The century after the conquests of Timur witnessed the division of eastern and western Iran between his Turko-Mongol successors, and a flowering of Persian culture in the great cities of Herat, Samarqand and Tabriz, among others. In this, the ninth volume in The Idea of Iran series, leading scholars analyse the ways that Timurid contemporaries viewed their traditions and their environment, asking questions such as: what was the view of outsiders, and how does modern scholarship define the distinctive aspects of the period? Essential reading for scholars, students, and all those interested in the history of Iran, the book considers the political, religious and cultural history of this rich and highly productive interval that was the springboard for the formation of new imperial Ottoman, Safavid, Mughal and Ozbek orders of succeeding centuries.

Discusses the importance of informal intellectual networks and the formation of the republic of letters in Islamic history. The book focuses on the fifteenth century Timurid, Ottoman, and Mamluk empires, and traces the connections between intellectuals in these three early modern Islamic polities.

The nineteen papers collected in this volume were delivered at a symposium held in Toronto, November 1989 in order to discuss the art and culture of Timurid times. The papers cover the last decades of the fourteenth century and the whole of the fifteenth, in an area of western Asia extending roughly from the Euphrates to the Hindu Kush and to the Altai.

In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.

Beatrice Forbes Manz uses the history of Iran under the Timurid ruler Shahrukh (1409–1447) to analyse the relationship between government and society in the medieval Middle East. She provides a rich portrait of Iranian society over an exceptionally broad spectrum - the dynasty and its servitors, city elite and provincial rulers, and the religious classes, both ulama' and Sufi. The work addresses two issues central to pre-modern Middle Eastern history: how a government without the monopoly of force controlled a heterogeneous society, and how a society with diffuse power structures remained stable over long periods. Written for an audience of students as well as scholars, this book provides a broad analysis of political dynamics in late medieval Iran and challenges much received wisdom about civil and military power, the relationship of government to society, and the interaction of religious figures with the ruling class.

This handbook is a guide to Iran's complex history. The book emphasizes the large-scale continuities of Iranian history while also describing the important patterns of transformation that have characterized Iran's past.

This groundbreaking book examines portable art collections assembled in the courts of Greater Iran in the fifteenth and sixteenth centuries. Made for members of the royal families or ruling elites, albums were created to preserve and display art, yet they were conceptualized in different ways. David Roxburgh, a leading expert on Persian albums and the art of the book, discusses this diversity and demonstrates convincingly that to look at the practice of album making is to open a vista to a culture of thought about the Persian art tradition. The book considers the album’s formal and physical properties, assembly, and content, as well as the viewer’s experience. Focusing on seven albums created during the Timurid and Safavid dynasties, Roxburgh reconstructs the history and development of this codex form and uses the works of art to explore notions of how art and aesthetics were conceived in Persian court culture. Generously illustrated with over 175 images, many rare and previously unpublished, the book offers a range of new insights into Persian visual culture as well as Islamic art history.

The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)

Poetry expressing criticism of social, political and cultural life is a vital integral part of Persian literary history. Its principal genres - invective, satire and burlesque - have been very popular with authors in every age. Despite the rich uninterrupted tradition, such texts have been little studied and rarely translated. Their irreverent tones range from subtle irony to crude direct insults, at times involving the use of outrageous and obscene terms. This anthology includes both major and minor poets from the origins of Persian poetry (10th century) up to the age of Jâmi (15th century), traditionally considered the last great classical Persian poet. In addition to their historical and linguistic interest, many of these poems deserve to be read for their technical and aesthetic accomplishments, setting them among the masterpieces of Persian literature.