Tesis: "Safavidi"

1

Chabrier, Aurélie. "La monarchie safavide et la modernité européenne (XVIe-XVIIe siècles)". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20118/document.

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Cette thèse porte sur la formation et l’évolution de la monarchie safavide en Iran entre le XVIe et le premier quart du XVIIIe siècle. Elle étudie en particulier les rapports entretenus entre le pouvoir monarchique et les différents groupes qui composent le sommet de la hiérarchie sociale et curiale, comme les clientèles qizilbashs. L’avènement de la monarchie safavide étant contemporain de la montée en puissance des États modernes en Europe, cette recherche s’intéresse également au regard que l’« honnête homme » du XVIIe siècle porte sur ce processus de construction étatique. Cette approche est fondée sur l’analyse du cadre des échanges diplomatiques entre États, mais aussi sur la rencontre individuelle entre les Européens et les représentants de l’élite safavide, à travers une étude des récits de voyageurs (relations d’ambassade et de voyage). Elle invite à réfléchir sur la manière dont s’élabore la réflexion sur l’État moderne et sur les comportements qui s’y rapportent
This thesis is about the start and the evolution of the Safavid Monarchy in Iran between the 16th century and the first quarter of the 18th century. It studies, in particular, the links between the monarchial power and the different groups at the head of the social and parish hierarchy, such as the qizilbash followers. Given the fact that the advent of the Safavid Monarchy is contemporary with the rise of the Modern States in Europe, this research also studies the point of view of the « good man » of the 17th century about this process of state construction. This approach is based on the context analysis of the diplomatic exchanges between the States, but also of the individual meeting between the European and the Safavid elite representatives, throughout the study of stories of travelers (embassy and travel relations). This study is an invitation to think about the way the Modern State and its behavior reflection are built

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2

Zain, Dzul Haimi bin Md. "Safavid qur'ans : style and illumination". Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/21628.

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This thesis aims to a achieve something that has not been done before- to identify the style of illuminated Safavid Qur'ans. The first serious attempt to look critically at a wide spectrum of Qur'an manuscripts dates from the famous World of Islam festival held in London in 1976, with its many exhibitions. Since then, hardly anything has been published specifically on Safavid Qur'äns. The major subsequent study on illuminated Qur'äns is that carried out by David James in his book entitled Qur'äns of the Mamluks (1988). Most writings on Safavid Qur'äns have been in bits and pieces. The thin and ambiguous distinction between the style of 16th-17th century Ottoman, Mughal and Safavid Qur'änic illumination adds to the tendency that scholars have evinced to skim over the problems. Many Qur'äns are without provenance; indeed, only a few have a clear provenance. Discussion thus tends to linger on secure by dated or provenanced examples of Qur'äns which possess full documentary information. The methods to be used in identifying these Qur'äns remain to be discovered by future researchers. To tackle all three schools of Qur'änic illumination-Safavid, Ottoman and Mughal-would be too big a task. Even to concentrate on Safavid Qur'äns alone is itself a task that requires time, devotion, and, incidentally, strong financial support to arrive at a sufficiently detail analysis.

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3

Farhad, Massumeh. "Safavid single page painting, 1629-1666". [S.l. : s.n.], 1987. http://catalog.hathitrust.org/api/volumes/oclc/57466264.html.

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4

Birjandifar, Nazak. "Royal women and politics in Safavid Iran". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98540.

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This thesis is a study of two major figures among the royal Safavid women in the sixteenth century, with a special focus on their political activities and style of leadership. I examine the socio-political careers of Pari Khan Khanum (955-985/1548-1578) and Mahd-i 'Ulya (d.987/1579) in connection with family and dynastic politics as well as the power struggle and factionalism among the qizilbash tribes. A detailed analysis of these powerful female political figures of the Safavid court leads one to conclude that first, royal women faced particularly complex social and personal restrictions, but nonetheless some managed - through their privileged status as upper-class women with access to education, wealth, and social and family networks - to advance their careers in politics. Second, these women were subject to the political rules and games of their time but faced additional impediments, for they competed with other women such as co-wives, sisters-in-law and others for social recognition and influence, at times leading to the ruthless elimination of female and male rivals. Third, Safavid women came to play an active role in shaping central political decisions and the succession of sovereigns. This reflects not merely gendered semi-nomadic Turcoman roles but also urban Iranian-Islamic transitional traditions which are comparable to Ottoman and 'Abbasid counterparts.

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5

Khoshkhoosani, Seyede Pouye. "Shi'ism and Kingship in Safavid Court Poetry". Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10982640.

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My research concerns intertwined issues of religio-political legitimacy and panegyric poetry during the Safavid dynasty (r. 1501 ? 1722). I explore ways that ideology and dominance were enacted and reproduced through the Safavid panegyrics in qa??deh and masnav? form. This research specifically examines how court poets responded to Safavid ideology for legitimizing kingship. Panegyric poetry has been one of the chief forms of political propaganda in praise of rulers and other holders of political authority from pre-Islamic times until modern days. Panegyric poems, especially qa??deh and masnav?, were the production of a court system and they were dominantly produced when a king was in power. By considering the nature of panegyric, as written for receiving a reward, the poets? portrayal of kings is traditionally ?assumed? to be the closest to the kings? self-image. The Safavid Persian panegyric, especially the qa??deh form, has heretofore received little scholarly attention. Scholars have usually investigated the literary value of this poetic genre and dismissed the role it could play in the promotion of Muslim rulers. This dissertation explores the ways in which religio-political legitimacy was produced and transmitted through the qa??deh and masnav? forms during the Safavid period and emphasizes the significance of investigating the panegyric genre of poetry not only from a literary perspective, but through a historical lens. While other cultural materials of the time emphasized the role of Safavid kings in the propagation of Twelver Shi`ism and portrayed the kings in a subservient position to the Shi`i Imams, I demonstrate that the Safavid court poetry highlighted the idea of ?sacred? in Sufi discourses and in notions that invoke pre-Islamic forms of Persian kingship to legitimize the Safavid rulership. From the time of Shah `Abb?s I (r. 1588 ? d. 1629), these two forms of representation were established more profoundly in Safavid panegyrics and stood in contrast to traditional notions of Shi`ism that were predominant in other cultural materials that issued in the name of the Safavid rulers. This dissertation, on the one hand, serves historians of the Safavid period, who investigate the Safavid courts and ideology in kingship. It demonstrates how the poets worked differently from the other sources through which the legitimization of the Safavid kingship was established. On the other hand, my study serves scholars of religion, who study Safavid religious treatises in order to shed light on the development of Shi?ism, Sufism, and other religious traditions of the time. By demonstrating the differences between the representation of a Shi`i Safavid king in cultural materials of the time and panegyrics, my research invites these scholars to examine non-religious sources more extensively to investigate Safavid ideology because these sources give a sense of how the religio-political ideology of the kings was perceived among the public and how it developed through time.

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6

Ghoochani, Ghazaleh. "Le bleu dans la miniature safavide avant Shah Abbas". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040021.

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Ces travaux portent sur plusieurs facettes de l’emploi du bleu dans les miniatures persanes. Ils se fondent sur un corpus constitué de 56 manuscrits à peintures, appartenant à la période qui va de l’accession au trône des Safavides jusqu’au règne de Shah Abbâs (soit de 1501 à 1588), et conservés à la Bibliothèque Nationale de France et à la British Library. Ce travail s’articule autour de deux grands axes. Le premier aborde les questions préliminaires relatives aux matériaux et techniques utilisés pour fabriquer la couleur bleue qui se rencontrent dans la peinture persane du XVIe siècle. Cette étude exigeait aussi une définition exacte des noms des nuances de la couleur bleue. Deux catégories de sources textuelles fournissent des informations sur la nature des pigments et le chromatisme employés dans la miniature persane, à savoir les traités techniques et les œuvres scientifiques. L’autre partie de cette thèse présente dans un premier temps une étude picturale détaillée en vue de définir les divers emplacements de la couleur bleue sur les peintures du corpus ; dans un second temps, il est procédé à une analyse textuelle des ouvrages dudit corpus, permettant de confirmer la corrélation des textes avec leurs illustrations quant aux indications liées au choix de la couleur bleue. Ces deux analyses nous mènent vers une synthèse qui aide à comprendre l’aspect symbolique et métaphorique de cette couleur dans l’ensemble de ses représentations picturales. Certaines sources telles que les récits de voyages et les recueils de biographies ou les textes littéraires et mystiques comportent des renseignements précieux sur l’emploi de la couleur bleue dans la société et son contexte culturel
This research deals with several aspects of the use of blue in Persian miniatures. It is based on a corpus of 56 illustrated manuscripts, dating from the beginning of rule of the Safavids until the reign of Shah Abbas (i.e. from 1501 to 1588 A.D.), preserved in the Bibliothèque nationale de France and the British Library. This work contains two major developments. At first, come the preliminary questions about the materials and techniques used to make the colour blue met in the paintings of the XVIth century. This study also required an exact definition of the names of shades of blue. Two categories of textual sources provide information about the nature of the pigments and the chromatics used in the Persian miniature; they are technical treaties and scientific works. The other part of this thesis is made up of pictorial studies which allow us to determine the location of the colour blue in painting. This approach is coupled with an analysis of the illustrated texts in order to confirm the correlation between pictures and texts when dealing with the colour blue. Both analyses lead to a synthesis that helps us understand the symbolic and metaphorical aspects of this colour in all its pictorial uses. Some sources such as travelogues and biographies or literary and mystical texts contain information on the use of blue in society and its cultural context

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7

Haneda, Masashi. "Le Châh et les Qizilbās̆ : le système militaire safavide /". Berlin : K. Schwarz, 1987. http://catalogue.bnf.fr/ark:/12148/cb35466719s.

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8

KALHOR, MOJTABA. "Charbagh city : il progetto della città ideale nella Persia safavide". Doctoral thesis, Università IUAV di Venezia, 2015. http://hdl.handle.net/11578/278666.

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9

Imbert, Isabelle. "La peinture de fleurs persane et indienne de la période moderne (XVIe-XVIIIe siècles)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040170.

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Le présent travail porte sur les peintures de fleurs produites en Iran et en Inde entre le XVIe et le XVIIIe siècles et destinées à être montées dans des albums alliant peintures et calligraphies. Cette étude s'organise autour de trois axes de recherche. En premier lieu, l'étude de l'évolution des pratiques picturales au sein des ateliers de peinture, ainsi que la mise en évidence des différences formelles entre les centres de production. La taxonomie des peintures de fleurs a permis de mettre en évidence certains régionalismes, mais également des modes de représentation partagés entre l'Iran safavide (1501-1722), afshar (1736-1749) et zānd (1750-1794) d'un côté, et l'Inde moghole (1526-1857) et les cours provinciales de l'autre. Le second axe de recherche est consacré aux échanges entre l'Orient et l'Occident. Plusieurs peintures de fleurs persanes et indiennes sont issues d'herbiers et florilèges, imprimés en Europe à partir du XVe siècle. L'étude de l'apport européen dans ces productions de peintures permet de mettre en évidence les pratiques d'assimilation des formes exogènes par les artistes. Enfin, le troisième axe interroge le rôle tenu par les peintures de fleurs au sein des albums, ou muraqqaʻ. La compilation d'albums est attestée en Iran dès le XVe siècle, et passe vraisemblablement en Inde durant la première moitié du XVIe siècle. Les fleurs s'y déploient progressivement jusqu'à devenir omniprésentes, autant au centre des pages que dans les marges et sur les reliures. Les représentations florales revêtent des symboliques diverses qui sont à mettre en relation avec un abondant corpus poétique, mais également avec les patrons persans, indiens ou européens qui commandent ces précieux volumes. Parmi les conclusions, notons les attributions de dessins anonymes au peintre persan Shafīʻ ʻAbbāsī et une discussion sur les notions de copie et d'interprétation
This dissertation focuses on flower paintings produced in Persia and India between the 16th and the 18th centuries to be mounted in albums, also called muraqqa'. This study is centered on three research axis. First, pictorial practices are analyzed, as well as the general evolution of floral forms on album pages. The taxonomic approach on flower paintings led to highlight regionalisms, but also depiction modes shared between Safavid (1501-1722), Afsharid (1736-1749) and Zand (1750-1794) Persia on one hand, and Mughal India (1526-1857) and Indian provincial courts on the other. The second line of research focuses on cultural and artistic exchanges between the East and the West. Many Persian and Indian flower paintings are copied from European printed herbaria and florilegia from the 15th century. The study of European input on these productions highlights assimilation practices of foreign forms. The third axis questions the role held by flower paintings in albums, or muraqqa'. From the 15th century, flowers gradually spread to become omnipresent in the center of the pages, in the margins and on the bindings. Floral representations take various symbolic values linked to an abundant poetic corpus, but also to Persian, Indian or European patrons who order these precious volumes. Among the conclusions, this thesis suggests new attributions of anonymous drawings to the Persian painter Shafīʻ ʻAbbāsī, and holds a discussion about concepts of copy and assimilation

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10

Maktabi, Hadi. "In the Safavid shadow : the forgotten age of Persian carpets (1722-1872)". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439797.

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11

Ala, Amjadi Maryam. "Travel and identity : cross-cultural representations in Safavid travel texts (1505-1741)". Thesis, University of Kent, 2017. https://kar.kent.ac.uk/63876/.

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This thesis is primarily centered on the textual analysis of ten Persian travel narratives composed during the Safavid age (1501-1736), when Shiite Islam emerged as the official religion of Iran, or more precisely, during what I define as the discursive Safavid period, which begins in 1505, a few years after the establishment of the Safavid rule, and ends in 1741, nearly a decade after their decline and eventual fall. I explore Safavid travel writing in the context of other literary texts, as well as jurisprudential treatises that were produced for the purpose of officially delineating the tenets of the newly established religion. The largely theo-political shift that demarcated the Perso-Shiite identity, from, predominantly, the Sunni and non-Iranian Other, contributed to the realignment of Iran's literary and cultural landscapes. In this light, the thesis investigates the portrayal of the Safavid Persian/Iranian Shiite identity in Persian travel narratives through the intersections of gender, travel practices that shape individual and communal sense of autonomy, homeland and sense of belonging, and poetry, as the creative expression of the language of self-reference and self-inscription. The immediate focus of this study is to inform and challenge notions of Iranian-ness and Shiite-ness, past and present, through exploring Iran's history of alternative methods of cultural production, creative expression and diverse definitions of mobility, and the Safavids' relationship to identity construction and formation in the trajectory of contacts and encounters with non-Iranians. By exploring complex relationships between mobility and identity in the ten Safavid Persian travel narratives, five of which were composed in verse, what this thesis hopes to accomplish is an exercise in rethinking Iranian identity, that is not so much defined in terms of or against Western paradigms of Iranian-ness, but rather in terms of Iranian travel culture and the history of self-inscriptions and selfhood.

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12

Baltacioglu-Brammer, Ayse. "Safavid Conversion Propaganda in Ottoman Anatolia and the Ottoman Reaction, 1440s-1630s". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1466582807.

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13

Brignoli, Jean-Dominique. "Les palais royaux safavides (1501-1722) : architecture et pouvoir". Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10025.

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Cette thèse contient 18 chapitres, des annexes, un glossaire, un glossaire des plantes, une bibliographie, un index. Elle a pour objectif de tenter une analyse la plus complète possible de l'ensemble de l'architecture palatiale safavide connue. L'auteur ne voulant pas partir d'hypothèses et de présupposés a décidé d'analyser les complexes palatiaux sites par sites et éléments par éléments. Une tentative d'analyse de la question du "chahârbâgh" précède l'analyse des palais. Sont ensuite analysés les architectures palatiales (ou les bâtiments de types palatiaux) d'Ardebil, de Tabriz, de Qazvin, de Nâ'in, d'Isfahan, du Mâzanderân, de Kâshân, de Shirâz, enfin de certaines résidences secondaires et des palais-relais des shâhs safavides. Une dernière partie tente une analyse des origines et de la fonction du "tâlâr". Une conclusion tente enfin d'extraire quelques principes généraux de cette architecture mais permet aussi de noter les exceptions résistant à toutes classifications.

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14

Alsancakli, Sacha. "Le Šarafnāma de Šaraf Xān Bidlīsī (ca. 1005/1596-1597) ˸ composition, transmission et réception d’une chronique des dynasties kurdes entre les Safavides et les Ottomans". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA143.

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Le Šarafnāma est un ouvrage écrit en persan par Šaraf Xān Bidlīsī (949-1009/1543-1600), gouverneur kurde de la principauté de Bidlīs, en 1005/1596-1597 environ. Il s’agit d’une chronique des dynasties et tribus kurdes, commençant avec la dynastie des Marwānides, à la fin du IVe/Xe siècle, pour se terminer avec les événements de l’année 1005/1596-1597 et le récit de l’histoire des Diyādīnides de Bidlīs, lignée dont était issu l’auteur. La chronique est composée d’une introduction (muqaddima) et de quatre ṣaḥīfas (livres). À cette chronique, l’auteur a également ajouté un épilogue (xātima) constitué par des annales ottomanes et safavides. Il existe, à ce jour, une quarantaine de manuscrits du Šarafnāma encore existants. Notre première tâche a été d’identifier ces manuscrits et de les consulter, sous forme physique ou numérique, afin de les comparer et de produire un stemma codicum des copies de l’ouvrage. Une fois ceci fait, notre recherche a plus particulièrement porté sur les manuscrits produits du vivant de l’auteur, dans les années 1005-1007/1596-1599, ainsi que sur les copies effectuées au XIe/XVIIe siècle, soit le siècle suivant la composition de l’ouvrage. Après une première partie consistant en une étude générale sur le travail historiographique de Šaraf Xān, nous avons, dans une deuxième partie, étudié spécifiquement les trois manuscrits transcrits de sa main ou sous sa supervision, afin de mettre en lumière le caractère réfléchi et collaboratif du processus de composition de l’ouvrage. Dans la troisième partie, nous nous sommes intéressés à la dizaine de manuscrits produits au XIe/XVIIe siècle à Bidlīs, Kilīs, Alep et dans la région d’Ardalān, et aux processus de réappropriation et de réinterpréation de l’oeuvre originale visible dans ces copies
The Šarafnāma is a book written in Persian by Šaraf Xān Bidlīsī (949-1009/1543-1600), Kurdish governor of the principality of Bidlīs, in about 1005/1596-1597. It is a chronicle of Kurdish dynasties and tribes, starting with the Marwānid dynasty, at the end of the 4th/10th century, and concluding with the events of the year 1005/1596-1597 and the story of the Diyādīnids of Bidlīs, the author’s own household. The chronicle is composed of an introduction (muqaddima) and four ṣaḥīfas (books). The author has also added an epilogue (xātima), which is an annalistic history of the Ottomans and the Safavids. There are around forty extant manuscripts of the Šarafnāma. Our first task has been to identify and physically or digitally consult these manuscripts, in order to compare them and produce a stemma codicum of the book’s copies. Once this was done, we have focused our research on the manuscripts copied during the author’s lifetime, in the years 1005-1007/1596-1599, as well as on the copies made in the 11th/17th century, immediately following the book’s composition. The first part of our work is a general study of Šaraf Xān’s historiographical outlook. In the second part, we have studied the three manuscripts transcribed by the author or under his supervision, in order to highlight the thought out and collaborative nature of the book’s composition. In the third part, we have focused on the dozen manuscripts produced in the 11th/17th century in Bidlīs, Kilīs, Aleppo and the Ardalān region, and on the processes of reappropriation and reinterpration of the original work manifest in these copies

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15

Stokes, David Robert. "A failed alliance and expanding horizons : relations between the Austrian Habsburgs and the Safavid Persians in the sixteenth and seventeenth centuries". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6385.

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Throughout the 16th and 17th centuries, both Austria and Persia were each repeatedly at war with the Ottoman Turks. Diplomats travelled between the two countries in an attempt to forge an alliance against their common enemy. Although the alliance never materialized the relationship broadened to cover other concerns. Despite cultural differences, both countries tried to work together and approached each-other as equals. Contact between the countries exposed both cultures to wider influences. Their changing relationship illustrates the priorities of both parties. This thesis, for the first time, uses primary sources to view the evolution of the relationship over the two century reign of the Safavid dynasty. It charts the course of their diplomatic relationship, examines the turning point in this relationship, and explores why the alliance both sides wanted never materialized. By examining Austria's diplomatic initiatives to the east this thesis helps correct the historiographical imbalance in central European history of concentration on only European affairs, and shows that their understanding of the east was more nuanced than is often credited.

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16

Habibi, Negar. "Le Farangi sāzi et les peintures de Ἁli Qoli Jebādār : Un syncrétisme artistique sous Shāh Soleymān (1666-1694)". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3083.

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Cette thèse a deux préoccupations principales : la présentation des peintures communément nommées farangi sāzi, et la carrière de l'artiste Ἁli Qoli Jebādār. Littéralement « faire » ou « construire » « à la manière européenne », l'expression peintures farangi sāzi désigne certaines productions de la peinture iranienne datant de la fin du XVIIe siècle. Ces peintures emploient visiblement les techniques du clair-obscur et de la perspective, et représentent de nouvelles scènes qui ne s'appuient pas toujours sur la littérature classique iranienne. Il semblerait cependant que le qualificatif du farangi sāzi s'agisse d'une expression orale assez flexible qui pourrait avoir été appliquée à plusieurs activités non associées à la tradition artisanale iranienne. Ces peintures ont été réalisées en majorité sous le règne de Shāh Soleymān (1666-1694). On a donc souligné l'existence d'une dualité entre les courtisans et l'entourage proche du shāh ou son sérail, au sein du pouvoir safavide à cette époque. Bien qu'il n'existe pas de trace écrite sur le patronage artistique de la Maison du roi, on a essayé d'indiquer la piste possible d'un mécénat de cette Maison royale. La deuxième partie de la thèse a été consacrée à Ἁli Qoli Jebādār et à la question de ses signatures, ses peintures, et aux modalités de sa carrière en général. Ainsi, on a souligné les points les plus emblématiques de la littérature concernant l'artiste et on a étudié les structures visuelles et théoriques de ses peintures. Dans la dernière partie, on a émis de nouvelles hypothèses sur la carrière et les origines incertaines de Ἁli Qoli Jebādār
This thesis has two main concerns: the presentation of commonly named Farangi Sazi paintings, and Ἁli Qoli Jebādār artistic career. Literally "make" or "build" in "the European manner", this term refers to some productions of the Iranian painting dating from the late 17th century. These paintings use visibly chiaroscuro and perspective, and show new scenes which do not always rely on Iranian classical literature. It seems however, that the expression of Farangi Sazi is a fairly flexible oral one, which could have been applied to several activities not associated with the Iranian craft tradition.These paintings were done mostly during the reign of Shah Soleiman (1666-1694), where existed a duality between the courtiers and the household of the Shah. Although there is no written evidence on the artistic patronage of the Royal household, we tried to indicate its possible track.The second part of the thesis was devoted to Ἁli Qoli Jebādār and the question of his signatures, his paintings, and the terms of his career in general. Thus, the most emblematic points of the literature about the artist have been stressed out. We have also studied the visual and theoretical structures of his paintings. In the last part, we issued new assumptions about career and uncertain origins of Ἁli Qoli Jebādār

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17

Shayesteh-Far, M. "Shi'ah artistic elements in the Tiurid and the early Safavid periods : book illustrations and inscriptions". Thesis, University of Birmingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497563.

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18

Samanian, Kouros. "Investigation of environmental factors causing the deterioration of Safavid period murals : Iran (1501-1736 AD)". Thesis, University of Leicester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557893.

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inting was introduced to Iran via a cultural exchange between Iran and . fuvid period (1501-1736 AD). A European influence is reflected in the ~ ir a.ted in Isfahan, a city in central Iran, which played an important role in niklD art. The damage, for example to those paintings in the Ali Ghapoo and . alaces and Sukias House, has occurred because of the impact of .tMtunt tn tors on the paintings and has been ongoing for the last 400-500 years light microscopy (LM), polarised light microscopy (PLM), Fourier transform copy (FTIR), scanning electron microscopy with energy dispersive X-ray (M/EDX) and X-ray diffraction (XRD) in conjunction with contemporary ti es that existed in the Safavid period were the main tools used to identify the colour palette and other components) and techniques used in the paintings were used in conjunction with conductivity tests to investigate the degradation of llolnti1:1gs and their supporting plaster and the role of environmental factors, particularly n of salt crystals, chiefly sulphates and carbonates. These are shown to have important role in the deterioration of the paintings. limate records and local measurements of humidity, temperature and UV light ut to an explanation of the degradation of the paintings. Measurements of humidity, ruture and light on the site and their comparison with local metrological organisation U ur ments show high impact of environmental factors surrounding the surface of the IlItill s where the occurred damage is higher. This is because the semi-arid climate of 1111/,111111 is particularly deleterious to oil paintings and has caused flaking of the paint layers. '1'111.' study shows how an interdisciplinary approach incorporating art history, technical and -uvunnmental studies and a range of instrumental analyses can help, first, to tackle a dq~r;ldation problem in conservation science. This approach has, moreover, led to the d Iscllvery of unknown aspects of the paintings, amending the existing state of knowledge. It 'lI\l)wS the presence of (Lapis Lazuli) Lazurite, Ochre-bitumen, Yellow ochre, Orpiment, ( irccn earth, Copper resinate, Bitumen, Lead white, Gold as used pigments.

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19

Alenezi, Fahaad J. M. M. "Usuli Shi'ism and state approaches to Islamic unity : the ecumenical movement in post-Safavid Iran". Thesis, Durham University, 2009. http://etheses.dur.ac.uk/1950/.

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20

Quinn, Sholeh Alysia. "Historical writing during the reign of Shah 'Abbas : ideology, imitation, and legitimacy in Safavid chronicles /". Salt Lake City (Utah) : University of Utah press, 2000. http://catalogue.bnf.fr/ark:/12148/cb38890794t.

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21

Botchkareva, Anastassiia Alexandra. "Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.

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The concept of realism in visual representation has been defined and deployed largely within the domain of the Western artistic canon. In the field of art history, the term is often used in ways that depend on implicit, culturally coded assumptions about its connection with the formal markers of optical-naturalism. The Persianate tradition of pictorial representation by contrast, has been traditionally characterized in modern scholarship as stylized and decorative, with little acknowledgment of an interest in realism in its own visual language. Furthermore, normative Euro-centric attitudes have perpetuated the assumption that an engagement with realism entered Persianate artistic practices with the advent of Europeanizing modes of depiction in Safavid and Mughal spheres of production around the late sixteenth-century. This dissertation explores the topic of realism from the perspective of Persianate visual culture. In so doing, it proposes to refine our understanding of the concept in terms that accommodate the varied artistic production of cultures that laid claims to cultivating representational realism in their own primary sources. The first chapter draws on multi-disciplinary discussions to challenge art historical treatments of pictorial realism as a style, in favor of a functional definition of the concept as an emergent quality rooted in formal strategies that activate particular patterns of mirror-response in their audiences. The second and third chapters reject the principle of evaluating the realism of Persianate representations according to their degree of proximity to European models. The second chapter discusses the structural conditions of change in visual habitus in cases of inter-cultural encounter between foreign modes of representation and the resulting works of aesthetic hybridity. The third chapter presents material evidence of early modern Safavid and Mughal albums as discourses of aesthetic heterogeneity. The fourth chapter explores the local Persianate roots of realism, including the changes these realism strategies underwent in the early modern period. The fifth and final chapter develops case studies of two seventeenth-century Mughal and Safavid drawings, which cultivate representational enlivenment in depicting harrowing moments of death. The discussion delves in greater detail into the particular patterns of realism developed in the seventeenth-century Persianate visual culture.
History of Art and Architecture

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22

Rizvi, Kishwar 1965. "Transformations in early Safavid architecture : the Shrine of Shaykh Safi al-din Ishaq Ardabili in Iran (1501-1629)". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/9023.

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23

Morató-Aragonés, Ibáñez Marc. "La deserción de Rostam Mirza a la India (1593)". Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/672082.

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La presente tesis tiene por objetivo explicar a través del caso de Rostam Mirza (1566-1642), príncipe de una rama colateral safaví en lo que hoy en día es Afganistán, el destino de los distintos Estados y sus gobernantes de Asia Central ante la presión de los grandes imperios vecinos. El imperio mogol de Akbar (1542-1605) fue el más destacado de estos pues, con un potencial agrario, económico y militar extraordinario, rechazó la tradicional subdivisión del patrimonio familiar y se apropió de Kabul, Cachemira, Sind y Qandahar (de donde era oriundo Rostam Mirza); aceptando a cambio que el uzbeco Abdalá Han (1533-1598) conquistara Badahshán, Sistán y avanzara sobre el Jorasán. Como muchos otros, Rostam Mirza accedió a perder su soberanía para integrarse en la organización imperial de Akbar.
The purpose of this thesis is to explain through the case of Rustam Mirza (1566-1642), prince of a Safavid collateral branch in what is now Afghanistan, the fate of the different States and their Central Asian rulers under pressure from the great neighbouring empires. The Mughal empire of Akbar (1542-1605) was the most prominent of these because, with an extraordinary agrarian, economic and military potential, it rejected the traditional subdivision of family heritage and appropriated Kabul, Kashmir, Sind and Kandahar (the birthplace of Rustam Mirza); accepting in return that the Uzbek Abdullah Khan (1533-1598) conquered Badakhshan, Sistan and advanced on the Khorasan. Like many others, Rustam Mirza agreed to lose his sovereignty to join the Akbar imperial organization.

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24

Hooshangi, Farideh. "Isfahan, city of Paradise, a study of Safavid urban pattern and a symbolic interpretation of the Chahar-Bagh gardens". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0026/MQ52378.pdf.

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25

Hooshangi, Farideh Carleton University Dissertation Architecture. "Isfahan, city of paradise; a study of Safavid urban pattern and a symbolic interpretation of the Chahar-Bagh gardens". Ottawa, 2000.

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26

Klein, RuÃŒdiger. "Trade in the Safavid Port City Bandar Abbas and the Persian Gulf area (ca.1600-1680) : a study of selected aspects". Thesis, SOAS, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325960.

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27

Turner, Colin Paul. "The rise of Twelver Shi'ite externalism in Safavid Iran and its consolidation under 'Allama Muhammad Baqir Majlisi (1037/1627-1110/1699)". Thesis, Durham University, 1989. http://etheses.dur.ac.uk/959/.

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28

Shirazi-Mahajan, Faegheh. "Costumes and textile designs of the Il-Khanid, Timurid and Safavid dynasties in Iran from the thirteenth to the seventeenth century". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303324743.

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29

Neyestani, Mohammadreza. "Fondations waqf dans le chiisme duodécimain en Iran du 16ème au 18ème siècle selon les ḥadîths, le fiqh et la société safavide". Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3045.

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Le waqf est l'un des phénomènes socioculturels religieux majeurs du monde musulman, en vigueur dans les sociétés islamiques depuis les débuts de l'islam jusqu'à nos jours. Dans cette recherche, on s'est attaché à l'étude du waqf selon l'école chiite imâmite duodécimaine en Iran du 16ème au 18ème siècle. Pour que cette analyse soit la plus complète possible, on a abordé la question sous trois aspects complémentaires. Ainsi, la première partie examine le waqf dans les ḥadîths de la tradition chiite duodécimaine, les présentant, les traduisant et les analysant alors que la seconde partie se concentre sur des positions des jurisconsultes les plus influents de la période concernée par rapport à la praxis et à la théorie de waqf. La recherche sur les pratiques de waqf dans la société safavide compose la troisième partie de cette thèse. Cette approche tripartite a produit une étude qui analyse les fondements théoriques de waqf dans le chiisme duodécimain ainsi que des pratiques mêmes de waqf en islam chiite. Cette recherche constitue une première étape pour comprendre la spécificité du waqf chiite dans un cadre géographique et historique précis qui façonna les bases de la jurisprudence chiite contemporaine sur le waqf qui reste toujours d'actualité
Waqf is one of the major sociocultural phenomena in Islam since the early generations up until today.This dissertation focuses on waqf according to the Twelver Imamite Shiite doctrine in Iran from the 16th to the 18th century. To study this in different ways, we have used three complemetary aspects. The first part closely examines waqf in Twelver Shiite ḥadîths, presenting, translating and analyzing them while the second section concentrates on the positions of the most influential Shiite ulama of the period with respect to waqf theory and praxis. Research on waqf practices in Safavid society make up the third section of this thesis. This tripartite approach has produced a study which analyzes the theoretical foundations of waqf in Twelver Shiism as well as the practices of waqf in Shiite Islam. This research is a step on the way to understanding the specificity of Shiite waqf within a geographical and historical context which has established the basis for contemporary Shiite jurisprudence on waqf up until today

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30

Mohafez, Arash. "Approche comparative des systèmes musicaux classiques persan et turc : origines, devenirs et enjeux". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100080.

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La thèse présente étudie de façon exclusive quelques aspects fondamentaux des liens entre la musique classique persane et la musique classique turco-ottomane. Le premier chapitre est une esquisse des liens historiques des musiciens persans avec le milieu culturel ottoman, et l'influence qu'ils ont eue sur la musique classique de cet empire. Le second chapitre dégage des liens entre certains aspects du répertoire instrumental attribué aux compositeurs persans des XVIe et XVIIe siècles dans les manuscrits ottomans d’Ufki et de Cantemir avec ceux du répertoire classique persan le plus ancien transmis jusqu'à nos jours ; le répertoire qâjâr. Sous l’angle des convergences et divergences des écoles classiques persane et turque contemporaines, le troisième chapitre se focalise sur le concept fondamental de mode et entreprend de comparer les particularités de cinq éléments constitutifs modaux dans les pratiques turque et persane actuelles. Le quatrième chapitre, en vue d'une démonstration concrète des théories modales développées dans le chapitre précédant, analyse des affinités et des divergences de cinq maqâms turcs actuels d’une même famille modale, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, dont la substance est comparable dans la tradition persane actuelle, soit Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. Le dernier chapitre est une approche anthropologique destiné à présenter une tentative concrète de revivification du répertoire des « ‘Ajamlar » dans les milieux des musiciens iraniens contemporains, et à étudier les réactions de ces derniers faces à ce répertoire inconnu en Iran tiré des sources ottomanes
This thesis studies exclusively some fundamental aspects of the links between the Persian classical music and the Turkish-Ottoman classical music. The first chapter is an outline of historical connections of Persian musicians with the Ottoman cultural environment, and the influence which they have had on the classical music of this empire. The second chapter identifies the links between some aspects of the instrumental repertory attributed to Persians composers of 16th and 17th centuries in Ufki and Cantemir’s Ottoman manuscripts and those of the oldest Persian classical music transmitted to our days; the qâjâr repertory. From the angle of convergences and divergences between contemporary the Persian and the Turkish classical schools, the third chapter focuses on the fundamental concept of mode and undertakes to compare the particularities of five modal constituent elements in the current Turkish and Persian practices. The fourth chapter, with a view to concrete demonstration of modal theories developed in the previous chapter, analyzes the affinities and differences of five current Turkish maqâms of a same modal family, Ushshak, Beyati, Huseyni, Muhayyer, Arazbâr, whose substance is comparable in the current Persian tradition, with Shur, Abu ‘atâ, Hoseyni/Bayât-e Kord/Hejâz/Dashti, Owj, et Shahnâz. The last chapter is an anthropological approach intended to present a concrete attempt to revivification of the “‘Ajamlar” repertory in contemporary Iranian musicians’ circles, and to study the reactions of these latter facing this unknown repertory in Iran taken from the Ottoman sources

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31

Khanbaghi, Aptin. "Non-Muslims in medieval Iran : a survey of their political, economic and cultural activities under the Mongol and Safavid dynasties (1256-1722)". Thesis, University of Cambridge, 2003. https://www.repository.cam.ac.uk/handle/1810/273410.

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32

Halft, Dennis [Verfasser]. "The Arabic Vulgate in Safavid Persia : Arabic Printing of the Gospels, Catholic Missionaries, and the Rise of Shīʿī Anti-Christian Polemics / Dennis Halft". Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1126645893/34.

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33

Ahmadi, M. "Char Bagh Avenue, Isfahan : genesis and demise : pre-Islamic and Islamic garden influences in the Safavid creation and history of its subsequent degeneration". Thesis, Nottingham Trent University, 2016. http://irep.ntu.ac.uk/id/eprint/30380/.

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One of the most significant elements in the reconstruction of the historical Iranian city of Isfahan during the Safavid period (late-sixteenth century to late-seventeenth century) was the institution of the Chahar Bagh Avenue and its surrounding gardens. Inextricably attached to the creation of this great public space was the theme of the paradisiacal garden – an enclosure complete with landscaping and planting – tended and watered, which excluded the wilderness. The Garden ultimately resulted in a remarkable synthesis of political views expressed through Safavid architectural, artistic and urban representations. Cultural concepts underpinned by religious beliefs and insights derived from an ancient tradition that predated the advent of Islam played a pivotal role in progressing garden-making ideas over time. The Avenue has continued to characterize the urban pattern of Isfahan; today it remains the most prominent town axis that continues to retain a dialectical relationship between the now-transformed gardens and the ever-evolving city. Focusing on the Chahar Bagh Avenue’s physical configuration – Shah Abbas’ (1598-1602 CE) masterpiece – this thesis traces the genealogy of how intangible and tangible features were employed in the design of the Chahar Bagh to synthesize complex ideas of garden design that had evolved over time. The thesis considers diverse examples of gardens to define this genealogy – from the pre-Islamic gardens of the Achaemenids and Sassanids to the Islamic gardens of the Middle East, Spain, Morocco, Italy and central Asia, as well as the Mughal gardens of India – to identify changes within continued parameters involved in this evolution. Based on the hypothesis that adherence to the Qur’anic image of Paradise was an important aspect of the Safavid period, this thesis investigates and explores the possible influence of two factorial categories on the planning of the Chahar Bagh Avenue and, in particular, the design of the formal quartered gardens of the Chahar Bagh. Of these the first is the impact of the ancient and Islamic Persian garden pattern, and the second is the representation of Paradise in the Qur’an and the impact of the celestial image of Paradise as depicted in the Islamic Persian gardens. The thesis also chronicles the Chahar Bagh’s eventual degeneration into an urban artery in the post-Safavid period under the Qajar dynasty (1878-1925) and the various attempts at its partial preservation under the Pahlavids (1925-1979).

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34

Traverso, Giulia [Verfasser], Johannes [Akademischer Betreuer] Buchmann y Reihaneh [Akademischer Betreuer] Safavi-Naini. "Long-Term Confidential Secret Sharing-Based Distributed Storage Systems / Giulia Traverso ; Johannes Buchmann, Reihaneh Safavi-Naini". Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2019. http://d-nb.info/1188410377/34.

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35

Safavi, Rizi Vajiheh [Verfasser]. "Oilseed rape (Brassica napus L.) transcriptome response to senescence, nitrogen deficiency and elevated CO2 / Vajiheh Safavi Rizi". Berlin : Freie Universität Berlin, 2015. http://d-nb.info/1080171096/34.

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36

Bigonah, Siavosh. "TheIranian Nexus: Peace as a Substantive and Complex Value in the History of Iran". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24040.

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This study explores Iran’s political and cultural history in order to better understand the country’s current stance on international politics and peace. This study asks: what defines peace in Iranian discourse? To this end, this thesis employs a Foucauldian archaeological and genealogical methodology on historical research and contemporary primary sources. The historical data is mainly secondary sources, whilst primary sources are drawn from contemporary speeches, interviews and articles presenting Iranian foreign political thought. First of all, this study uncovers the major research gaps concerning Iran in peace research. This speaks to the general lack of diversity and inclusiveness in the subject of Peace and Conflict studies, which is contrary to its claim of being universally relevant. Relevance comes with knowledge of other traditions and conversations across divides, which is typically absent in a universalised provincialism. Secondly, contemporary Iranian political discourse represents a continuity from antiquity, incorporating deep-rooted practises of cosmopolitanism and structural peace, represented by 4000-years of experiences in state-building, conflict management, continuous movement of people and changing centres of political power. In short, Iran has a long experience of multi-polarity, multi-ethnicity and multi-religiosity across time and space.

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37

Emrani, Seyed Mohammad Ali [Verfasser]. "The role of gardens and tree-lined streets in the urban development of Safavid Isfahan (1590-1722) a comparative approach (Paris and Versailles in the 17th century) / Seyed Mohammad Ali Emrani". München : Verlag Dr. Hut, 2013. http://d-nb.info/1033041327/34.

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38

SASANI, Anahita. "Material and Technical Analysis of Armenian Wall Paintings in New Julfa, Isfahan". Doctoral thesis, Università degli studi di Ferrara, 2015. http://hdl.handle.net/11392/2389079.

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The 17th century is the time of new changes in Iranian relationship with the West and especially European countries. In that era, Armenian merchants, were one of the main channels for bringing European art styles, in particular, paintings to Iranian culture. Although many of such paintings and art works deteriorated during the last century due to the waves of modernization in Iran, some of them are preserved in Armenian churches and houses in New Julfa of Isfahan. Reliable historical sources refer to some Armenian buildings in New Julfa which decorated with both oriental and European art works and wall paintings as well. In consequence, wall paintings in Armenian churches and houses of New Julfa form an important part of the Safavid cultural heritage in Iran. These art works explain how Iranian art was affected by European art of 17th- 18th centuries. In the present study, specimens from the Armenian wall paintings decorating the walls and domes of three churches and one house in New Julfa- Isfahan, were analysed in order to identify the pigments used. In light of the fact that Armenian wall paintings have never before been fully investigated, this study reveals important information about the pigment pallet which have been used in Armenian buildings of New Julfa in 17th century. Accordingly, the pigment analysis was carried out chiefly to establish the palette of the Armenian wall paintings with respect to Iranian traditional palette and find out different influences of European artists as well. The analytical techniques employed for the characterization of the pigments and materials were XRF (X-Ray Fluorescence), Micro Raman spectroscopy, and FTIR for all samples and SEM-EDX and XRD (X-Ray Diffraction) for some samples. This information contributes to a better understanding of Armenian wall paintings techniques and, ultimately, may aid conservators in their efforts to preserve these art works.

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39

Zandieh, Mahdi. "Transformation of urban landscape architecture in Iran : a comparative analysis of traditional & modern approach to urban landscape architecture in the Safavid (1501-1725) & the Pahlavi (1921-1979) periods (case study, The city of Isfahan)". Thesis, Birmingham City University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404062.

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The study is structured to trace how socio-economic and cultural order, as a process, shaped the traditional Iranian urban landscape as a product over the time. The study then examines how the socio-political disorder interrupted the evolutionary process of traditional environment resulting in a functional urban product in the Pahlavi period. The historical evolution ofthe Iranian urban landscape and its integration to the fabric of the city of Isfahan as a key example is studied and examined. This develops a further argument on the relationship between the physical shape of environment as the urban product and socio-economic structure as the process. The study is divided into four historical periods of Pre-Safavid, Safavid, Qajarid and Pahlavi. This developed an argument on the historical relationship between the evolutionary process and the product, analysing the impact of changing order in shaping cityscape in different periods. It outlines the sudden socio-economic changes, which brought about new physical production in Iranian urban landscape, and argues efficiency of the traditional pattern in response to socio-culture needs of the people in accordance with the environmental conditions. The city of Isfahan is chosen for the case study to assess the impact of socioeconomic and cultural characteristics on the urban landscape architecture in the old (traditional) and new (modern) urban fabrics of the city. This is focused on the detailed analysis, both in micro and micro levels in the traditional neighbourhoods of Jouybareh and Bid-Abad and the modern neighbourhood of Kouleh Parcheh. These are compared in the following orders: Urban design; Land-use; Communication system; Development process; Neighbourhood characteristics; Neighbourhood centre; Commercial (Bazaar) and House.

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40

Szuppe, Maria. "Entre Timourides, Safavides et Uzbeks : Hérat dans la première moitié du XVIe siècle ; édition critique et commentée du Târix-e Sâh Esmâ'il-e avval va Sâh Tahmâsp de Amir Mahmud b. Xwândamir". Paris 3, 1991. http://www.theses.fr/1992PA030018.

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Contribution a l'etude de l'historiographie et de l'histoire du debut de l'epoque safavide, le texte edite de la chronique est base sur cinq manuscrits. Le texte est une chronique locale de herat, en iran oriental, datee de 1550 957 h et ecrite par un historiographe contemporain. Le texte est une des premieres chroniques de l'epoque safavice. Il possede egalement certaines caracteristiques des ecrits historiques datant de la periode precedante, l'epoque des timourides. La chronique contient un grand nombre de details importants concernant herat durant la premiere moitie du xvie siecle, notamment dans le domaine de la geographie historique, topographie, vie sociale et structures socio-economiques. Les factions politiques parmi l'aristocratie urbaine de herat se forment sur la base des avantages economiques et de l'acces aux postes de pouvoir plutot que sur celle des opinions ideologiques ou religieuses. Sur le niveau politique, l'elimination du pouvoir timouride par les uzbeks est suivi par l'affrontement de ces derniers avec les safavides. Sur le niveau culturek, l'epoque timouride reste la periode de reference et le modele de vie pour les deux regimes rivaux : safavides et uzbeks
This is a contribution to the studies of the early safavid historical literature and history. The edited text of the chronicle is based on five manuscripts. This is a local text from herat in eastern iran, dating 1550 957 h and written by a contemporary historian. The text is one of the earliest chronicles of the safavid period. It alsoshows a number of features characteristic of the historical writings of the earlier period (timurid). It contains very many important details concerning herat during the beginning of the 16th c. Specially in the field of historical geography, topography, social life, and socio-economical structures. Political factions among the herat urban aristocracy are formed on the basis of economical profits and power positions rather than that of ideological or religious opinions. In the political field, elimination of the timurid power by the uzbeks is followed by the conflict of the latters with the safavids. In the cultural field, the timurid period remains the ideal and the reference time for two rival powers : safavids and uzbeks

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41

Alves, Nathalia Novaes. "Elixir dos Gnósticos: a existência da alma humana em Mullā Ṣadr&#257". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8159/tde-12052015-101441/.

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Figura-chave da chamada \"Escola de Isfahān\", Mullā Ṣadrā (979 H. / 1571-2 d.C ) ocupou papel de destaque durante a renascença safávida do reinado de Abbās I (d. 1039/1629). Acredita-se ter sido ele o principal responsável por revitalizar a filosofia da iluminação de Sūhrawardi naquele contexto, além de consolidar a junção entre sufismo e neoplatonismo. Foi responsável, ainda, pela elaboração de metodologia própria para a compreensão da realidade, tendo por base fontes filosóficas, teológicas e místicas, além de mesclar raciocínio lógico, inspiração espiritual e meditação profunda. Ṣadrā aplicou tal metodologia às principais obras da tradição xiita duodécima. Do ponto de vista filosófico, Ṣadrā percebe o conceito aristotélico de \"substância\" como processo, em constante mudança; nesse aspecto, o filósofo aproxima-se da leitura de traço neoplatônico, já presente em al-Fārābī e Ibn Sīnā. O modo como Ṣadrā relaciona as noções de \"essência\" e \"existência\" deu novas feições à discussão metafísica de tradição árabe-islâmica. Em sua doutrina, Ṣadrā acaba por transformar a metafísica construída a partir da primazia das substâncias, como elemento primordial da existência, em outra, fundada e movida por atos de existência. Apesar de perpassar esses e outros temas, a principal contribuição d\'O Elixir dos Gnósticos diz respeito à ênfase do autor no autoconhecimento. Como Ibn Ἁrabī, Ṣadrā acredita que o conhecimento da alma / nafs - ou seja, o conhecimento de si mesmo - e o conhecimento de Deus estão interligados. Por esse motivo, o presente trabalho se preocupou principalmente em analisar a relação entre os existentes, a alma e a inteligência primeira, pois é a partir dessa relação que se tornar possível vislumbrar e compreender as questões fundamentais da origem e do retorno à fonte doadora de existência. Do ponto de vista histórico, vale destacar que à fundação do império safávida acompanhou-se a conversão em massa da população ao xiismo. Para responder à demanda por instrução da multidão de novos convertidos - e igualmente firmar as bases da nova religião oficial -, grande número de religiosos foi trazido de áreas xiitas respeitadas pela doutrina e pela ortodoxia, tais como Líbano e Iraque. Esse clero árabe recém chegado, que teve Ṣadrā como herdeiro, foi responsável por incorporar novos elementos ao pensamento religioso vigente em terras persas e, assim, conformar ambiente propício para o desenvolvimento do pensamento filosófico de Ṣadrā.
Prominent figure of the \"Isfahān School\", Mullā Ṣadrā (979 H. / 1571-2 AD) had an important role during the Safavid renaissance in the reign of Abbās I (d. 1039/1629). He is believed to be the main responsible for the revitalization of the philosophy of illumination of Sūhrawardi in that context, as well as for the consolidation of the junction between Sufism and Neoplatonism. He also developed his own methodology for the comprehension of the reality, based on philosophical, theological and mystics\' sources, and which puts together logical reasoning, spiritual inspiration and deep meditation. Ṣadrā applied his methodology to the then major works of the Twelver Shi\'ism tradition. From the philosophical point of view Ṣadrā perceives the Aristotelian concept of \"substance\" as a process in constant change; in this regard the philosopher comes nearer to the Neoplatonic ideas instead, as did al-Fārābī and Ibn Sīnā. The way Ṣadrā relates the notion of \"essence\" and \"existence\" added new features to the metaphysical discussions in Arabic and Islamic philosophical tradition. In his doctrine, Ṣadrā ends up transforming the metaphysics built upon the primacy of substances as the primordial element of existence, in another one based on and moved by acts of existence. The most important contribution of The Elixir of the Gnostics however is the emphasis of the author on self-knowledge. As Ibn Ἁrabī, Ṣadrā believes that the knowledge of the soul / nafs - in other words, the knowledge of the self - and the knowledge of God are interconnected. For this reason the present work is more concerned in analyzing the relation between existents, soul, and the first intelligence, from which it is possible to comprehend the fundamental issues of the origin and the return to the donor source of existence. From the historical point of view, it is worthy to highlight that the establishment of the Safavid Empire resulted in the mass conversion of the Persians into Shi\'ism. In order to respond to the increasing demand for religious instruction - and also to stabilize the basis for the new official religion - a great number of clerics was brought from Shiite areas recognized for their doctrine and orthodoxy, such as Lebanon and Iraq. This newcomer Arab clergy was responsible for incorporating new elements to the existing religious thought in Persian lands, and for creating a propitious context for the development of Ṣadrā\'s philosophical thought.

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Herzig, Edmund M. "The Armenian merchants of New Julfa, Isfahan : a study in pre-modern Asian trade". Thesis, University of Oxford, 1991. http://ora.ox.ac.uk/objects/uuid:8d886ba7-339e-458c-95d1-73978d764ae0.

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In the sixteenth and seventeenth centuries the merchants of Julfa, a town on the trade routes linking the Mediterranean with Iran, developed an extensive international trade network reaching from the Atlantic coast of Europe to the Indian Ocean. Part 1 of the dissertation traces the history of Julfa and examines the factors contributing to the Armenians' success - among them the significant growth of Iranian raw silk exports to Europe; the stimulus to East-West trade given by the influx of American silver to Europe and the consequent imbalance in the value of bullion between Europe, the Middle East and South Asia; the forced resettlement of the Julfans in Isfahan and the formation of a close economic relationship with the Safavi court. Part 2 concentrates on social and economic organisation, examining the structure of the Armenian patriarchal household and its commercial operation as family firm, and the community and its provision of the institutions that upheld commercial law and the merchants' system of values and standards of behaviour. The discussion in Chapters 4 and 5 of partnership and agency and the credit system operated by the Julfans is based on research into surviving contracts and credit instruments. These documents also provide the material for Part 3. The Julfan mercantile documents are a unique record of the commercial world of an Asian trading community in the sixteenth to eighteenth centuries. They also present numerous technical difficulties, which are discussed through the presentation of examples of documents in the original, with translation, notes and a glossary. The history of the Julfa merchants affords a rare opportunity for close examination of the organisation and techniques of trade in Asia and provides a basis for comparison with other Asian merchants.

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43

Erginbas, Vefa. "THE APPROPRIATION OF ISLAMIC HISTORY AND AHL AL-BAYTISM IN OTTOMAN HISTORICAL WRITING, 1300-1650". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1363868855.

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44

Sadeghi-Boroujerdi, Eskandar. "Disenchanting political theology in post-revolutionary Iran : reform, religious intellectualism and the death of utopia". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:ad199c6b-535f-4af0-a6a5-21c40734c331.

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This thesis delineates the transformation of Iran’s so-called post-revolutionary ‘religious intellectuals’ (rowshanfekran-e dini) from ideological legitimators within the political class of the newly-established theocratic-populist regime to internal critics whose revised vision for the politico-religious order coalesced and converged with the growing disillusionment and frustration of the ‘Islamic left’, a constellation of political forces within the governing elite of the Islamic Republic, that following the death of Ayatollah Khomeini increasingly felt itself marginalised and on the outskirts of power. The historical evolution of this complex, quasi-institutionalised and routinized network, encompassing theologians, jurists, political strategists and journalists, which rose to prominence in the course of the 1990s, and its critical engagement with the ruling political theology of the ‘guardianship of the jurist’, the supremacy of Islamic jurisprudence, political Islamism and all forms of ‘revolutionary’ and ‘utopian’ political and social transformation, are scrutinised in detail. In this vein, the thesis examines the various issues provoked by the rowshanfekran-e dini’s strategic deployment and translation of the concepts and ideas of a number of Western thinkers, several of which played a pivotal role in the assault on the ideological foundations of Soviet-style communism in the 1950s and 1960s. It then moves to show how this network of intellectuals and politicos following the election of Mohammad Khatami to the presidency in May 1997 sought to disseminate their ideas at the popular level by means of the press and numerous party and political periodicals, and thereby achieve ideological and political hegemony. The thesis proceeds to demonstrate the intimate connection between the project of ‘religious intellectualism’ and elite-defined notions of ‘democracy’, ‘electoral participation’, ‘reform’ and ‘political development’ as part of an effort to accumulate symbolic capital and assert their intellectual and moral leadership of the polity.

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45

Riyazi, Mirmohammad. "Le forme spettacolari della Persia nei perioi Safavidi e Qjar (1501-1930)". Doctoral thesis, 2020. http://hdl.handle.net/2158/1214793.

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46

Sajadi, Forough. "The impact of the Netherlandish art on Persian Miniature in Safavid era 1588 - 1722". Doctoral thesis, 2021. https://depotuw.ceon.pl/handle/item/3971.

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This dissertation focuses on the impact of Netherlandish art on the development of Farangi Sāzi in the Safavid period during 1588-1722. This impact was examined in two parts: first, examining a group of the Europeanized artworks that were executed by Persian royal painters, and second, the sojourn of eleven Netherlandish painters in Persia, specifically the service of three painters in the royal library. The study will then argue to what extent these two stories are correlated or independent.
Celem pracy jest omówienie wpływu sztuki holenderskiej na rozwój stylu Farangi Sāzi w okresie panowania Safawidów, w latach 1588-1722 r. Oddziaływanie przeanalizowano w dwóch częściach. Najpierw została zbadana grupa zeuropeizowanego malarstwa autorstwa nadwornych malarzy perskich. Następnie rozważono wpływ obecności jedenastu holenderskich malarzy w Persji, a w szczególności dokonań trzech z nich w bibliotece królewskiej. W pracy przeanalizowano do jakiego stopnia te dwa zdarzenia są ze sobą powiązane bądź niezależne.

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47

Yasar, Murat. "The North Caucasus in the Second Half of the Sixteenth Century: Imperial Entanglements and Shifting Loyalties". Thesis, 2012. http://hdl.handle.net/1807/42604.

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The present dissertation seeks to present and analyze the hitherto poorly understood first encounter between the Ottoman Empire and the Tsardom of Muscovy in the North Caucasus from the Muscovites’ annexation of the nearby Khanate of Astrakhan in 1556 and subsequent penetration into this region, to their expulsion from it by the Ottomans in 1605. The study relies on both Ottoman and Muscovite sources, both documentary and narrative, as well as archival and published. The main archival documentary sources are the Ottoman mühimme defters (registers of orders issued by the Imperial Council [Divan-i Hümayun]) and the Muscovite posol’skie knigi (registers of diplomatic documentation, including ambassadorial reports, diplomatic correspondence, and other documents administered by the Ambassadorial Office [Posol’skii Prikaz]). The main narrative sources are sixteenth-century Ottoman and Muscovite chronicles. On the basis of the Ottoman and Muscovite documentary sources it is possible to determine what Ottoman and Muscovite policies in the North Caucasus were, to what degree they were well-formulated, and how they evolved during the aforementioned time period. It becomes clear that Ottoman and Muscovite policies in the Pontic-Caspian steppes and specifically in the North Caucasus had some superficial similarities, but were in essence fundamentally different. Taking into account that it was only after Muscovy’s expansion into the North Caucasus that the Ottomans decided to take an active stand in the north, the dissertation also shows the ways in which Muscovite steppe policy not only affected the political structures on the frontiers but also influenced Ottoman northern policy, and specifically in the North Caucasus. However, this dissertation is not solely a study of an imperial rivalry in a contested frontier zone. The Ottoman and Muscovite involvement brought about changes to the internal dynamics of the polities within the North Caucasus. Lastly, during the first round of this imperial clash, Ottoman and Muscovite presence and sway in the North Caucasus underwent several extreme and unexpected shifts. These shifts and resulting new strategies that the Ottomans and Muscovites had to develop in the North Caucasus played an important role in their future encounters in the northern Black Sea region.

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48

Amjadi, Maryam Ala. "Travel and Identity: Cross-Cultural Representations in Safavid Travel Texts (1505-1741)". Doctoral thesis, 2017. https://repositorio-aberto.up.pt/handle/10216/106232.

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Amjadi, Maryam Ala. "Travel and Identity: Cross-Cultural Representations in Safavid Travel Texts (1505-1741)". Tese, 2017. https://repositorio-aberto.up.pt/handle/10216/106232.

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Niazi, Ghazaleh. "L’Utopie Persane : un regard sur Ispahan du dix-septième siècle et sur les pensées utopiques ayant contribué à sa réalisation". Thèse, 2017. http://hdl.handle.net/1866/20175.

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Tesis sobre el tema "Safavidi"

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