اعتنى الصوفية على اختلاف مذاهبهم و فرقهم بما يسمَّى بالسَّماع و الرقص الصوفي, و هذا إن دلَّ على شيء فإنَّه يدل على أن السّماع ظاهرة أساسية , و عنصرٌ له دورٌ هام و فعال في صياغة التجربة الصوفية الروحية ؛ فهو يقوِّي الوجدو يبعث في النفس نوازع الحنين و الشوق إلى عالم الغيب, و يهيء المُريد لدخول الحَضرة الإلهية و معانقةِ المطلق, و العودة بالمريد إلى باطن ذاته فيعرِّيها و يكشف حقيقتها و يُعمّق الجانب الروحي فيها, كما يترافق السَّماع بأداء الحركات الراقصة الرمزية التي مِنْ شأنها أن تزيد التلاحم بين أفراد المجموعة التي تؤديها و تكشف عمق العلاقة بين المادي و الروحي في نفس (المؤدي –المريد) في تجربة تمتاز بخصائص تلخص تجربة الصوفي و توضحها و تعري أسرارها . و يعد بحثُنا صورة موجزة عن دورالسّماع و الرقص الصوفي و دلالاته التعبيرية في الاتحاد و التلاشي في الذات الإلهية كما تجلّت بوضوح تام في الطريقة المولوية التي أسسها جلال الدين الرومي .
In addition to their different directions and schools’sufis cared for what called:
sufism’s hearing and dancing ,in indication to the importance of hearing as a basic phenomenon
with important role of making the spirtitualesufism experience.that what make the
sufis believe that the hearing create love and passion of desire to haven and to the kingdom
of good. Then prepare willer to be recalled by holly presence of god to embrasse the absolution
,then bring him back to himself to reveale the spiritual trouth with in it .
Hearing usually be attended with dancing moves wich intensify the joining group of
dance.thus reveal the relation between the material and the spiritual in the willer soul.
This report offer abrief idea of soufism hearing and dancing and clearify the joining
and vanishing among the holly spirit wich we can observe clearly in MAWLAWYA way
founded by JALAL AL DDIN ALROUMI.
References used
الرومي, جلال الدين.الرباعيات, تأويل:محمد عيد إبراهيم , دار الأحمدي, القاهر,ط1, 1998م, ص95
السهروردي,عبد القادر بن عبد الله.عوارف المعارف, بيروت,دار الكتاب العربي, 1966 .ص 433
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