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SafdarnamaTUESDAY, NOVEMBER 27, 2012

Supernatural Trees

The Waq Waq Tree(Vak Vak Aac)

miniature

Dimensions :53x50 cm

Year:2007
http://safdarahmed.blogspot.com/http://safdarahmed.blogspot.com/2012/11/supernatural-trees.htmlhttp://safdarahmed.blogspot.com/2012/11/supernatural-trees.htmlhttp://safdarahmed.blogspot.com/2012/11/supernatural-trees.htmlhttp://safdarahmed.blogspot.com/


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Below is my drawing of the mythical Waq Waq tree ofmedieval Islamic geographical, zoological andimaginative literature. Ive tried to emphasise itseeriness but there is a lot more to this, and other magicalor supernatural trees, within Islamic theology andtradition.

For pre-modern Muslim geographers, Waq Waq referredto a far-off, unknown country. One of the strangest place

names in the geographical literature (ranking inweirdness alongside Yajuj and Majuj, which are
http://2.bp.blogspot.com/-Pn7rNcu6gY0/ULTemwbrm6I/AAAAAAAAAHo/6tr3GMlX4WQ/s1600/Waq+Waqweb+copy.jpg


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transpositions of the Biblical lands of Gog and Magog), ithas been interpreted by various medieval Arab and laterEuropean scholars to refer either to a part of Eastern or

Southern Africa, an island perhaps in the Indian orPacific oceans, or a place in South East Asia, China orJapan. Looking at a circular copy of Idrisis world map,one sees the land of Waq Waq near the end of the world,at the southern tip of Africa, on the Eastern coast, facingthe Indian Ocean, opposite China. It was clearly a placeabout which traders may have heard odd and fantasticaltales but to which few had ever travelled.
http://4.bp.blogspot.com/-tcyJ-cbdxK0/ULTezWMEd1I/AAAAAAAAAHw/hS_85Pcio6Q/s1600/Al-Idrisi's_world_mapk.jpghttp://3.bp.blogspot.com/-BlADrSZUrvk/ULTe1gJr-xI/AAAAAAAAAH4/fRSXvUpZVj0/s1600/Al-Idrisi's_world_map.jpghttp://4.bp.blogspot.com/-tcyJ-cbdxK0/ULTezWMEd1I/AAAAAAAAAHw/hS_85Pcio6Q/s1600/Al-Idrisi's_world_mapk.jpghttp://3.bp.blogspot.com/-BlADrSZUrvk/ULTe1gJr-xI/AAAAAAAAAH4/fRSXvUpZVj0/s1600/Al-Idrisi's_world_map.jpg


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The country is renowned for its strange inhabitants andby the existence of a supernatural tree. One sourcedescribes a dark-skinned population who speak an

unfamiliar tongue, leading some scholars to speculatethat the word may be of onomatopoetic origin showingthe reaction of Arab traders to the so-called clicklanguages of southern and eastern Africa. Whatever thecase, this race is associated with a mysterious tree thatgrows fruit that ripens into human forms. Different

versions of the story record the tree blooming humanheads, animals, children, or a race of small people, whoare capable of speech. Some would praise God, whilstothers would ripen, fall to the ground and cry out Waq!

Waq!, before dying. The tree sometimes has an oracularfunction, as in the mythology that surrounds Alexanderthe Great in Arab and Persian sources. These commonlydescribe an incident in which the world-conqueror

visited and spoke with the tree. It predicted his future

and forewarned him of his impending death. This Il-Khanid miniature painting dates from about 1340.


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The great Arab polymath and belletrist, al-Jahiz,described the tree as a cross between plant and creatureand there are accounts of its offspring that combine bothhuman and animal forms within a bizarre, inter-speciesmlange. The 12th century physician and zoologist, al-Marwazi, described the people of Waq Waq as: a tribe

whose nature is like that of men in all their limbs, exceptthe hands, instead of which they have something like

wings, which are webbed like the wings of a bat. They,

both males and females, eat and drink while kneeling.
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They follow the ships asking for food. When a manmakes for them, they open these wings and their flight

becomes like that of birds, and no one can overtake

them. Such creatures are an uncanny mix. One canimagine their eyes widening in alarm as they rush to theair, amidst inhuman caws and the flapping of batty

wings. The human/bird mixture appears in othercontexts, such as the harpy (female-headed birds) of

Arab and Persian art. This luster-painted ceramic from12-13th century Iran is a good example.
http://1.bp.blogspot.com/-Xxnbn4yvUe4/ULTfvDQm6uI/AAAAAAAAAIA/mAhTDjrxGy8/s1600/figural+vessel+12-13th+c+Iran.jpg


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It is difficult to ascribe a literal or symbolic meaning tothese examples because there are no recorded theories of

visual aestheticsor the nature of symbolismin thehistory of pre-modern Islamic art. With the exception ofcalligraphy, no pre-modern scholars to our knowledgeever sat down and wrote a treatise explaining what the

visual arts actually mean. Thus the types ofrepresentation shown above may have carried a specificsymbolic importance for the intellectual culture of thetime (which seems likely), or it may simply have been

about following styles, images and forms that were thenfashionable (which seems equally as likely). Or it was,probably, a mixture of the two. This ambiguity orambivalence of meaning is one of the great mysteries ofIslamic art, and the thing that makes it fascinating tothis day.

Nonetheless, supernatural trees have a firm place in thereligious imagery of the Quran. In a passage loaded with
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allegorical figures, the sacred text refers to the tree ofZaqqum, which it describes as issuing from the heart ofhellfire, and from which grows fruit that are as repulsive

as the heads of devils. The oppressors (zalimun) of thisworld (whose greed is often associated with gluttony)will fill their stomachs of this foul fruit, which theyllwash down with a beverage of scalding despair (37:62-67).

In another verse, the Quran describes a lote tree whichstands near the boundary between earth and paradise,

and which the Prophet witnessed on his journey toheaven: By the lote tree of the farthest limit, near untothe garden of promise, with the lote tree veiled in a veilof nameless splendour (53:13-18). According toMuhammad Asad (who draws from the commentary ofthe medieval rationalist Zamakshari) the reference to atree veiled in a veil of nameless splendour is

deliberately vague (mubham). For how else could oneassociate something as ineffable and majestic asparadise with the symbol of tree? The tree then must bedescribed for what it is: as something that cannot beproperly visualized or named.

Trees are an elemental symbol of life, fecundity anddivine favour. Indeed there are numerous prophetic

traditions that refer to the blessings of planting trees,whose fruit represents an act of charity for every personor animal that eats from it. From the standpoint ofIslamic theology, everything in creation submits to Gods

will and is a reflection of Gods mercy. Thus it is in thetrees nature as of every created thing toacknowledge and praise its creator, which it does with

every sprout and branch, every leaf and bloom that


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shoots out from its trunk. Here lies the spiritualfoundation for a theology of environmental protection.

Human lives are intimately associated with trees. The

Prophet used to preach to his companions every Fridayby the side of a palm tree. One day a woman fromamongst the people of Medina asked if he would like forthem to build him a pulpit. The Prophet responded: as

you wish, so they made him a new structure. As heascended the platform, the tree started to weep and crylike a small child. Responding to this, the Prophet came

down and embraced the tree until its sobbing subsidedand it had calmed down. According to one of thecompanions, the tree had sorely missed hearing theProphets recollection (dhikr) of God (Bukhari).Likewise, there is a report about Aisha, the Prophets

youngest and favorite wife, who in the later stages of herlife was said to have wished she were a leaf or a tree

uttering the praises of God (Ibn Sad).

This is a leaf inscribed with calligraphy from Turkey(20thcentury).

And heres another one of my sketches.
http://4.bp.blogspot.com/-HUTWW4vVG9M/ULTgMJ940oI/AAAAAAAAAIY/EBWnzORggnI/s1600/leaf.jpg


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Safdarnama

Sal, Kasm 27, 2012

Supernatural Aalar

Aada Ortaa slam , corafi zoolojik ve yaratc edebiyatnefsanevi WAQ WAQ aacn benim izim

olduunu. Ben onun eerinessvurgulamaya altm ama slam teolojisi ve gelenek iinde , bir sr bu

daha , ve dier sihirli ya da doast aalar var .
http://2.bp.blogspot.com/--SOiunn4OGk/ULTgUtcN-mI/AAAAAAAAAIg/wgY9vgl7tP4/s1600/Treeqwb+copy.jpg


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Pre - modern Mslman corafyaclarn , WAQ WAQ ok -off , bilinmeyen bir lkede anlacaktr.

Corafi literatrdegarip yer isimlerinden biri ( Yecc ve Meccncil topraklarnn transpozisyonlar

olan Yajuj ve Majuj , yannda garabeti sralamasnda ) , bir ksmna ya bavurmak iin eitli ortaa

Arap ve daha sonra Avrupal bilim adamlar tarafndan yorumland Dou ya da Gney Afrika ,Hint yada Pasifik okyanuslar belki bir ada , ya da Gney Dou Asya, in ya da Japonya'da bir yer . drisi

dnya haritasnn bir kopyas dairesel baktmzda , biri in'de karsnda ,Hint Okyanusu'na

bakandou kysnda , Afrika'nngney ucunda ,dnyannsonuna yakn WAQ WAQ arazi grr . Bu

aka tccarlar garip ve fantastik hikayeler duymu olabilirsiniz hangi ama birka hi gezmi olduu

bir yerdi .

lkenin garip sakinleri ve doast bir aacnvarl ile nldr . Gney ve dou Afrika 'dillerin tklayn

' szde Arap tccarlarntepkisini gsteren - Bir kaynakkelimesinin onomatopoetic kkenli olabilir

speklasyon baz bilim adamlar , nde gelen bir yabanc dil konuan bir koyu tenli nfusu aklanr .

Durum ne olursa olsun , bu yar insan formlarna olgunlar meyve yetiir gizemli bir aa ile ilikilidir

. Hikayenin farkl srmleri insan balar , hayvanlar , ocuklar , ya da konuma yeteneine sahip olan

kk insanlarn , bir yar ieklenmeaa kaydedin. Bazlar olgunlatrmak olur iken ,yere dmek

ve ' WAQ haykrmak , Allah'a hamd ederim ! WAQ ! ' , lmeden nce . Aa bazen Arap ve Fars

kaynaklarnda skenderByk evreleyenmitolojisinde olduu gibi , bir kehanet ilevi vardr . Bunlar

yaygndnya fatihi ziyaret etti veaacn konutuolduu bir olay aklamak . Onun gelecei tahmin ve

onun yaklaan lm onu uyarm . Yaklak 1340 den bu Il - Khanid minyatr boyama tarihleri .

Byk Arap bilge ve belletrist , el- Chiz , bitki ve yaratk arasnda apraz olarakaa tanmlanan ve bir

tuhaf , trler aras melanj iinde insan hem de hayvan formlar birletiren yavrularna hesaplar vardr

. Onlar perdelidir kanatlar gibi bir ey , var yerine hangielleri hari , doas tm uzuvlaryla erkeklerin

bu gibi " bir kabile , :12. yzyl doktor ve zoolog , el- Marwazi gibi WAQ WAQ halkn tarif bir

yarasakanatlar gibi . Bunlar hem erkek ve kadn , yemek ve diz km iken iilir. Onlar yiyecek

isteyengemileri izleyin. Bir adam onlar yapar , onlar bu kanatlar ak ve uu kular gibi olur ve kimse

onlar sollamak olabilir . " Byle yaratklar esrarengiz bir karmdr . Bir de insanlk d Caws ve kak

kanatrparak ortasnda ,havaya acele olarak onlarn gzleri korkuyla genileyen hayal edebiliyorum .

/ Insan ku karm gibi Arap ve Fars sanatgaddarn ( kadn bal kular ) gibi dier balamlarda ,

grnr . 12 ve 13. yzyl ran bu parlt - boyal seramik iyi bir rnektir .

WAQ WAQ sadece uzak arazi , ama sadecehayal bulunabilir bir yer deil, temsil ettii bir his vardr .

Onun eksik kars ,Bin eyh Abdul Kudds ve Bir Gece , bunu u ekilde aklyor arama orada seyahat

Hasan el - Basri kararna tepki : ' Olum , bu en zc olay vazgemek , siz WAQ Adalar'na

ulaamamalarndan WAQ sizin ve bu adalar arasnda yedi vadiler , yedi denizler ve geni byklkte

yedi dalar vardr beriUan Cinler vegebe yldz , size yardmc bile . " Biz ya da ben ziyaret


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edebilirsiniz karasal yer hakknda , daha sonra , sz deil . Belki de ne gibi bn Arabi gibi mistik

filozoflar ve teologlar ,' hayali dnyay ' (' alam al- mithal ) denilen var .

Bitki ve hayvan biimlerininfantastik kartrma slam sanatnn kayda deer bir zelliidir. te kular

neredeyse soyut ekiller tasarlanm gsteren erken bir ahap panel .

slam sanatnn Tarihilerdokuzuncu yzylda Irak'ta balayan' eimli tarz ' olarak bakn . Bu temsil ile

daha az ilgili ve belirsiz , biomorphic ekiller doru daha fazla eilir . te11. yzylda Msr'dan

Tarihleri baka paneli. Onun tasviri net ve karmak bir bitkisel / bitki tasarm iinde dizginlenmesi

atlar gsterir .

Grsel estetik veya sembolizm - in pre-modern slam sanatnntarihinindoas hibir kaydedildi

teoriler vardr nk bu rneklere bir sabit veya sembolik anlam atfetmek zordur . Hathari ,

bildiimiz kadaryla hibir n - modern bilim imdiye kadar oturdu vegrsel sanatlar gerekte ne

anlama geldiini aklayan bir risale yazd. Bylece yukarda gsterilen temsiltrleri ( olas

grnyor)zamannentelektel kltr iin zel bir sembolik nem tayan olabilir , ya da sadece eit

olarak olas grnyor ( daha sonra moda olan aadaki stilleri , grntler ve formlarla ilgili olabilir

.) Ya da , muhtemelen , bu ikisinin karmdr. Bu anlam belirsizlik veya kararszlk slam

sanatnnbyk gizemlerinden biri , ve bu gne kadar ilgin klaneydir .

Bununla birlikte , doast aalarKuran'ndini grntleri salam bir yere sahip . Alegorik figrleri ileykl bir pasajda,kutsal metni ' Cehenneminkalp veren ' olarak tanmlad ' zakkum ' aacnn , ifade

eder , ve " eytanlarnbalar ' olarak irentir meyve yetiir hangi . ( Kimin agzllk genellikle

oburluk ile ilikili ) bu dnyazalimlerin ( zalimun ) onlar fokur umutsuzlua ( 37:62-67 ) bir iecek ile

aa ykamak olacak bu kt meyve, mideleri doldurmak olacaktr .

'Uzak limitininlote aac olarak, yakn vaatbahesinde dediler ,ile : Bir baka ayette ise ,Kur'an-

KerimPeygamber cennete yapt yolculuk ahit dnya ve cennet arasndakisnra yakn duruyor ve bir

lote aac aklanmtr isimsiz ihtiam bir pee peeli lote aac ' ( 53:13-18 ) . ' Isimsiz ihtiam bir

pee rtl ' bir aacareferans ( mubham ) kasten mulak (Ortaa rasyonalist Zamakshari veAnlatm

berabere ) Muhammed Esed gre . Iin baka nasl aacnnsembol ile cennet gibi tarifsiz vegrkemli bir doent bir ey olabilir ? Aa sonra ne olduunu tarif edilmelidir : dzgn grsel veya

adlandrlm edilemez bir ey olarak .

Aalar yaam , dourganlkve ilahi lehine bir element sembol vardr . Nitekim meyve ondan yiyor

her kii ya da hayvan iin sadaka eylemi temsil eden aa dikme , nimetleri bakn sayda peygamberlik

gelenekler vardr . slam teolojisiasndan , yaratl her eyin Allah'n iradesine teslim ve Allah'n

merhametinin bir yansmasdr . Byleceaacn doada - her yaratlan ey gibi - kendi gvdesinden

dar vuruyor , her filiz ve dal , her yaprak ve iek ile yapar onun yaratcs , kabul ve vg . Burada

evre koruma bir teoloji iinmanevi temeli yatyor.


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nsan hayatn yakndan aalar ile ilikilidir . Peygamber , bir palmiye aacnnyannda her Cuma

ashabna vaaz iin kullanlr . Onlar ona bir minber ina etmek iin o istiyorsanz Bir gn

Medineinsanlar arasnda bir kadn istedi. ' Istediiniz gibi ' , bu yzden onu yeni bir yap yapt

:Peygamber cevap verdi . Oplatformu ykselmi olarak ,aa alamak ve kk bir ocuk gibi

alamaya balad . Bu yant ,Peygamber indi ve hkra hkra yatm ve sakinletikten kadaraa

kucaklad . Arkadalarndan birine gre ,aa fena halde Allah'n ( Buhari) vePeygamber'in hatrlama (

zikr ) iitme karmt . Ayn ekilde , Aie , hayatnndaha sonraki dnemlerinde o bir yaprak ya da

Tanr ( bn Sa'd'n ) vg syledii bir aa vard diledi sylenenPeygamber'in en gen ve en sevdii

ei hakknda bir rapor var .

Bu Trkiye'den kaligrafi ( 20. yzyl ) ile yazlm bir yaprak.

Ve burada benim skeler baka biri.


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