Transforming our understanding of Persian art, this impressive interdisciplinary book decodes some of the world's most exquisite medieval paintings. It reveals the hidden meaning behind enigmatic figures and scenes that have puzzled modern scholars, focusing on five 'miniature' paintings. Chad Kia shows how the cryptic elements in these works of art from Timurid Persia conveyed the mystical teachings of Sufi poets like Rumi, Attar and Jami, and heralded one of the most significant events in the history of Islam: the takeover by the Safavids in 1501 and the conversion of Iran to Shiism.

Transforming our understanding of Persian art, this impressive interdisciplinary text decodes some of the world's most exquisite medieval paintings. It reveals the hidden meaning behind enigmatic figures and scenes that have puzzled modern scholars, focusing on five 'miniature' paintings. Chad Kia shows how the cryptic elements in these works of art from Timurid Persia conveyed the mystical teachings of Sufi poets like Rumi, Attar and Jami, and heralded one of the most significant events in the history of Islam: the takeover by the Safavids in 1501 and the conversion of Iran to Shiism.

The authoritative account of the sectarian division that for centuries has shaped events in the Middle East and the Islamic world. In 632, soon after the prophet Muhammad died, a struggle broke out among his followers as to who would succeed him. The majority argued that the new leader of Islam should be elected by the community's elite. Others believed only members of Muhammad's family could lead. This dispute over who should guide Muslims, the appointed Caliph or the bloodline Imam, marks the origin of the Sunni-Shii split in Islam. Toby Matthiesen explores this hugely significant division from its origins to the present day. Moving chronologically, his book sheds light on the many ways that it has shaped the Islamic world, outlining how over the centuries Sunnism and Shiism became Islams two main branches, particularly after the Muslim Empires embraced sectarian identity. It reveals how colonial rule institutionalised divisions between Sunnism and Shiism both on the Indian subcontinent and in the greater Middle East, giving rise to pan-Islamic resistance and Sunni and Shii revivalism. It then focuses on the fall-out from the 1979 revolution in Iran and the US-led military intervention in Iraq. As Matthiesen shows, however, though Sunnism and Shiism have had a long and antagonistic history, most Muslims have led lives characterised by confessional ambiguity and peaceful co-existence. Tensions arise when sectarian identity becomes linked to politics. Based on a synthesis of decades of scholarship in numerous languages, The Caliph and the Imam will become the standard text for readers looking for a deeper understanding of contemporary sectarian conflict and its historical roots.

The Safavid World brings together thirty chapters on many aspects of the complex Safavid state, 1501–1722. With the latest insights and arguments, some offer overviews of the period or topic at hand, and others present new interpretations of old questions based on newly found sources. In addition to political history and religious life, the chapters in this volume cover economic conditions, commercial links and activities, social relations, and artistic expressions. They do so in ways that stretch both the temporal and geographical perimeters of the subject, and contributors also examine Safavid Iran with an eye to both its Mongol and Timurid antecedents and its long afterlife following the fall of the dynasty. Unlike traditional scholarship which tended to view the country as unique, sui generis, and barely affected by the outside world, The Safavid World situates Iran in a wider, regional or global context. Examining the Safavids from their foundations in the fourteenth century to their relations with the rest of the world in the eighteenth century, this study is essential reading for undergraduates, postgraduates, and scholars of the Safavid world and the history and culture of Iran and the Middle East.

Transforming our understanding of Persian art, this impressive interdisciplinary book decodes some of the world's most exquisite medieval paintings. It reveals the hidden meaning behind enigmatic figures and scenes that have puzzled modern scholars, focusing on five 'miniature' paintings. Chad Kia shows how the cryptic elements in these works of art from Timurid Persia conveyed the mystical teachings of Sufi poets like Rumi, Attar and Jami, and heralded one of the most significant events in the history of Islam: the takeover by the Safavids in 1501 and the conversion of Iran to Shiism.

This book offers a fresh perspective on religious culture in the medieval Middle East. It investigates the ways Muslims thought about and practiced at sacred spaces and in sacred times through two detailed case studies: the shrines in honour of the head of al-Husayn (the martyred grandson of the Prophet), and the holy month of Rajab. The changing expressions of the veneration of the shrine and month are followed from the formative period of Islam until the late Mamluk period, paying attention to historical contexts and power relations. Readers will find interest in the attempt to integrate the two perspectives synchronically and diachronically, in a discussion of the relationship between the sanctification of space and time in individual and communal piety, and in the religious literature of the period.

This book shows how political and administrative forces shaped the way justice was applied in medieval Egypt. It introduces the model that evolved during the 7th to the 9th centuries, which involved four judicial institutions: the cadi, the court of complaint (mazalim), the police/shurta (responsible for criminal justice) and the Islamized market law (hisba) administrated by the market supervisor/muhtasib. Literary and non-literary sources are used to highlight how these institutions worked in real-time situations such as the famine of 1024-1025, which posed tremendous challenges to the market supervisors in Cairo. The inner workings of the court of complaint during the 11th-12th century Fatimid state are revealed through array of documentary sources. Further, non-Muslim communities, their courts and their sphere of responsibilities are treated as integral to how justice was dispensed in medieval Islam. Documentary sources offers significant insights into these issues and illuminate the scope and limits of non-Muslims self-rule/judicial autonomy.In sum, the book shows that the administrative and political history of the judiciary in medieval Egypt implicitly and explicitly illuminates broader questions about religious and social forces that shaped the lives of medieval people in the Middle East, Muslims and non-Muslims alike.

This book traces the journey of new Muslims as they joined the early Islamic community and articulated their identities within it. It focuses on Muslims of slave origins, who belonged to the society in which they lived but whose slave background rendered them somehow alien. How did these Muslims at the crossroads of insider and outsider find their place in early Islamic society? How did Islamic society itself change to accommodate these new members? By analysing how these liminal Muslims resolved the tension between belonging and otherness, Conquered Populations in Early Islam reveals the shifting boundaries of the early Islamic community and celebrates the dynamism of Islamic history.

Islamic art is often misrepresented as an iconophobic tradition. As a result of this assumption, the polyvalence of figural artworks made for South Asian Muslim audiences has remained hidden in plain view. This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah. Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.

Shi'i Islam has been the official religion of Iran from the Safavids (1501-1732) to the present day. The Shi'i world experience has provided a rich artistic tradition, encompassing painting, sculpture and the production of artefacts and performance, which has helped to embed Shi'i identity in Iran as part of its national narrative. In what areas of material culture has Iranian Shi'ism manifested itself through objects or buildings that are unique within the overall culture of Islam? To what extent is the art and architecture of Iran from the Safavid period onwards identifiably Shi'i? What does this say about the relationship of nation, state and faith in Iran? Here, leading experts trace the material heritage of Iranian Shi'ism within each of its political, religious and cultural dimensions.