The figure of the martyred soldier is so ingrained in the Iranian public sphere that today, thirty years after the Revolution and twenty years after the cessation of the hostilities against Iraq, Iranian revolutionary painting on canvas keeps drawing most of its inspiration from the Shiite rhetoric of the martyred body and from the war. this article identifies and analyzes the iconographic forms of the martyred body in this pictorial production, which expresses primarily the concerns of the state. Relying on six works on canvas – painted before, during and thirty years after the Revolution – a scalable approach to the various representations of the martyred body is proposed, referring to Iran's history.

As far as written records and oral traditions indicate, entertainment in the Qajar era touched on all aspects of life, both public and private. Contrary to Western opinion about this period, Qajar society exhibited a great variety of entertainments, many of which (even when public) were not visible to the outsider, given the constraints of a strongly traditional society and of the class-bound nature of many of the entertainments requiring access to the court, the aristocracy or the inner sanctums of the houses of the grandees. Nevertheless, the picture that now emerges is one of plenty rather than penury, and a closer look at the variety of entertainments is thus eminently relevant and in order.

In 1912, Yaḥyā Dawlatābādī composed two poems, the form of which diverged greatly from the canonical rules of tradition. Both poems were based on syllabic meters. Critics and historians of modern Persian literature have given these poems little consideration, and discussed them merely from the point of view of metrics. When compared to the great modernist endeavors in the poetry of the time, these pieces were judged severely, or altogether disavowed. This paper aims to show that, beyond mere metrical audacity, Yaḥyā Dawlatābādī’s syllabic poems were in fact innovative. As the article argues, they were born out of the same quest for fresh poetic forms that induced contemporaneous modernists to create new, individualized poetic patterns.

Among the tribal peoples of the Middle East, from the Atlas to the Hindukush mountains, the most common type of political organization appears to be some form of segmentary structure in which powerful sociocultural mechanisms function to contain every tendency toward the emergence of permanent centralized power figures. Some tribes of Iran characteristically deviate from this general pattern. The Boir Ahmadi is one of them. Their political organization, as it existed during the nineteenth century and up to 1963, consisted in an intrinsically centralized system, that is, a system in which its political power figures showed a vested interest in maintaining, rather than preventing, centralized leadership. In this paper I describe--as much as is possible within a limited space--the bases and the functioning of this system, trace its emergence and inner evolution, and outline its present transformation. In conclusion, to further highlight some of its features, I compare it with European feudalism.

Identification and analysis of environmental conditions associated with the emergence and development of political parties in generals and different types of parties in particular, are important to an understanding of the problems and prospects of representative government in emerging nations. This paper presents a study of the genesis and development of political parties, their possible prototypes, and their functional substitutes in Iran.

Yasna 19 contains an Avestan exegesis of the Gāthic stanza Ahuna Vairiia, the most revered text in Zoroastrianism. The stanza is traditionally understood to be the essential statement of the religion of Mazdā. Thus, in Y 19 we have a unique opportunity to ask about the significance that the Gāthās of Zarathuštra held for the later Avestan tradition. In what intellectual horizon did Zoroastrian priests place their founding text? Although Y 19 exegesis of the Ahuna Vairiia contains semantic obscurities, it is possible to establish the meaning of the commentary through syntactic and conceptual analysis of two key terms and the phrases where they occur. The article critically examines the earlier interpretations of the text. Having found these inadequate, it proposes a new reading and understanding of the Avestan exegesis. In particular, the article argues that the Avestan exegete understood the Gāthic stanza within an eschatological horizon.

Mīrzā Ḥasan Rushdīyeh (1860(?)–1944) was a lower-ranking Azeri-Iranian cleric, constitutionalist, and educational reformer who was a major pioneer of new (jadīd) primary schools in Iran. This article shows that in 1889 Rushdīyeh, through training he had received in Beirut, introduced new schools into Iran based on changed pedagogy and modern disciplines. It argues that although the schools drew fierce opposition from maktab custodians and certain Qajar courtiers, they gradually increased in authority until the Reza Shah state appropriated them, with some modifications, as normative schooling called the dabestān. In English and Persian scholarship, we lack a substantial history of Rushdīyeh’s new schools. Drawing on previously unexamined sources, including his Iran and Ottoman diaries, this article examines Rushdīyeh’s educational work in the broader intellectual and political history of the period.

Relationships between power and architecture are a feature of all great civilizations and the Achaemenid world was no exception to this. The architecture of Achaemenid buildings and their relief sculpture was designed to reflect and reinforce the power and status of the Great King. At the heart of this visual program lay the audience hall (apadāna) at Persepolis. In seeking to explain and understand the messages written into this building, we tend to approach the structure as a completed work and view it from the last point in its lifecycle. As a result, we focus on its tribute procession relief and allow ideas of empire to dominate our gaze. This limits our ability to understand how and why the building’s intended audience and message of power might have diverged at different stages in its construction. This article re-examines the art and architecture of the audience hall at Persepolis and redirects the viewer’s gaze to the images of bulls rather than the tribute procession. In focusing on the role of bulls in the scheme of decoration, the article presents a more nuanced reading of the building in its historical, social and architectural context. It shows how Darius I used the Persepolis apadāna to display his authority to rule and to assert the primacy of his status amongst his fellow elites.

Until the twentieth century there was little change in the diet of Iranians. Bread was the major staple, accompanied by vegetables, fruits, yoghurt, and nuts. Meat and rice were a luxury food for most consumers. In the nineteenth and twentieth centuries new food items were adopted by Persian consumers. After 1970, the modern Iranian diet—large amounts of white rice, meats, sugar-sweetened beverages and sweet/deserts, with few vegetables, herbs, nuts or fruits—has grown increasingly similar to the US diet, with the same health problems.

As a polymath in fifteenth century Central Asia, Jāmī’s (1414–92) works were widely circulated around the Muslim world. From a global perspective, Jāmī and his prose works achieved outstanding recognition in China in the seventeenth and eighteenth centuries. This paper follows the author’s previous research on the introduction of Jami’s works in China, seeking to answer the question of what it was that made Jāmī a legend in China and how this came about. By focusing on the transmission and transformation of Jāmī’s two Persian Sufi prose writings as they moved from Central Asia into China, the article concludes that two groups of people played a role as transcultural agents in this process; these were individual Sufi travelers and the Muslim intellectuals

Iran is the most Important Regional Player in the Persian Gulf. It has the region's strongest military. No other navy in the region matches Iran’s. Its GNP is larger than that of most other littoral states and its industrial base more sophisticated. It is also by far the most populous state in the Gulf. Geographically, Iran borders the entire northern shores of the Persian Gulf. Iranian territory also forms the northern side of the Strait of Hormuz. This and multiple islands in the vicinity of the strait give Iran the ability to control this strategic choke point. Consequently, Iranian views on security in the Persian Gulf are worthy of special attention.

This paper explores these views in an attempt to answer such questions as: What are Iranian perspectives on Gulf security? What are the factors that have shaped these perspectives? How have these perspectives influenced policy and how have they evolved over time?

This essay delves into the 1927 anti-conscription movement and the causes of its failure. It argues that the Shia ʿulamāʾ of Iran and Iraq suffered from endemic divisions within their ranks, which in turn kept them from agreeing on a unified position against the extensive socioeconomic and military reforms under Reza Shah. The essay sheds light on the government’s use of religious justification that facilitated modern reforms. It also demonstrates how certain elements within the clerical establishment helped the Reza Shah government to win the senior clerics over or at least neutralize their opposition. This allows us to discern the fluid boundaries of tradition and modernity as modernizing reforms checked the Shia ʿulamāʾ’s long-standing authority in Iranian society.

This paper is a monographic study of the illustrated copy of Ṣafvat al-Ṣafā, the life of Shaykh Ṣafī al-Dīn, by Ismāʿil bin Bazzāz, completed in Shaʿbān 990/September 1582 in Shirāz. It begins by giving information on the original text and its sources; then examines the unique illustrated copy. The features of the illustrated Ṣafvat al-Ṣafā are discussed while each of the fourteen images are explored in terms of the text-image relationship. The themes are also briefly analyzed according to a stylistic and iconographical approach in order to further exhibit the manuscript's uniqueness. The article concludes by emphasizing the significance of this copy at the Aga Khan Museum collection regarding its general condition, the illustration cycle and its records.

Among other Middle Eastern countries, Iran and Turkey stand out as the two neighboring countries with many linguistic and cultural similarities. The question that comes to the fore is: to what extent do these two countries know each other? This article attempts to provide a picture of the state of Iranian Studies in Turkey with specific attention to three monographs originally written as PhD dissertations in various Turkish universities over the last three decades. Produced from within three different social science and humanities divisions, i.e. Political Science, Persian Literature and History, these are three of the very few scholarly monographs produced on Iran in Turkey. Based on a close reading of these studies, it seems possible to observe that they are mostly ill-balanced by methodological, ethnocentric as well as Turkish nationalist biases.

Scholars of society and politics have over the years developed a large number of theoretical approaches to assist them in understanding their subject matter. These methodological orientations necessarily affect research findings and results. Social scientists have not always been known for their toleration of any approach that differs substantially from their own. Some, therefore, harden their own approaches into doctrines while those developed by others are treated as heresies. Dogmatism triumphs over open-mindedness.

Practitioners of the elite approach are as prone to this malady as are any other group of theoreticians. And for some very understandable reasons. In American political science, those who adopt an elite perspective have been unfairly but consistently attacked by the “pluralists,” i.e., those who adopt a group approach and in so doing disavow the existence and/or importance of elites. The attack takes on a nasty normative slant whereby elite scholars are insidiously identified as proponents of the phenomenon they study.

The Indian Subcontinent has been One of the Most Prominent Areas of Persian cultural efflorescence. The Parsis, with their Iranian religious heritage, have played an important role in Indian thought and commerce that continues today. Iranian Islam has since medieval times had a powerful influence, competing with Muslim currents from Central Asia and the Arabian subcontinent. From the twelfth through the nineteenth centuries, Persian was the most important administrative language for Muslim states in the area. Enormous numbers of historical chronicles, books of poetry, and Sufi works were composed in Persian by both Muslims and Hindus in these centuries, some of them classics of world literature such as the Akbarnāma or the works of Bidel. It has even been argued that in the eighteenth century more Hindus may have read the Bhagavad Gita in Persian translation than in the original Sanskrit, given the very large class of Hindu Persian scribes and administrators and the relatively smaller numbers of Sanskrit scholars. India had an important cultural, commercial, and intellectual influence on Iran, as well, an influence now largely forgotten.

Perhaps inspired, more than anything else, by The Blind Owl's famous opening lines, the reception of the novel has so far been dominated by a dark view of the narrative. However, subtle inter-textual links and formal patterns in the narrative could help to read a radically subversive laughter in it which targets the novel's predecessors and readers equally and concurrently. This article engages the aesthetic qualities of the novel and attempts to account for and emphasize the literariness of the text in interpretation. By singling out a few inter-textual links and elaborating upon them in detail, the narrative's parodic laughter, its significance and the way it can change our appreciation of the novel are discussed.