SUFISM AND MYSTICISM IN MEDIEVAL CLASSICAL POETRY : AS CARRIERS OF IDEOLOGICAL, ARTISTIC, AND LITERARY-AESTHETIC VALUE

Актуальні питання культурології. Випуск 24/2025 21 In general, the time-space continuum in folklore originates from ancient mythological thought. In the surviving folklore examples of today, this continuum still endures in many cases, while in others it has been partially influenced by the forces of modernity. References 1. Anthology of Azerbaijani Folklore (Nakhchivan Examples), Vol. 2, Book XXIII. Baku : Elm və Təhsil, 2012, 332 p. 2. Azerbaijani Mythological Texts. Baku : Elm, 1988, 196 p. 3. Hacılı, A. The Poetics of Bayati: Structure, Semantics, Pragmatics. Baku : Elm, 2019, 242 p. 4. Sharur Folklore Examples, Book I. Baku : Elm və Təhsil, 2016, 348 p. 5. Sharur Folklore Examples, Book II (Samples Collected from the Residents of Havush Village). Baku : Elm və Təhsil, 2023, 304 p. УДК: 398.21:111.852 МІФОЛОГІЧНИЙ КОНТИНУУМ У ФОЛЬКЛОРІ : СИМВОЛІКА ЧАСУ ТА ПРОСТОРУ Айтан Джафарова ДЖАФАР – доктор філософії (PhD), доцент, завідувач кафедри фольклористики, Інститут мистецтва, мови та літератури, Нахичванська філія Національної академії наук Азербайджана, Баку Система символізованих образів, створених етносом, випливає з думки, що первісні концепції його творця – давньої людини – присутні у фольклорних текстах. Тобто, коріння фольклорних образів, відомих сьогодні, корениться в міцному зв’язку з давніми уявленнями. Щоразу, коли походження, місце та приблизний час створення цих образів залишаються неясними, достатньо звернути увагу на давні думки про них на прикладах оригінального фольклорного жанру. Бо саме оригінальні жанри є тими природними об’єктами, де консервативно зберігаються первісні думки. А простір у цих об’єктах, а також фактори, пов’язані з часом та їх зв’язок із розглянутими образами, дають інформацію про оригінальність та давність образів. Або, навпаки, часто сама наявність образу в тексті може підтвердити первинність вже необхідного часу та простору. Таким чином, в обох випадках дослідження єдності часу та простору у фольклорному тексті відбувається шляхом спостереження за етнопоетичним ландшафтом історії народу, якому належить текст. Проводиться дослідження сакрального положення як часу, так і простору в етнічній думці на основі фольклорних зразків, зібраних з Нахчивану. Зроблено висновок, що основу часу та простору в нахчиванських фольклорних текстах формують думки про час і простір в обрядах, що походять від давніх морфологічних поглядів. Ключові слова: фольклор, час і простір, невизначений час, нахчивансько-фольклорні зразки, давні часи, міфічний час. Стаття отримана 1.11.2025 Стаття прийнята 21.11.2025 Стаття опублікована 26. 12.2025 УДК 82.09:2-277.4(479.24) SUFISM AND MYSTICISM IN MEDIEVAL CLASSICAL POETRY : AS CARRIERS OF IDEOLOGICAL, ARTISTIC, AND LITERARY-AESTHETIC VALUE Narmin Rzayeva KEREM – Doctoral Student, Researcher at the Institute of Literature named after Nizami Ganjavi, Azerbaijan National Academy of Sciences. https://orcid.org/0009-0001-5826-3829 doi isa.habibbe[email protected] Medieval Eastern literature represents one of the deepest artistic and philosophical systems depicting the spiritual world of humankind, the contrast between existence and non-existence, and the moral elevation toward divine truth. At the core of this system lies Sufism and its poetic manifestation – Sufi (mystical) poetry – which for centuries has defined the ideological and aesthetic direction of Eastern thought, particularly that of Azerbaijani classical poetry. Sufism emerges not only as a religiousmystical doctrine but also as a worldview and an aesthetic school guiding the human being toward spiritual perfection. This article explores the role of Sufism and mystical thought in medieval classical poetry as carriers of ideological, artistic, and literary-aesthetic value. It demonstrates that although research on these concepts was restricted during the Soviet ideological period, the philosophical study of Sufism and mysticism in literary scholarship has expanded considerably in the post-independence era. The article draws on the works of Russian and Turkish orientalists, as well as Azerbaijani scholars such as Azade Rustamova, Rahim Aliyev, and Khuraman Hummetova, to examine the religious and artistic-philosophical foundations of Sufism. Furthermore, it emphasizes Sufism’s close connection with the Qur’an, Hadiths, and other religious motifs, as well as its expression in poetry through allegorical imagery and symbolic representations. In conclusion, Sufi literature is evaluated not merely as a form of religious ideology but as an embodiment of universal values, divine love, spiritual perfection, and the aesthetic expression of humanism. Key words: Sufism, Mysticism, Medieval Poetry, Classical Azerbaijani Literature, Azade Rustamova. © Narmin Rzayeva KEREM., 2025 Стаття поширюється на умовах ліцензії CC BY 4.0 Альманах наукового товариства «Афіна» кафедри культурології та музеєзнавства Рівненського державного гуманітарного університету 22 It is difficult to imagine the classical medieval Azerbaijani, Near, and Middle Eastern literature – especially its poetic experience – outside the religious tendencies and Sufi orders of the time. In the Islamic East, an important branch of the medieval artistic literary heritage was formed by tariqat (Sufi order) literature. Since medieval Azerbaijani literature was established within the broader framework of Islamic literature, being connected to it through multifaceted ties and features and ultimately constituting a part of this system, it is impossible to envision its literary sphere without tariqat literature. Two major religious-philosophical and artisticideological tariqat movements existed in Azerbaijani literature: 1.Sufism (Tasawwuf); 2.Hurufism [6; 5]. However, excessive devotion to religious orders sometimes led to medieval literature being presented solely under the banner of those religious tendencies. This, in turn, cast a shadow over the thematic and ideological diversity of literary and artistic thought, as well as over such leading qualities as artistic expression and imagery. In sources explaining the essence of various Islamic concepts, Sufism –one of the leading religious tendencies of the Middle Ages – was often presented during the Soviet period as a separate notion, distinguished by its distinct religious-canonical content and meaning, and was at times discussed apart from Tasawwuf as a whole. In most studies written during the Soviet era, the concept of Sufism was given particular importance. In works related to religious studies and Oriental studies, emphasis was generally placed on the study of Sufism. Prominent figures of Russian-Soviet Orientalism, such as academician Ignaty Yulianovich Krachkovsky, who published the first Islamic Encyclopedia; Eduard Yevgenyevich Bertels, author of Sufism and Sufi Literature; Yevgeny Aleksandrovich Belyaev, author of Muslim Orders (Historical Sketches); as well as the collective work Short Reference Book edited by Yevgeny Maksimovich Primakov, and Rakhim Musulmankulov’s Persian-Tajik Classical Poetics, all examined Sufism, its origins, and its distinctive features as a monotheistic religious movement in depth. In Isaak Moiseyevich Felyshinsky’s fundamental study History of Arabic Literature of the 10th–18th Centuries, alongside an analysis of nearly eight centuries of Arabic literary experience, valuable observations were made regarding the role of religious and Sufi trends in the literary practice of that period – as a thematic direction and as a system of moral and spiritual values. By the 7 th century, Islamic culture, which had begun to take shape in the Eastern lands, encompassed broad intellectual and spiritual currents. Among these, Tasawwuf (Sufism) played a highly influential and significant role in the development and expansion of Islamic civilization. The term Tasawwuf derives from the Arabic verb pattern tafa‘ul, and the noun form originates from suf, meaning «wool». Many scholars agree that the words sufi and tasawwuf derive from suf («wool»), referring to the simple woolen garments worn by ascetics. Various Sufi sources provide different explanations regarding the origin of the word. One of the earliest mentions appears in Abu Nasr al-Sarraj’s al-Luma‘ («The Gleams»), where he writes about why such people were called Sufis: «Through divine companionship (ma‘iyyat Allah), they constantly move from one state to another, always striving for the better and the more beautiful. Since their states are ever-changing, it would not be appropriate to name them after only one of these states. Therefore, I named them Sufiyyah after their clothing, for wearing wool was the custom of the prophets and a mark of ascetics and Sufis» [4; 7–8]. There are also other scholarly interpretations regarding the origin of the term Tasawwuf. One of these relates it to the expression «Aṣḥab al-Ṣuffa» («the People of the Veranda») – the companions of the Prophet (peace be upon him) who found shelter in the shaded section (ṣuffa) of the Prophet’s Mosque in Medina. These were Muslims without homes who devoted all their time to learning, memorizing the Qur’an, worship, and preparation for jihad. They were known as Aṣḥab al-Ṣuffa, and some scholars believe that the term Sufi originated from this word. In the works of poets who propagated and promoted Sufism, religious-philosophical ideas and artistic expression merged into a single unity. It is rightly observed that «in the writings of Sufi authors, not only religious and ethical concepts but also cosmological and sociological ideas were analyzed». By the 10 th century, Hellenistic philosophy – especially its doctrine of emanation – had influenced Sufi thought. In its early stages, many Sufis were subjected to persecution. The clergy, as well as scholars of jurisprudence and theology (fiqh and kalвm), often regarded Sufis from a radical perspective. The person who ultimately freed the world of Tasawwuf from such accusations and persecutions was Imam Abu Hamid al-Ghazali, one of the greatest intellectuals of the Islamic East in the fields of science, philosophy, and religion. Through the power of his faith, knowledge, and virtue, he, so to speak, reconciled Islam with Sufism. [6; 14] Skillfully drawing from the Qur’an and Neoplatonism, al-Ghazali elevated Tasawwuf to the level of a recognized science. There is ample information in historical sources about the geographical spread of the Sufis, and among the regions mentioned is Azerbaijan. Sufism began to spread widely throughout the Muslim world, extending its influence to South and Southeast Asia, as well as Turkey, where it found many followers. From the 11 th century onward, various Sufi communities were formed – some of which still exist today. Sufi motifs were widely used in poetry. Many great poets of the Arabs, Persians, Turks, Tajiks, and Azerbaijanis – such as Актуальні питання культурології. Випуск 24/2025 23 Attar, Saadi, Rumi, Hafiz, Yunus Emre, Jami, and Nasimi – as well as poets writing in Urdu, Malay, and other languages, composed Sufi-inspired poetry. Among the countries that have taken a leading role in Sufi studies, special mention must be made of Arab, Persian, and Turkish Oriental scholarship. However, it should also be noted that among the lands where profound research on Sufism and mysticism has been conducted – and where prominent Sufi thinkers and mystics, renowned worldwide for their spiritual, humanist, and philosophical ideas, lived and taught – is Turkey. Turkish sources describe Sufism as follows: «Sofi, sufi: a follower of the mystical doctrine within Islam. The term is applied to Muslim sheikhs and dervishes gathered around a tariqat (order) in tekkes. It is said that they were given this name because they wore garments made of rough fabric called ‘sof’» [13; 719]. Another Turkish reference work offers this concise explanation: «Tasavvuf: a system of belief that holds an important place in the history of religions. As a system, it has five distinct theoretical foundations: Wahdat al-Wujud (Unity of Being), Tajalli (Divine Manifestation), A‘yan al-Thabita (Immutable Archetypes), ‘Ishq (Divine Love), and Insan (Man)» [1; 98]. The distinguished orientalist E. E. Bertels conducted fundamental research on Sufism and its origins. In Azerbaijan, notable scholar Azada Rustamova made significant contributions to the study of Sufism through her research on classical literary heritage and literary historiography. In her Soviet-era works – such as The Development Paths of Azerbaijani Epic Poetry (12 th–17 th Centuries) – Rustamova used the term «Sufi-pantheistic» when discussing the themes and sources of medieval epic poetry. Only once does she explicitly use the term «Tasawwuf», while analyzing the works of Farid al-Din Attar (1136–1230) and Jalal al-Din Rumi (1207–1273), stating: «The ideas of Tasawwuf are leading and fundamental in the epic poetry of Attar and Rumi» [12; 34] A similar perspective can be seen in her book about Nizami Ganjavi’s life and work: «This period was one in which the Sufi worldview was strongly established throughout the Near East, including Azerbaijan. Yet Sufism, as is well known, was never a single unified school of thought. Alongside its progressive, pantheistic branch – which exalted light over darkness, good over evil, and preached justice and generosity against all social inequality – there also existed its mystical-ascetic, reactionary side, which urged passivity and denied worldly reality» [10]. The presence of such ideologically shaped interpretations in her Soviet-era writings was naturally influenced by the norms of the dominant ideology. Nevertheless, these works also contained insightful analyses of the constructive aspects of Sufism. In Azerbaijan, the theoretical study of the religious-ideological and philosophical dimensions of Sufism and Tasawwuf began mainly during the post-independence period. This era of scholarship sought to free itself from the ideological distortions of the Soviet period and to reinterpret classical writers and their works within the social, artistic, and intellectual values of their own time. It is noteworthy that specialists from diverse fields of literature and the humanities joined in these discussions, sharing their perspectives. An example of such engagement is Rahim Aliyev’s work Cavidannama: The Fourth Book of Monotheism, which explores religious orders and mystical movements as intertwined philosophical worldviews in classical literature. His general conclusion about Sufism is as follows: «A Sufi is a Muslim who, through love and worship of God, aspires to a metaphorical union with the Creator, of whom he considers himself a mere particle. Sufism (Sufi thought) is a pantheistic movement within Islam, founded on the philosophy of divine love, and often called Wahdat al-Wujud (Unity of Being). It is based on the belief that all existence forms a single unity with God. In Sufi poetry, the poet sees himself as a spark separated from God and turns his desire to return and reunite with Him into both a religious and poetic ideal – the essence of his prayers and devotion» [6; 138]. In the years of independence, Azerbaijani literary scholarship began to approach Sufism from a broader and more comprehensive perspective. It has rightly emphasized that the ideas of Tasawwuf occupy a central place in medieval Azerbaijani poetry, arguing that Sufism cannot be viewed as merely a literary phenomenon. Reducing this ancient and medieval Eastern ideological system to a purely literary matter would be a mistake, for the relationship between literature and Tasawwuf extends far beyond religious, ideological, or artistic boundaries – it encompasses multiple dimensions of intellectual and cultural consciousness. With the growth of national scholarship, the study of Sufism, mystical thought, and Sufi worldviews – as well as the creative legacy of globally renowned Sufi figures – has expanded significantly, demonstrating a sustained scholarly interest in this field. As the philosopher Friedrich Nietzsche, who at the age of 24 earned the title of «professor of philology», once said: «The materials of philological study may one day be exhausted, but one field of philology is eternal – the study that seeks to view and interpret every era through the lens of the present. In truth, the past can only be fully understood from the standpoint of the present». As noted earlier, religious texts played a tremendous role in shaping medieval culture. In the literature Альманах наукового товариства «Афіна» кафедри культурології та музеєзнавства Рівненського державного гуманітарного університету 24 of Muslim peoples during the Middle Ages, the use of the Qur’an became a defining tradition. Great masters of Eastern art – Sanai, Jalal al-Din Rumi, Hafiz, and many others – drew extensively from the Qur’an in their creative works. Among Azerbaijani writers, Khagani, Nizami, Nasimi, Khatai, Fuzuli, Nabati, and others also made profound use of divine revelation in their literary heritage. [8; 306] Tasawwuf, which incorporates elements of various philosophical schools, is fundamentally based on Islam. Its essence lies in the understanding of divine truth. The long years under the Soviet regime led to certain distortions in the study of classical heritage, resulting in misconceptions about both the nature of Sufism and the interpretation of medieval Sufi-inspired literature. At its core, Tasawwuf is founded on love for God, the spiritual longing for divine union, detachment from worldly desires, purification of the soul, and the elevation of the spirit. Over time, Sufism exerted a powerful influence on poetry across the Islamic world. The profound insights of Sufi thought, revealing the mysteries of the universe to the human spirit, created an exceptionally fertile ground for poetic imagination. Gradually, Sufism and poetry became so deeply intertwined that they became each other’s natural means of expression. This influence is evident in the way Sufism expanded the boundaries of human thought, enriched language with spiritual terminology, and infused poetic imagination with philosophical depth, with the concept of Wahdat al-Wujud playing a central role. It is also noteworthy that Jalal al-Din Rumi made a major contribution to the integration of Sufism and art – introducing poetry, music, and the sema (spiritual dance) into Sufi gatherings and thereby granting them a legitimate moral and spiritual status [6; 15]. In recent years, the number of scholarly works devoted to Sufism in Azerbaijan has been steadily increasing. Among the researchers who have made exceptional contributions to this field are Azada Musayeva, Teymur Karimli, Nezaket Mammadli, Saadat Shikhieva, Aygun Alizade, and Khuraman Hummetova. The eminent literary scholar Azade Rustamova has also advanced valuable and scientifically significant ideas on Sufism in her research. Her work «Nizami Ganjavi: Life and Art» stands out in particular for its in-depth treatment of the Sufi theme. In this study, she analyzes the aesthetic and artistic values of mystical (ʿirfān) thought in Nizami’s works, explaining the divine essence of love and the distinction between spiritual and material love in poems such as «Khosrow and Shirin» and «Layli and Majnun». Rustamova observes: «The human element occupies an exceptionally important place in Sufism and is regarded as the starting point in explaining its ontological and epistemological problems. Sufism considers the human being the crown of creation. According to Ibn Arabi, ‘In the human self, the forms of both God and the universe unite. The Divine Essence manifests all its names and attributes only through man... We are the attributes that make it possible to imagine God» [10; 303]. Thus, in Sufism, the human being is not only a being who loves, but also a creative being – a personality who seeks, at a spiritual level, to emulate God and mirror His creative energy. Rustamova links this concept to the philosophy of Wahdat al-Wujud (Unity of Being), noting that for the Sufi, God is both the beginning and the end of all existence, and the entire universe is a manifestation of divine being. Therefore, in Sufi poetry, love symbolizes the point of union between the Divine and the human. Highlighting that Tasawwuf served as a primary source of thought in classical Azerbaijani literature, Khuraman Hummetova, in her book «Tasawwuf in the Context of Azerbaijani Literature», writes: «Sufism, with its progressive ideas and motifs, was a compelling source of inspiration for Nizami. He did not remain indifferent to this source and used Sufi ideas and motifs creatively. However, observations show that Nizami employed Sufi concepts as a means of expressing his own ideas rather than fully submitting to them» [9; 128]. She continues: «Although Nizami was attracted to the progressive ideas of earlier cultural heritage, he incorporated into his works only those ideas that he found acceptable». From these observations, it may be concluded that Tasawwuf, in Nizami’s creativity, functioned as a means of realizing his humanist ideals. His works reflect the humanistic thought of the medieval East, contributing to what can be described as an «Eastern Renaissance». Notably, Nizami’s attitude toward women stands as one of the central elements of his humanist and universal values. Sufism itself also sought to abolish distinctions between men and women. Compared with the preIslamic (Jahiliyyah) period, women gained significant rights under Islam. Some Sufis interpreted verse 34 of Surah al-Nisa in a unique way, suggesting that women who attained spiritual maturity and active participation in divine reality were superior to passive ones – acknowledging the existence of women who had reached the rank of «Rijāl» (spiritual men) [7; 155]. It is also important to note that although the terms «Tasawwuf» and «Irfan» are often used interchangeably, they are not identical. Tasawwuf refers to the ascetic path toward union with the Divine, based on the purification of the self (nafs), detachment from the material world, and adherence to the principles of the Sharia. Irfan, on the other hand, is a higher, philosophical and mystical school of knowledge, which seeks to Актуальні питання культурології. Випуск 24/2025 25 understand divine truths and the secrets of existence through illumination (ishraq), intuition (kashf), and spiritual witnessing (shuhud) rather than through rational philosophy [4; 12]. All great thinkers have been ‘arifs’ (gnostics), and their writings are filled with mystical insights. The most characteristic feature of irfani literature is its focus on the concept of the Perfect Human (al-Insan alKamil) [5; 47]. The idea of ‘irfan’ – meaning «knowledge» or «recognition» – cannot be confined to narrow limits. Even before the rise of Islam, religions such as Zoroastrianism, Manichaeism, Christianity, and Judaism each had their own understandings of God, the world, and humanity [3; 169]. If we continue the discussion of Tasawwuf with reference to Fuzuli’s works, it can be said that he was a deeply enlightened mystic, and his writings are imbued with gnostic wisdom. Fuzuli’s creativity cannot be separated from the Sufi worldview. Whereas in the works of Hakim Sanai and Farid al-Din Attar, Tasawwuf appears as a didactic teaching free of metaphor, in later literature it evolves into a subtle, lyrical, and harmonious poetic aesthetic capable of moving between symbol and reality. In Fuzuli’s poetry, love is the reflection of beauty (husn). In Sufi understanding, beauty is like a mirror reflecting the world, and therefore in Sufi literature – including Fuzuli’s poetry – the dimensions of beauty are boundless. Fuzuli unites the spiritual essence of natural and human beauty with divine beauty, presenting this synthesis poetically to the reader [11; 266]. Thus, it can be said that human civilization, with the advent of Islam, achieved remarkable progress in the spiritual and cultural sphere. One of the most significant achievements born of Islamic thought across the Eastern world is Sufi literature. This literary tradition possesses a distinct artistic-philosophical system, centered on the poetic expression of the human inner world, the journey toward divine truth, selfpurification, and spiritual perfection. A defining feature of Sufi literature is its deep interweaving with Qur’anic verses, hadiths, and religious themes – a relationship visible both in its content and form [4; 190]. Moreover, Sufi poetry does not merely reference divine texts; it recreates their spiritual meanings through the poet’s inner experience, emotions, and intellectual insight, thereby transforming Sufism into a medium for expressing humanist ideas such as spiritual freedom, self-realization through love and devotion, and the ideal of the Perfect Human. References 1. Ahmet Mermer, Assist. Prof. Neslihan Koç Keskin. Dictionary of Old Turkish Literature Terms. 2nd edition. Ankara, 2011. 119 p. 2. Aliyev R, Javidanname: The Fourth Book of Monotheism. Baku : Alatoran, 2016. 141 p. 3. Alizadeh A. The Specificity of Religious Motifs in the Avesta (Based on the Gathas). Issues of Oriental Philology (Collected Articles). Baku : Elm, 2024. 320 p. 4. Alizadeh A. Farid al-Din Attar’s «Tazkirat al-Awliya» as a Source of Persian Sufi Literature. Baku: Institute of Oriental Studies named after Z. M. Bunyadov, 2014. 227 p. 5. Alizadeh A. The Concept of the Perfect Human in Irfan Literature. Manuscripts Don’t Burn (Collected Articles), No. 2 (9), 2019. 6. Babayev Y, Tariqat Literature: Sufism, Hurufism. Baku : Nurlan, 2007. 132 p. 7. Gölpınarlı A, 100 Questions about Sufism. Baku : Elm, 2022. 180 p. 8. Guliyeva M. Main Categories of Eastern Poetics. Baku, 2010. 397 p. 9. Hummetova K. Tasawwuf in the Context of Azerbaijani Literature. Baku, 2023. 197 p. 10. Rustamova A. Nizami Ganjavi: Life and Art. Baku : Elm, 1979. 209 p. 11. Rustamova A. Our Spiritual Past in the Light of Today. Baku : Elm, 2011. 598 p. 12. Rustamova A. The Development Paths of Azerbaijani Epic Poetry (12 th–17 th Centuries). Baku : Elm, 1979. 334 p. 13. Seyit Kemal Karaalioğlu. Expanded 3rd Edition. Istanbul: Inkilap ve Aka Kitabevleri, 1883. 960 p. УДК 82.09:2-277.4 (479.24) СУФІЗМ ТА МІСТИКИЗМ У СЕРЕДНЬОВІЧНІЙ КЛАСИЧНІЙ ПОЕЗІЇ ЯК НОСІЇ ІДЕОЛОГІЧНОЇ, ХУДОЖНЬОЇ ТА ЛІТЕРАТУРНО-ЕСТЕТИЧНОЇ ЦІННОСТІ Нармін Рзаєва КЕРЕМ – докторант, науковий співробітник Інституту літератури ім. Нізамі Гянджаві Національної академії наук Азербайджану Середньовічна східна література являє собою одну з найглибших художніх та філософських систем, що зображує духовний світ людства, контраст між буттям та небуттям, моральне піднесення до божественної істини. В основі цієї системи лежить суфізм та його поетичний прояв – суфійська (містична) поезія, – яка протягом століть визначала ідейний та естетичний напрям східної думки, зокрема азербайджанської класичної поезії. Суфізм постає не лише як релігійно-містичне вчення, а й як світогляд та естетична школа, що веде людину до духовної досконалості. Досліджується роль суфізму та містичної думки в середньовічній класичній поезії як носіїв ідеологічної, Альманах наукового товариства «Афіна» кафедри культурології та музеєзнавства Рівненського державного гуманітарного університету 26 художньої та літературно-естетичної цінності. Вона демонструє, що хоча дослідження цих концепцій були обмежені в радянський ідеологічний період, філософське вивчення суфізму та містицизму в літературознавстві значно розширилося в епоху після здобуття незалежності. Стаття спирається на праці іноземних, зокрема й турецьких сходознавців, а також азербайджанських учених, таких як Азаде Рустамова, Рахім Алієв та Хураман Хумметова, щоб дослідити релігійні та художньо-філософські основи суфізму. Крім того, вона підкреслює тісний зв’язок суфізму з Кораном, хадисами та іншими релігійними мотивами, а також його вираження в поезії через алегоричні образи та символічні репрезентації. На завершення, суфійська література оцінюється не лише як форма релігійної ідеології, а й як втілення універсальних цінностей, божественної любові, духовної досконалості та естетичного вираження гуманізму. Ключові слова: суфізм, містика, середньовічна поезія, класична азербайджанська література, Азаде Рустамова Стаття отримана 28.09. 2025 Стаття прийнята 6.10. 2025 Опублікована 26.12. 2025 УДК 81’373.611 E. COSERIU’S PRINCIPLE OF LEXICAL SOLIDARITY Khuraman Asgarova SALIM – PhD, Assoc.prof. Department of Lexicology and Stylistics of the German Language, Faculty of English and German Languages Azerbaijan University of Languages https://orcid.org/000-0003-2362-0360 doi e-mail This article provides a comprehensive analysis of Eugenio Coseriu’s principle of lexical solidarity, one of the key components of his structural semantics framework. It elucidates the relationship between lexemes, archilexemes, classes, and classemes, emphasising that lexical meaning is not isolated but defined by internal systemic relations. The study explores the directional and paradigmatic nature of solidarity, distinguishing unilateral and bilateral types, and assesses its analytical potential in lexicography, diachronic semantics, and language teaching. Integrating recent developments in lexical and computational semantics (2020–2025), the article highlights the enduring relevance of Coseriu’s relational approach in current research, particularly in areas involving semantic networks, cross-linguistic analyses, and applied linguistics. It also outlines challenges for empirical and computational operationalisation and proposes extending the principle to typologically diverse languages, including Azerbaijani. Key words: lexical solidarity, structural semantics, rchilexeme and classeme, Paradigmatic relations, Computational lexicography, Eugenio Coseriu In modern linguistics, Eugenio Coseriu is recognised for a wide range of innovative ideas in general linguistics, philosophy of language, structural semantics and related areas. His contributions are known to many scholars of Azerbaijani linguistics, yet it is fair to observe that his views on structural semantics are still not fully incorporated across the field. In this article we shall attempt to explicate Coseriu’s conception of structural semantics with specific attention to his notion of «lexical solidarity». We will then locate this notion within more recent research (last five years) in lexical and structural semantics to assess its continuing relevance and potential avenues of application. Coseriu’s Structural Semantics: Core Concepts Coseriu’s approach to structural semantics is premised on the idea that lexical meaning does not float free but is embedded within systems of relations: lexical fields (Wortfeld), classes, archilexemes, lexemes, and classemes. To clarify:  Lexical field (Wortfeld): A paradigm or system of lexical items that arise through segmentation of the continuum of lexical meaning into discrete units and which are opposed to one another by differential semantic features. For example, in German: jung–neu–alt (young–new–old) can be taken as such a paradigm.  Lexeme: Each unit in the language functioning as a simple lexical item (i. e., a word-form with meaning and lexical identity).  Archilexeme: The unit encompassing the total meaning of a lexical field; in many instances a higher-level lexical unit under which various lexemes fall. For instance, in German Rind (cattle) may serve as archilexeme for Ochse (ox), Kuh (cow), Bulle (bull) etc.; further, Tier (animal) may serve as a still higher archilexeme.  Class (classis): A set of lexemes which, regardless of word-field structure, share a common meaning-differentiating feature, and which function grammatically and lexically analogously (e. g., the class of animate beings, or the class of transitive verbs). © Khuraman Asgarova SALIM., 2025 Стаття поширюється на умовах ліцензії CC BY 4.0