finds a mirror of the divine. Shams does not teach Rumi new knowledge; instead, he takes a hammer to the foundations of his identity. The intellect, for all its brilliance, is a cage. 
 
Mount Elbrus served as a vital navigation anchor and climate barrier for the northern Caucasian Silk Road, where caravans braved the surrounding deep gorges to bypass Persia and reach Black Sea ports.

» Run from what's comfortable. Forget safety. Live where you fear to live. Destroy your reputation. Be notorious. «
  
The only path to God, Shams insists, is through a heart broken open. Rumi later reflects that what he previously thought of as God, he met that day embodied in a human being. Shams introduces Rumi to the Sama—the whirling dance where the spinning soul sheds the ego and mirrors the turning of the cosmos. The  theologian who once considered music a distraction is now lost in it.
 
» We have come to spin, to revolve around the Sun of Truth and fly into the sky of the heart. «
 
The brilliant scholar has finally become a lover of God, of life, of everything. But to Rumi’s followers, this is a scandal. Whispers of slander turn to poison, and jealousy fills the air of Konya. Unable to bear the hostility, Shams flees to Damascus in 1246, plunging Rumi into a grief like death. Though Rumi sends his son, Sultan Walad, to beg his soul-friend to return, the reunion is tragically brief. One night, Shams is called to the door, steps outside, and vanishes from the face of the earth forever—brutally murdered, some say, by a cabal of jealous disciples.

Shams of Tabriz (c. 1185–1248), Persian Sufi mystic and wandering dervish, renowned as the spiritual mentor and beloved companion of Jalal al-Din Rumi, whose encounter with him transformed Rumi from a scholar into an ecstatic poet of divine love. Born in Tabriz and later disappearing under mysterious circumstances, Shams is immortalized in Rumi's collection Divan-e Shams-e Tabrizi and revered as the hidden "sun" behind much of Rumi's poetry.
» Why did the lesser man boast while the greater man bowed? «
 
Shattered by loss, Rumi does something no one expects. He begins to spin. Arms open to the sky, weeping and turning for hours, letting go of the ego to mirror the cosmos. His grief becomes a prayer in motion: the Sama, marking the birth of the Whirling Dervishes.

»  Dance when you're broken open. Dance if you've torn the bandage off. «

Then, the words come—not calculated, but pouring. Thousands upon thousands of verses erupt from his broken heart into an ocean of poetry, which he collects as the Divan-i Shams-i Tabrizi (The Collected Poems of Shams of Tabriz). He isn't composing poetry; he is bleeding it.
 
Calligram of a Mevlevi whirling dervish formed from densely layered Arabic calligraphy in which the primary legible nucleus is عِشْق (ʿishq, “divine love”), repeated, expanded, and interwoven with related fragments such as هو (Hu, “He,” the Divine Essence) and likely partial forms of الله (Allāh), alongside suggestive constructions like عشق هوى (“love as passion/desire”) and vocative particles like يا; the text is not meant to be read linearly but operates as a continuous dhikr field where words are rotated, fragmented, and redistributed to generate semantic intensity rather than syntactic clarity, while the dervish silhouette itself symbolizes fanāʾ (annihilation of the self in divine love) and the red accents—hat and ground—evoke transformed ego, sacrifice, and ecstatic intensity; thus the work functions not as a sentence but as a visual-theological construct whose conceptual translation compresses to “Divine Love—He; all is subsumed and dissolved in Love,” classifiable as modern ḥurūfī Sufi calligram with a non-linear, radial text structure designed as visual remembrance centered entirely on ʿishq as the totalizing metaphysical principle.

»  
Let yourself be silently drawn by the strange pull of what you really love. «

In his later years, Rumi begins his masterpiece, the Masnavi (The Spiritual Couplets), a vast six-volume epic of 26,000 verses that he composes aloud and continues until his death. Rather than writing it himself, he dictates the verses spontaneously—often while walking, bathing, or dancing—while his disciple, Husam al-Din Chalabi, records every word. He introduces the Masnavi as usul usul usul al-din—"the roots of the roots of the roots of the Religion." 
 
» I searched for God and found only myself. I searched for myself and found only God. « 
  
He defines it as kashshaf al-Qur'an, an expounder of the Quran, intentionally written in the Persian tongue to unveil the text's hidden mystical meanings for ordinary people who could not read the original ArabicA work people would one day call the Quran in the Persian tongue. His message was radical then, and it remains radical now: Love is the only true religion (مذهبِ عشق - madhhab-i 'ishq). Christian, Muslim, Jew—he welcomed them all.
 
»  Come, come, whoever you are. Wanderer, worshipper, lover of leaving. It doesn't matter. Come. «

Complex geometry of the dome ceiling at the tomb of iconic poet Hafez of Shiraz (1315–1390), Iran. The structure exemplifies classical Persian girih tilework, an advanced mathematical system composed of interlacing star and polygon motifs. Through this precise configuration, the architectural design masterfully articulates spatial depth and structural symmetry, reflecting the sophisticated artistic standards of Islamic monumental architecture.
 
When he dies in 1273, his city weeps, but he had asked them to celebrate. He called his death his Urs—his wedding night, the moment his soul finally reunites with the Divine. At his funeral, people of every faith walk together in mourning.
 
»  When I die, don't look for me in the ground. Look for me in the hearts of those who loved me. «

Circular calligraphy on the interior dome of the 16th-century Selimiye Mosque in Edirne, Turkey, designed under chief Ottoman architect Mimar Sinan. The central medallion features the verses of Surah Al-Ikhlas (The Purity, chapter 112 of the Quran)—proclaiming "Say, 'He is Allah, [who is] One. Allah, the Eternal Refuge. He neither begets nor is born, nor is there to Him any equivalent'"—intertwined in the elegant Jali Thuluth script and arranged in a precise radial pattern that spreads symmetrically across the ceiling.

» You were born with wings, why prefer to crawl through life? «
 
Eight centuries later, his words are everywhere—read at weddings, quoted by presidents, and whispered by broken hearts across every continent. The refugee boy who lost everything became the voice of love for the entire world. Because Rumi lived the truth he taught: that even a shattered heart can become a doorway to the light.
 
نگفتمت مرو آنجا که آشنات منم در این سراب فنا چشمهٔ حیات منم  وگر به خشم روی صدهزار سال ز من به‌ عاقبت به من آیی که منتهات منم  نگفتمت که به نقش‌ جهان مشو راضی که نقش‌بند سراپردهٔ رضات منم  نگفتمت که منم بحر و تو یکی ماهی مرو به خشک که دریای با صَفات منم  نگفتمت که چو مرغان به‌ سوی دام مرو بیا که قدرت پرواز و پرّ و پات منم  نگفتمت که تو را ره‌ زنند و سرد کنند که آتش و تبش و گرمی هوات منم  نگفتمت که صفت‌های زشت در تو نهند که گم کنی که سرِ چشمه صفات منم  نگفتمت که مگو کار بنده از چه جهت نظام گیرد؟ خلّاق بی‌جهات منم  اگر چراغ دلی، دان که راه خانه کجاست وگر خداصفتی، دان که کدخدات منم

Ocean and Fish
  
» Didn't I tell you? Do not go there, for I am your friend
In this mirage of fading shadows, I am life without end

Even if you run in anger for a hundred thousand years
You will return to Me at last, I am where the path clears

Didn't I tell you? I am the Ocean, and you are the fish
Don't go to the dry land, I am the only Water you could wish

Didn't I tell you? Don't be fooled by the world's design
I am the Painter of your joy, the Artist of the divine

Didn't I tell you? Do not fly like a bird to the snare
Come back to Me, I am your Wings, I am the power of the air

Didn't I tell you? They will rob you and leave you cold
But I am the Fire, the warmth of your soul
 
As I foretold, they put ugly masks upon your face to make you forget
that I am the Source of beauty, the purest love you met

Don't ask how the stars align or how the world is spun
I am the Creator without limits, I am the Only one

If you are the lamp of the heart, you know where to roam
And if you seek the Divine, know that I am your Home
 «

Rumi, Konya, 645 AH/1247 AD.

وَأَنَّ اللَّهَ قَدْ أَحَاطَ بِكُلِّ شَيْءٍ عِلْمًا ...and that Allah has encompassed all things in knowledge, Surah At-Talaq (The Divorce, verse 12, chapter 65 of the Quran).

Friday, February 17, 2017

Harmony of Being: Geometry in Man, Nature, and Cosmos | Loai M. Dabbour

Geometry describes the assertions of a mathematical order of the intrinsic nature of the universe. Geometry is the very basis of our reality, and we live in a coherent world governed by underlying laws. 
 
Proportional roots: (a) the √2 proportion, (b) the √3 proportion, and (c) the golden mean (Phi) proportion.

Johannes Kepler stated that geometry is underpinning the cosmos, which was based on Plato’s ideas that God created the universe according to a geometric plan. The structure of the universe is determined by and revealed as certain mathematical and geometric constants which represent a confirmation that proportions are the underlying fabric of nature. This can be seen in man, nature, and cosmos.

 Root proportions based on the square.

By contemplating geometric proportions, an understanding towards the sacred truth can be obtained since geometric proportions are one of the definitive geometric qualities of life itself. The Holy Quran tells us that man has within himself all what is reflected in the universe - the best proportions. Man is the core of God’s creatures; he possesses the most harmonious proportions, reflecting of the Divine harmony of being. "We have indeed created man in best of forms" – proportions (The Holy Qur’an, Surah At-Tin, 95:4)
 
Leonardo da Vinci illustrated the mathematical proportions of the human body, showing that human being exhibits clearly golden mean proportions in his body based on ratios of 1.618. The Vitruvian Man drawn by Leonardo Da Vinci is based on Vitruvius, who believed that if human proportions could be incorporated into buildings, they would become perfect in their geometry. According to Vitruvius, the distance from fingertip to fingertip should be the same as that from head to toe. The sacred mean rules can be seen in the ratios of body parts throughout the human body. The human body contains in its proportions all the important geometric geodesic measures and functions. The proportions of ideal man are at the center of a circle of invariant cosmic relationships.

 Proportions of Venus’ and Earth’s mean orbits.
 
The mathematical harmony of the universe can be seen from the proportions of the planets in our solar system. For example, the ratio of the sacred mean can be seen in the rotations of Venus and Earth around the Sun in that for each five years that the Earth rotates around the Sun, Venus rotates around it eight times. The connection between 5 and 8, both of which are Fibonacci numbers, is the golden mean proportion (8/5 = 1.6). 
 
The result of this motion is that Venus draws a pentagon around the Sun every eight years (Figure A). Figure B shows that a circle is drawn, which represents Venus’ mean orbit. A pentagon is constructed inside it and a small circle placed through the arm-crossing points. The radius of this small circle divides the radius of the large one into golden sections and can be used to space Venus’ orbit from Earth’s orbit. It can be seen from the agreement between eightfold and fivefold geometries that eight touching circles are drawn from Venus’ mean orbit. 
 
In turn, the circumference circle is enclosing these eight circles, defining Earth’s mean orbit. The ratio of the mean orbits of Venus’s to Earth is the √2 proportion. The geometric representation of these orbits creates the golden mean proportion.
 
Quoted from:

Thursday, June 20, 2013

Philosophia Perennis: Uncreated Wisdom and the Subtle Contours of Truth

One cannot meaningfully or effectively practice a craft without understanding its foundation. Above all, one cannot practice a spiritual method except on the basis of a previously comprehended doctrine, which provides both the motivation and the paradigm for the work. Doctrine without method is hypocrisy, while method without doctrine leads to error. This underscores why doctrine must be "orthodox"—that is, in essential conformity with the subtle contours of truth. A doctrine born of mere human invention is one of the most potent catalysts for going astray.
 

Philosophia perennis refers to the uncreated wisdom taught by Platonism, Vedanta, Sufism, Taoism, and other authentic sapiential traditions. Meister Eckhart articulates the perennialist understanding of the "Intellect" (intellectus) in the sense of spiritus when he writes: "There is something in the soul which is uncreated and uncreatable; if the whole soul were such, it would be uncreated and uncreatable; and this is the Intellect." 

Intellectus is derived from the Latin verb intelligere, meaning "to recognize" or "to understand." Mysticism is the pursuit of communion with an ultimate reality, divinity, or spiritual truth through direct experience, intuition, or insight. It encompasses both mystical doctrine and mystical experience; the latter being the inward and unitive "realization" of the former. This realization is the domain of spiritual method. In Hinduism, spiritual method is represented by raja-yoga, the "royal art" of contemplation and union. Here, the Veda—or wisdom—constitutes the scientia sacra (sacred science): ars sine scientia nihil est—art without science is nothing.

Sunday, November 25, 2012

The Essence

In the sight of the Essence, which is one, the universe is like a single being. The essential unity of the world is the most certain of things but also the most hidden: all knowledge and every perception, however adequate or inadequate, presupposes the essential Unity of beings and of things. 
 
Proportion is to space what rhythm is to music.
 
[...] It may thus be said that man, who is a microcosm, and the universe, which is a macrocosm, are like two mirrors each reflecting the other. On the one hand man only exists in relation to the macrocosm which determines him, and on the other hand man knows the macrocosm, and this means that all the possibilities which are unfolded in the world are principally contained in man’s intellectual essence. This is the meaning of the saying in the Qur'ān: “And He (God) taught Adam all the names (i.e. all the essences of beings and of things)” (2:31) 

Thursday, August 9, 2012

The Beauty of Maths

Sequential Inputs of numbers with 8
1 x
8 + 1 = 9
12 x
8 + 2 = 98
123 x
8 + 3 = 987
1234 x
8 + 4 = 9876
12345 x
8 + 5 = 98765
123456 x
8 + 6 = 987654
1234567 x
8 + 7 = 9876543
1234567
8 x 8 + 8 = 98765432
1234567
89 x 8 + 9 = 987654321
......................................

Sequential 1's with 9
1 x 9 + 2 = 11
12 x 9 + 3 = 111
123 x 9 + 4 = 1111
1234 x 9 + 5 = 11111
12345 x 9 + 6 = 111111
123456 x 9 + 7 = 1111111
1234567 x 9 + 8 = 11111111
12345678 x 9 + 9 = 111111111
123456789 x 9 + 10 = 1111111111
......................................

Sequential 8's with 9
9 x 9 + 7 =
88
9
8 x 9 + 6 = 888
9
87 x 9 + 5 = 8888
9
876 x 9 + 4 = 88888
9
8765 x 9 + 3 = 888888
9
87654 x 9 + 2 = 8888888
9
876543 x 9 + 1 = 88888888
9
8765432 x 9 + 0 = 888888888
......................................

Numeric Palindrome with 1's
1 x 1 = 1
11 x 11 = 121
111 x 111 = 12321
1111 x 1111 = 1234321
11111 x 11111 = 123454321
111111 x 111111 = 12345654321
1111111 x 1111111 = 1234567654321
11111111 x 11111111 = 123456787654321
111111111 x 111111111 = 12345678987654321
......................................

Without 8
12345679 x 9 = 111111111
12345679 x 18 = 222222222
12345679 x 27 = 333333333
12345679 x 36 = 444444444
12345679 x 45 = 555555555
12345679 x 54 = 666666666
12345679 x 63 = 777777777
12345679 x 72 = 888888888
12345679 x 81 = 999999999
......................................

Sequential Inputs of 9
9 x 9 = 81
99 x 99 = 9801
999 x 999 = 998001
9999 x 9999 = 99980001
99999 x 99999 = 9999800001
999999 x 999999 = 999998000001
9999999 x 9999999 = 99999980000001
99999999 x 99999999 = 9999999800000001
999999999 x 999999999 = 999999998000000001
......................................

Sequential Inputs of
6
6 x 7 = 42
66 x 67 = 4422
666 x 667 = 444222
6666 x 6667 = 44442222
66666 x 66667 = 4444422222
666666 x 666667 = 444444222222
6666666 x 6666667 = 44444442222222
66666666 x 66666667 = 4444444422222222
666666666 x 666666667 = 444444444222222222
......................................



A Magic Square of order n is an arrangement of n2 numbers, usually distinct integers, in a square, such that the n numbers in all rows, all columns, and both diagonals sum to the same constant. Building on the work of Ahmad ibn ‘Ali al-Buni, in about 1510 Heinrich Cornelius Agrippa wrote De Occulta Philosophia expounding on the magical virtues of seven magical squares of orders 3 to 9, each associated with one of the astrological planets.

Saturn = 15
4 9 2
3 5 7
8 1 6
Jupiter = 34
4 14 15 1
9 7 6 12
5 11 10 8
16 2 3 13
Mars = 65
11 24 7 20 3
4 12 25 8 16
17 5 13 21 9
10 18 1 14 22
23 6 19 2 15
Sol = 111
6 32 3 34 35 1
7 11 27 28 8 30
19 14 16 15 23 24
18 20 22 21 17 13
25 29 10 9 26 12
36 5 33 4 2 31
Venus = 175
22 47 16 41 10 35 4
5 23 48 17 42 11 29
30 6 24 49 18 36 12
13 31 7 25 43 19 37
38 14 32 1 26 44 20
21 39 8 33 2 27 45
46 15 40 9 34 3 28
Mercury = 260
8 58 59 5 4 62 63 1
49 15 14 52 53 11 10 56
41 23 22 44 45 19 18 48
32 34 35 29 28 38 39 25
40 26 27 37 36 30 31 33
17 47 46 20 21 43 42 24
9 55 54 12 13 51 50 16
64 2 3 61 60 6 7 57
Luna = 369
37 78 29 70 21 62 13 54 5
6 38 79 30 71 22 63 14 46
47 7 39 80 31 72 23 55 15
16 48 8 40 81 32 64 24 56
57 17 49 9 41 73 33 65 25
26 58 18 50 1 42 74 34 66
67 27 59 10 51 2 43 75 35
36 68 19 60 11 52 3 44 76
77 28 69 20 61 12 53 4 45


  

The order-4 magic square in Albrecht Dürer's engraving Melencolia I is believed to be the first seen in European art. The sum 34 can be found in the rows, columns, diagonals, each of the quadrants, the center four squares, and the corner squares (of the 4 x 4 as well as the four contained 3 x 3 grids).
 
This sum can also be found in the four outer numbers clockwise from the corners (3 + 8 + 14 + 9) and likewise the four counter-clockwise (the locations of four queens in the two solutions of the 4 queens puzzle, the two sets of four symmetrical numbers (2 + 8 + 9 + 15 and 3 + 5 + 12 + 14), the sum of the middle two entries of the two outer columns and rows (5 + 9 + 8 + 12 and 3 + 2 + 15 + 14), and in four kite or cross shaped quartets (3 + 5 + 11 + 15, 2 + 10 + 8 + 14, 3 + 9 + 7 + 15, and 2 + 6 + 12 + 14).
 
The two numbers in the middle of the bottom row give the date of the engraving: 1514. The numbers 1 and 4 at either side of the date correspond to, in English, the letters 'A' and 'D' which are the initials of the artist. Dürer's image was distributed widely, and travelled as far away as India, where the Mughal miniaturist Farrukh Beg referenced the work in his 1615 miniature The Old Sufi.