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Dedicated to the renowned Safavid historian Roger Savory, this book brings together a collection of studies on the Safavid state of Iran (1501-1722) from the perspectives of political, social, literary, and artistic history. Savory, a doyen of Safavid studies in the 1960s and 1970s, was responsible for expanding and popularizing the study of Iran in the 16th and 17th century. To celebrate this legacy, well-established scholars of medieval and early modern Iran have contributed specific studies reflecting an array of research interests and specializations, which include critical re-examinations of issues of gender, literature, art and architecture, cultural and linguistic currents, illustrated historical chronicles, and courtly and administrative practices under the Safavid dynasty. This unique compilation is indicative of a growing interest in Iran and Iranian studies in both the academic and public spheres, and as such contains a number of new perspectives which will serve to supplement and re-interpret the existing corpus of Safavid scholarly literature to date. It will be an important text for scholars of world history and Middle East studies, as well as to historians in general.

The prophet Muhammad and the early Islamic community radically redefined the concept of time that they had inherited from earlier religions' beliefs and practices. This new temporal system, based on a lunar calendar and era, was complex and required sophistication and accuracy. From the ninth to the sixteenth centuries, it was the Muslim astronomers of the Ottoman, Safavid and Mughal empires who were responsible for the major advances in mathematics, astronomy and astrology. This fascinating study compares the Islamic concept of time, and its historical and cultural significance, across these three great empires. Each empire, while mindful of earlier models, created a new temporal system, fashioning a new solar calendar and era and a new round of rituals and ceremonies from the cultural resources at hand. This book contributes to our understanding of the Muslim temporal system and our appreciation of the influence of Islamic science on the Western world.

Islamic Gunpowder Empires provides readers with a history of Islamic civilization in the early modern world through a comparative examination of Islam's three greatest empires?the Ottomans (centered in what is now Turkey), the Safavids (in modern Iran), and the Mughals (ruling the Indian subcontinent). Author Douglas Streusand explains the origins of the three empires; compares the ideological, institutional, military, and economic contributors to their success; and analyzes the causes of their rise, expansion, and ultimate transformation and decline. Streusand depicts the three empires as a part of an integrated international system extending from the Atlantic to the Straits of Malacca, emphasizing both the connections and the conflicts within that system. He presents the empires as complex polities in which Islam is one political and cultural component among many. The treatment of the Ottoman, Safavid, and Mughal empires incorporates contemporary scholarship, dispels common misconceptions, and provides an excellent platform for further study.

This ground-breaking and controversial work locates the antecedents of today's Islamic 'fundamentalism' in 16th and 17th century Iran and the forced conversion of the Sunnite population of Iran to the largely alien doctrines of Twelver Shi'ism; the concomitant extirpation of Sufism and philosophy; and the gradual rise of the 'faqih' or jurist.

In Persian Pottery in the First Global Age: the Sixteenth and Seventeeth Centuries the authors, L. Golombek, R. B. Mason, P. Proctor, and E. Reilly, challenge the commonly accepted narrative regarding Safavid pottery workshops and chronology and relate changes to historical context.

This first systematic study of a wide range of Persian and European archival and primary sources, analyzes how the Muharram rituals changed from being an orginally devotional practice to public events of political significance, setting the stage for the emergence of the early modern Iranian public sphere in the Safavid period.

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.

This study argues, contrary to some opinions, that shadow performance existed in Iran from at least the tenth to the twentieth century. Through a textual analysis of newly discovered ancient texts, two plays specifically, this study shows how shadow performance originated in the Indian subcontinent, was transported from Iran to the historical region now known as Iraq, and then spread to Egypt, developing over time through its historical progression. This study also looks at the reasons for the decline of shadow performance in Iran, including the centuries-old Iranian Sufi criticism of the form and the establishment of the Safavid dynasty, which introduced Shiism as the official religion of Iran in the sixteenth century. Certain Iranian Sufisms considered shadow performance debaucherous until the fifteenth century. After the sixteenth century, influenced by the Turkish Karagöz, shadow performance was considered a theatrical form associated with Sunni infidels. Consequently, shadow performance was replaced with Muharram mourning rituals, ritualistic forms that reflect Shia identity.

The aim of the Isfahan Anthology Project is to create an inventory of, collect, and digitize all extant anthologies produced in seventeenth-century Isfahan. Thousands of majmuʿa were authored and assembled in Isfahan. Presently, we are working together with our graduate students at the University of Isfahan and the University of Michigan in a collaboration that intends to train a new generation of Safavid historians who will continue this digital project into the future. We have begun the vast project of collecting and generating tables of contents for anthologies housed in the capital's most prominent public libraries—Tehran University Library, Majlis Library, Malik Library, and the National (Milli) Library of Iran—to begin our analysis of their anthology collections. Adapting our work to include reconnaissance, we have taken careful account of the content and organization of these anthologies so that we can create a digital and searchable database of Isfahan's anthologies that allows fellow scholars and graduate students across the world to freely have access to these rich Persianate-world sources.

The volume comprises a collection of 20 of the 43 papers presented at the Third International Round Table on Safavid Persia, held at the University of Edinburgh in August, 1998 and edited by the Round Table's organiser.