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This study contributes to the history of social changes in Iran during the Abbasid Caliphate (AH 132-656, AD 750-1258) by foregrounding the perspective of Persian language historians - from Abu Ali Bal'ami (AH 363, AD 974), the first known Persian historian, to Atamelak Joveyni (AH 623-681, AD 1226-1283), the great historian of the Mongol Era. By applying the insights of Anthony Giddens and the theory of structuration to address the interactions of social agents and structures, this book provides a coherent narrative of social transformation in medieval Iran.

This study contributes to the history of social changes in Iran during the Abbasid Caliphate (AH 132–656, AD 750–1258) by foregrounding the perspective of Persian language historians – from Abu Ali Bal'ami (AH 363, AD 974), the first known Persian historian, to Atamelak Joveyni (AH 623–681, AD 1226–1283), the great historian of the Mongol Era. By applying the insights of Anthony Giddens and the theory of structuration to address the interactions of social agents and structures, this book provides a coherent narrative of social transformation in medieval Iran.

From the author's preface: Sublime Porte--there must be few terms more redolent, even today, of the fascination that the Islamic Middle East has long exercised over Western imaginations. Yet there must also be few Western minds that now know what this term refers to, or why it has any claim to attention. One present-day Middle East expert admits to having long interpreted the expression as a reference to Istambul's splendid natural harbor. This individual is probably not unique and could perhaps claim to be relatively well informed. When the Sublime Porte still existed, Westerners who spent time in Istanbul knew the term as a designation for the Ottoman government, but few knew why the name was used, or what aspect of the Ottoman government it properly designated. What was the real Sublime Porte? Was it an organization? A building? No more, literally, than a door or gateway? What about it was important enough to cause the name to be remembered? In one sense, the purpose of this book is to answer these questions. Of course, it will also do much more and will, in the process, move quickly onto a plane quite different from the exoticism just invoked. For to study the bureaucratic complex properly known as the Sublime Porte, and to analyze its evolution and that of the body of men who staffed it, is to explore a problem of tremendous significance for the development of the administrative institutions of the Ottoman Empire, the Islamic lands in general, and in some senses the entire non-Westerrn world.

Al-Hariri's Maqamat, widely regarded as one of the most celebrated works in Arabic literature, has inspired numerous artists to create miniatures that depict and interpret its stories and events. Among these artists, Yahya al-Wasiti stands out for his exceptional miniatures, which not only visually narrate the tales within the Maqamat but also illuminate various aspects of Abbasid society. While much scholarly attention has been given to al-Wasiti's artistic style and thematic elements, the representation of traditional professions in his miniatures remains underexplored. This study examines a wide range of fields to demonstrate the significance of these jobs as both economic activities and cultural symbols, reflecting the values of Abbasid society. In addition, the study stresses the beauty and historical importance of al-Wasiti's miniatu-res, which paint a vivid picture of everyday life and the culture of the Abbasid era. Al-Wasiti's intricate and dynamic compositions not only highlight the economic roles of these professions but also situate them within broader cultural and social contexts. This study examines a wide range of fields to demonstrate the significance of these jobs as both economic activities and cultural symbols, reflecting the values of Abbasid society. Moreover, the research underscores the aesthetic and historical significance of al-Wasiti's miniatures, which provide a vivid visual documentation of the daily life and cultural ambiance of the Abbasid era. This paper adds to the history of Islamic art by looking at these representations. It also broadens the field of cultural studies by showing how art, economy, and society interacted during the Islamic Golden Age.

With the establishment of the Caliphate foundation, Iranians disappointed with accessing their own political aims through cooperating with the Caliphate, gradually started to reconstruct their kingdom regime and began a competition that somehow had a tough hostility towards Abbasids. In such a situation, the Abbasids, especially the Caliph al-Nasser, followed the process of recovering the Caliphate political hegemony, while and the Khwarizmi’s, in parallel, were planning a rigid dominance on Islamic world’s eastern regions including Baghdad, the capital of the Caliphate, to restrict its power in religious affairs. But after several battles between the armies of both sides, Sultan Muhammad Khwārazmshāh failed finally. This article attempts to recognize and analyze the motives and causes of the contrast that existed between these two power centers and their subsequent political and military consequences. Keywords: Abbasid Caliphate, Al-Nāsser Ledin-Allah, Khwārazmshāh, Sultān Muhammad, the Ismāilia.

The first Arabic translation movement was the largest translation effort ever in terms of scope and involvement of public and private institutions. According to ancient sources, the Abbasid era saw unparalleled translator remuneration, even by modern standards. The Banū Mūsa brothers paid an in-house translator 500 dīnārs a month (equivalent to 132,000 USD in today’s terms), while al-Ma'mūn, the seventh Caliph of the Abbasids, paid the weight of the book in gold. The purpose of this article is to explore the factors that were conducive to such a massive translation enterprise, including the motivations of the various patrons and sponsors, and the material underpinnings of the endeavour.

This research aims to show the role of Sultan Baybars (d. 1277CE), in contributing to the support and consolidation of the Mamluk state in Egypt and the Levant on Islamic foundations, which gave Baybars an Islamic leader who bears the appropriate titles like the senior Muslim leaders who preceded him. This study will examine Baybars' political characteristics and leadership in light of Islamic norms of conduct and culture. Baybars proved his military abilities through his victory and success in two decisive battles: al-Manṣūra against the Crusaders (Franks) in 1249 and ʿAyn Jālūt against the Mongols in 1260. In 1261, he came to power by force after the assassination of Sultan Quṭuz. This aspect of Baybars' rule (r. 1260-1277) is referred to by Muslim scholars as wilāya jabriyya or istīlā' (ruling by force). Baybars acted in various fields of religion and politics (sharīʿa and siyāsa) until he managed to achieve stability, security, and a powerful Islamic regime. Therefore, the Baybars deserved the title qasīm amīr al-mu'minīn\" (partner of the Commander of the Faithful, i.e., the Caliph), which was given to him by the restored Caliph in Cairo, in addition to other titles that testify to his high-ranking religious status as a defender of Islam. This research relied on the method of literary research on the personality of Sultan Baybars, through comparison and analysis of his characteristics and approach to governance, as mentioned in contemporary historians' works who documented Baybars' biography and the sources of the Mamluk era. This paper also relied on conclusions and extrapolations of Baybars' personality through official documents and letters received from him or issued for him, in addition to recent historical literature and research on Baybars and the Mamluk era. 1

The poet ʿAli ibn Jabala, also called al-ʿAkawwak, was a little known but significant poet who lived during the late 8th and early 9th centuries. This article examines his poetry in its political and cultural context to delineate the literary devices exploited by the poet in his poems of praise. Moreover, this paper interprets existing prose anecdotes claiming that al-ʿAkawwak's panegyric poem to the caliph al-Maʾmun's commander, Abu Dulaf al-ʿIjli, made the caliph so furious that he ordered the poet's execution, despite the poet having never composed any verses overtly criticizing the caliph. The argument is made that, within the tense political atmosphere of the time, the style that the poet embraced in praising the two commanders, Abu Dulaf al-ʿIjli and Humayd al-Tusi, intensified al-Maʾmun's anger toward the poet.