NOTE SUL SUFISMO VISIVO: RAPPRESENTAZIONI GRAFICHE A SUPPORTO DELLA REALIZZAZIONE SPIRITUALE NEL TAṢAWWUF
Resumen
Riassunto: Questo articolo raccoglie considerazioni di carattere introduttivo sul Sufismo visivo, ovvero sul vasto e complesso tema dell’utilizzo di rappresentazioni grafiche nella letteratura sufi, soffermandosi su un aspetto in particolare, ovvero su come questi diagrammi in molti casi siano stati concepiti dai maestri sufi che li idearono e dai loro fruitori come strumenti grafici a supporto della realizzazione spirituale; contemporaneamente esso si interroga, attraverso l’analisi dei testi, sulle ragioni che spinsero alcuni esponenti del Sufismo ad adottare questo particolare mezzo espressivo. Per far ciò sono stati presi in considerazione autori di epoche diverse, partendo da al-Ḥallāǧ (m. 309/922), passando per Ibn ʿArabī (m. 638/1240) -il cui impulso appare determinante nello sviluppo di questo fenómeno- proseguendo con alcuni eminenti esponenti della Scuola Akbariana quali Ḥaydar Āmulī (m. dopo il 787/1385) e Muḥammad Šīrīn Maġribī (m. 810/1408), per concludere con un maestro Naqšbandī contemporaneo di nome Abū l-Ḥasan Zayd Fārūqī (m. 1993). Questo excursus, sebbene breve e sommario, ripercorrendo più di mille anni consente di accertare la diffusione e la lunga fortuna del mezzo espressivo grafico nella storia del Taṣawwuf, il quale rimane ancora oggi poco conosciuto e che solo raramente viene avvertito come una delle tecniche spirituali proprie del Sufismo.
Abstract: This article provides introductory considerations on Visual Sufism, that is, on the vast and complex topic of the use of graphic representations in Sufi literature, focusing on one aspect in particular. That is about how these diagrams in many cases have been conceived by the Sufi masters who designed them and by their users as graphic tools to support spiritual realization. At the same time, through the analysis of the texts, it questions the reasons that led some Sufi thinkers to adopt this particular means of expression. In order to do so, authors of different periods have been taken into consideration, starting from al-Ḥallāǧ (d. 309/922), passing through Ibn ʿArabī (d. 638/1240) -whose impulse appears decisive in the development of this phenomenon -then continuing with some eminent exponents of the Akbarian School such as Ḥaydar Āmulī (d. after 787/1385) and Muḥammad Šīrīn Maġribī (d. 810/1408), concluding with a contemporary Naqšbandī master named Abū l-Ḥasan Zayd Fārūqī (d. 1993). This excursus, though brief and summary, by retracing more than a thousand years allows us to ascertain the diffusion and long fortune of the graphic means of expression in the history of Taṣawwuf, which remains little known even today and is only rarely perceived as one of the spiritual techniques proper to Sufism.
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