Suchergebnisse

Identity implies the other. As there is no self-definition without a view of the Other, the process whereby the "Self" discovers the "Other" is crucial to the formation of a self-image, for individuals as much as for groups of people claiming a collective identity. Historically, this process has never been more acute and intense than with the explosion of intercultural contact between Europe and the rest of the world following the so-called Age of Discovery. Nothing matches the radical novelty and drama of the first encounter between Europeans and the inhabitants of the New World. Though different inasmuch as it built on previous, intermittent contact and thus lacked the shock element of the utterly outlandish and bizarre, Europe's interaction with most of the major peoples of Asia in early modern times was hardly less transformative in the long run. Unprecedented in frequency and intensity, European-Asian contact as of the sixteenth century began to undermine the exotic notions and fabulous images that had formed and developed since Antiquity and that, over time, had been allowed to harden into convention.

In February 1617, Jan Lucasz. van Hasselt arrived in Persia accompanying Pietro Della Valle (1586–1652), a Roman noble. Sometime between 1618 and 1621 Van Hasselt entered the service of Shah ʿAbbas I (r. 1588–1629), for whom he worked as a painter until the death of the shah. Later, during the reign of Shah Safi I (r. 1629–42) and until 1654 he tried to establish himself as a commercial agent for Persia. The present paper examines the career of this Dutch painter in Persia and the Netherlands. Meanwhile the artworks that may be attributed to him will be discussed.

The article discusses the diplomatic and economic nature of relations between the Safavid and Russian states in the first half of the 17th century, especially during the reign of Shah Abbas I (1587-1629). The continuation of neighborhood relations by his heirs was analyzed. Also, the geopolitical interests of both countries in the field of treasury trade and the preservation of the traditional Volga-Caspian transit trade route were studied.

AbstractThe mis̱āl, a type of administrative decree associated with the most important religious official in Safavid Iran (1501-1736), the ṣadr, has received little scholarly attention. This article attempts to lay the preliminary groundwork for a more comprehensive future study on the mis̱āls of the Safavid ṣadrs. In the first part, we introduce the ṣadr and his department, the dīwān al-ṣadāra. In the second part, we study how the scribal and archival practices of the mis̱āl construct the religious and administrative authority of the ṣadr and the dīwān al-ṣadāra. We focus on an unpublished mis̱āl relating to the endowment (waqf) of the shrine of a prominent Sufi shaykh of the Ṭayfūriyya tradition in Basṭām, Shaykh Abū ʿAbdallāh Muḥammad b. ʿAlī Dāstānī (d. 417/1026). The appendix includes the text, translation, and a facsimile of the document.

The Ottoman, Safavid, and Mughal states each in its own way reconstituted a common legacy of combined Perso-Islamic and Turco-Mongolian religious and political elements into sociopolitical structures that exhibit remarkable similarities alongside significant differences. This, as well as the myriad ways in which they interacted, culturally, politically, as well as economically, renders these three states more than simply a series of discreet and self-contained political entities. Premodern and early modern west and south Asia is most productively approached and analyzed as an interactive continuum.

Сoming to power of the Safavids Sufi dynasty in Iran (in the person of Shah Ismail I) in 1501 caused noticeable transformations in the political, social, cultural and religious life of the Near and Middle East. This dynasty used the semi-nomadic tribes of the Oguz Turks ('Kyzylbash') as its main support, which it managed to unite under the auspices of military Sufi order of Safaviyya. However, the culture of the Safavid state was dominated by a high style associated with the classical era of the Persian cultural area ('Greater Iran') of the 10th–15th centuries. The Iranian-Turkic synthesis that emerged in previous centuries received a new form with the adoption by the Safavids of Twelver Shiism as an official religious worldview. This put the neighboring Ottoman state in a difficult position, as it had to borrow cultural codes from 'heretics'. Nevertheless, the Ottomans could not refuse cultural interaction with the Safavids, since they did not have any other cultural landmark in that era. This phenomenon led to a number of collisions in the biographies of certain cultural figures who had to choose between commonwealth with an 'ideological enemy' or rivalry, for the sake of which they often had to hide their personal convictions and lead a 'double life'. The fates of many people, from the crown princes to ordinary nomads, were broken or acquired a tragic turn during the Ottoman-Safavid conflict of 'spiritual paths'. However, many other poets, painters, Sufis sometimes managed to transform this external opposition into the symbolism of religious and cultural synthesis. In scholarly literature, many works explore certain aspects of the culture of the Ottoman Empire and the Safavid state separately, but there are almost no works considering the synthesis of cultures of these two largest Muslim states. Meanwhile, the author argues, that understanding the interaction and synthesis of the Ottoman and Safavid cultures in the 16th century is a key moment for the cultural history of the Islamic world. The article aims to outline the main points of this cultural synthesis, to trace their dependence on the ideology of the two states and to identify the personality traits of a 'cultured person' that contributed to the harmonization of the culture of two ideologically irreconcilable, but culturally complementary empires. A comparative study of this kind is supported by Ottoman sources. In the future, the author will continue this research, including the sources reflecting the perception of the Ottoman cultural heritage by the Safavids.

Abstract
The chronicle of Qasim Beg Hayati of Tabriz, written during the reign of Shah Tahmasp (d. 1576), provides new information on early Safavid history that is absent from the other Persian historical literature of the sixteenth and seventeenth centuries. In particular, Hayati shows how important the Caucasus was for the rise of Shaykh Junayd (d. 1460) and Shaykh Haydar Safavi (d. 1488). Using plunder and slaves gained from raids on the Circassians and the Georgians, Junayd and Haydar maneuvered themselves into a position of leadership of their familial order to which they were not entitled by birth. The disastrous ends of both men meant that there could be little continuity in the movement, but they still placed their line at the head of the shrine of Ardabil, and bequeathed to the young Shah Isma'il (d. 1524) a few surviving veterans with valuable experience about campaigning.

In the Safavid period the concepts of miniature painting, already fully established in the Timurid period, still prevailed with certain modifications and changes in emphasis. Timurid painting in its turn had expanded and refined an art which had developed in the course of the fourteenth century into the "kind of painting," as Dūst Muḥammad wrote in the mid-sixteenth century, "which is current at the present time." Although Persian miniature painting achieved its first stage of maturity under the Jalā'irid sultans in the second half of the fourteenth century, the development was uneven. During the Jalā'irid and subsequent Timurid periods illustrations were produced which were markedly different from each other not only in concept and purpose but also in their stage of artistic development and degree of sophistication.The study of the various factors that influenced the development of the art of the book in Iran is a vast subject.