After the Prophet Muhammad, the most contested figure in Islamic history would be his son-in-law, ʿAlī b. Abī Ṭālib. ʿAlī’s political rivals staunchly denounced him, his family and his partisans as impious criminals in his own lifetime and after his death. Shortly after his assassination, the Umayyads succeeded in obtaining the reins of the caliphate and establishing a dynasty that lasted close to a century. Medieval sources indicate that rhetoric and propaganda hostile to ‘Alī permeated public discourse under the Umayyads. Nonetheless, through the efforts of his admirers, ʿAlī became a respected authority in both Sunnī and Shīʿī Islam within a few centuries of his death. His nearly universal portrayal in Muslim literature as a pious authority rather obscures a centuries-long process of contestation and rehabilitation. This study considers the methods that ḥadīth transmitters and scholars employed to reconcile expectations regarding ʿAlī’s character and image in Sunnism with the vast and heterogeneous body of accounts about him. Sunnī scholars made use of their editorial privilege by transmitting selected versions of reports and omitting controversial material.

This article investigates one polemical issue, the substitution of Mecca for Jerusalem, in the writings of Abū Muḥammad ʿAbd Allāh b. Muslim b. Qutayba (828–889 ce). In his Book of the Signs of Prophethood (Kitāb Aʿlām al-Nubuwwa), Ibn Qutayba interprets five Biblical verses that speak of Jerusalem as actually alluding to Mecca. The investigation queries the quality of several Biblical allusions in Ibn Qutayba's work, probes Ibn Qutayba's reasoning in using them, and asks how they fit into the larger and longer-lasting polemic between Islam and Judaism concerning the identity of the son whom Abraham bound on the altar. It is found that the two issues—the place most sacred to God and the identity of the bound son—are strongly connected in the polemic between Islam and Judaism and between different schools of Islamic exegesis.

This article studies two questions related to al-Khansā'’s mutaqārib poem, rhyming in -ālahā: how was it changed through anthologisation and what is its relation to the Qur'ān and Surah 99? Whereas the six-verse excerpt in al-Mubarrad's Kāmil is full of Qur'ānic echoes, the Dīwān version of the poem has few such echoes. The analysis, however, opens up a possibility that the Qur'ān's first audience may well have recognised in Surah 99 features familiar to them from marthiyas.

Yahia Bihram, a pivotal figure in the Mandaean community of the 19th century, composed several autobiographical texts. This article presents a new edition of one of his lengthiest works, incorporating numerous corrected readings based upon close examination of the original manuscript. With the aid of recent linguistic research into Neo-Mandaic and contemporary documents, the article proposes many new interpretations and the correct identifications of historical names and places.

Buṭrus al-Bustānī (1819–1883) was one of the leading figures of the Nahḍa period. In most studies on the Nahḍa, his activities, work and projects are seen as having made an important contribution to the revival of the Arabic language by transforming it to meet the needs of modern times. Although his lexical contribution has been researched there is no comprehensive research on his grammatical contribution to the Arabic language. This article shows that al-Bustānī's Encyclopedia reflects a conservative approach toward grammar in that he confined himself to abridging the grammatical rules enshrined by traditional grammarians. However, he took a liberal and reformist approach to the lexicon that drew on both classical and Western sources.

The question of the origin of music and its powers has always fascinated philosophers and scientists. Here we present a close reading of the view offered by the Persian Muslim philosopher and scientist Ibn Sīnā, also known as Avicenna (980–1037). We draw a parallel between Ibn Sīnā’s account of the senses and mental capacities and his hierarchical, quasi-evolutionary view of the perception of sound in its various communicative roles. We show how Ibn Sīnā positions music at the top of the organisation of sound while drawing a connecting line between the sensory and cognitive, the natural and conventional, and the biological and aesthetic. Although mostly drawing on ideas previously expounded by Aristotle and al-Fārābī, he goes way beyond his predecessors in positioning music within the systems of communication and highlights music's special ability to create a flux of joy and sadness, tension and relaxation, based on the ephemeral character of sound that serves as a connecting thread through all levels of its communicative roles.

Khwājah Qāsim Tushtarī’s recently discovered Recognizing God (Maʿrifat-i Khudāy taʿālā) is one of the only texts known to have survived from the early Alamūt period of Ismaili Muslim history. This article analyses the work in the context of the “new Invitation” (daʿwat-i jadīd) to the Ismaili faith that al-Shahrastānī (d. 548/1153) tells us was inaugurated by the Fāṭimid Imam al-Mustanṣir billāh (d. 487/1094) and championed by Ḥasan-i Ṣabbāḥ (d. 518/1124). The text emphasises that the ultimate purpose of human existence is to know God, and that the path to this knowledge is through the Imam of the Time. The concepts of the ‘true teacher’ (muʿallim-i ṣādiq) and ‘sage’ (ḥakīm) are examined and the literary culture fostered at the Ismaili fortresses, particularly Girdkūh, is explored. Significantly, the article draws attention to the position of Sanāʾī Ghaznawī (d. circa 525/1131) in Persian Ismaili literature and to the very early development of pious, devotional and homiletic poetry as well as the “mathnawī metre” in Ismaili environments, which may have helped set the stage for some of the most significant poetic achievements of mystical Islam: the writings of Farīd al-Dīn ʿAṭṭār (d. circa 618/1221) and Jalāl al-Dīn Rūmī (d. 672/1273).

This study adopts an osmotic ethnography in order to decolonise the museum as an intellectual institution that was born in the West and informed by a logic of command (arkheion). As in the biological process of osmosis, characterised by an equilibrium between the inner and the outer that shapes its own distinctiveness through its symbiosis, the museum constitutes itself as a space intertwined with external reality. This is particularly true in the case of South Asian museum artefacts: because of the concept of darśan (the sensuous relationship between the worshipper and the deity's material embodiment) curators have faced the challenge of coming to terms with visitors’ responses, from colonial to post-colonial times. A direct consequence of this challenge is represented by the reconstructions of religious spaces—shrines, altars, temples—that should evoke the so-called “original context” and be in consonance with local forms of material engagement.

By adopting eco-phenomenology as its methodological framework, this article examines colonial sources, in particular the works of Thomas Hendley (1847–1917) and Fanny Parks (1794–1875), and compares them to the ethnographic fieldwork undertaken by the author at the Oriental Museum of the University of Durham in November 2014, as part of doctoral research.

Writing in Isfahan in 729/1328-9, Ḥusayn b. Muḥammad b. Abī l-Riżā ʿAlavī Āvī produced a translation into Persian of the eleventh-century Arabic Risālat Maḥāsin Iṣfahān (‘Epistle on the Merits of Isfahan’) of Mufaḍḍal b. Saʿd b. al-Ḥusayn al-Māfarrukhī. This article explores the context for and purposes of Āvī’s translation-adaptation with particular reference to the extensive system of networks active in western Iran during the reign of the Ilkhan Abū Saʿīd (r. 716-36/1316-35). It is proposed that Āvī intended his translation to provide a means of entry into the urban élites and an affiliation with the administrative circles associated with the vizier Ghiyāth al-Dīn Muḥammad (d. 736/1336), a son of Rashīd al-Dīn Fażl Allāh, who occupied a position at the apex of this system of networks.

This article addresses the issue of passive resistance by the Jogi and Mirasi musician castes against the puritanical notions of their former patrons, Meos. After the Meo patrons embraced the Tablighi Jamaat's version of Islam, the Jogis and Mirasis feel pressured to give up performing. Their artistry is also their livelihood which they value very much. By using James Scott's understanding of ‘passive resistance’ and ‘hidden transcript’ this article shows the use of poetic art for passive resistance. In doing so, the Jogis and Mirasis do not compromise with the civility of the art and positively use the lyrics of their new songs against the Meo patrons’ versions of religious purity on one hand, and extremist Hinduism on the other. They, in fact, emphasize a version of righteousness that is universal and thus needs no organised religion.

The article provides an edition and translation of eight early Islamic acknowledgment (iqrār) deeds written in Early New Persian, which are preserved in the National Library of Israel. The acknowledgment deeds are part of a rich trove of manuscripts known as the “Afghan Genizah”, reportedly found in the area of Bāmiyān in central Afghanistan. Dated between the years 395–430/1005–1039, the eight discussed acknowledgment deeds are probably the earliest extant legal documents written in New Persian. This implies that Islamic legal documents were drawn up in New Persian in the area of Bāmiyān—and perhaps in other eastern Iranian territories—as early as the beginning of the 5th/11th century. Furthermore, a thorough examination of the formulaic structure of these acknowledgment deeds reveals their reliance on Arabic legal formulae, which may reflect an early stage of legal writing in New Persian.

Persian arts of the book reached new heights under the patronage of the Timurids, in particular in the atelier of prince Bāysunghur (1399–1433) in Herat. This paper introduces a dual-text manuscript produced there in 833/1430, now held in the Suleymaniye Library in Istanbul, which has previously escaped scholarly attention. Up until now its scribe, Saʿd Mashhadī, has been known only for his copy of the Tārīkh-i Jahāngushāy of ʿAtā-Malik Juvaynī (834/1431). He has been identified with Maulānā Saʿd al-Dīn named in the ʿArża-dāsht, the report written by Bāysunghur's chief librarian, Jaʿfar Tabrīzī. On the basis of the report and a study of the calligraphy, I argue Saʿd Mashhadī penned a third manuscript for Bāysunghur, an early copy of the Zubdat al-tawārīkh, c.829/1426. This article attempts to provide a fuller picture of the calligrapher. A number of biographical dictionaries mention a contemporary called Ḥāfiẓ Saʿd, a follower of Qāsim Anvār, who was a prominent poet and riddle writer. Beginning with a poetic connection between the two names in a biographical work, and pursuing an in-depth study of his Dīvān, which, through riddles, reveals an association with Bāysunghur's atelier, I suggest that Saʿd Mashhadī and Ḥāfiẓ Saʿd could be the same person. Whether or not this is the case, this study sheds new light on an important but little known court poet and Sufi and a calligrapher in the royal atelier.

The aim of the present article is to describe the morphosyntactic properties of Iranian Coastal Balochi as spoken by the Afro-Balochi community. The Afro-Baloch have completely switched to Balochi and there are no traces of African languages in their speech. In comparison with other Balochi dialects of Iran on the one hand and Coastal Balochi dialects of Pakistan on the other, Coastal Balochi as spoken in Iran shows archaic characteristics, particularly in its case system, in the demonstrative pronouns and in the alignment features. This particularly applies to the speech of the Afro-Baloch, who due to persisting social segregation have limited access to education and media.

In the last years of the eighteenth century, an Indian woman authored a work in Persian intended for the entertainment and guidance of students of that language. Entitled Miftāḥ-i Qulūb-i Mubtadiyān (‘The Key of the Hearts of Beginners’), the work comprised of stories from vernacular oral traditions as well as extracts from well-known Persian poetic, historical and ethical works. Although the work was translated into English in 1908 by Annette Beveridge, it has received no serious scholarly attention. Drawing upon recent scholarship offering new ways of thinking about India's multilingual literary past, this article examines the intersection of multiple vernacular and generic traditions as translated and manifested in Miftāḥ-i Qulūb al-Mubtadīyān. While vernacular languages followed different, and in relative terms, more limited routes of circulation and exchange in comparison with cosmopolitan languages such as Persian, their paths of movement were no less significant. Through a close reading of this work and its context, this article seeks to understand how Bībī Ḥashmat al-Daula crafted a distinct, cosmopolitan voice for herself through her deployment of both Persianate and regional Indian traditions.

This paper seeks to contribute to understanding of the dynamics of reference relation and subordination in Tibetan grammar. As a way of shedding light on this complex topic, it examines a translated sūtra, the Ye shes rgyas pa'i mdo, which contains numerous stories relating interactions and conversations between a variety of characters. A close reading of several representative passages of this text reveals some of the systematic structures of subordination. Despite not being outlined as a principle in traditional Tibetan grammars, subordination is seen here to be clearly reinforced by, and at times entirely encoded in, the use of the converb –nas to express coreference, and in the verbal noun and converb structures –pa dang and -pa las to connote cross-reference. The paper thus aims to show how attention to the functioning of subordinating structures serves the reader in the interpretation of complex passages where such structures at times provide the only key to the attribution of agency.

This article explores the part played by Sir Henry Dobbs, the ‘man on the spot’, in shaping the 1921 Anglo-Afghan Treaty. The treaty provisions being negotiated were important to the security of the Indian frontier, internally and internationally, as they defined the formal relationship between India and Afghanistan right through until Indian independence. In contrast with existing accounts, the analysis presented here contends that Dobbs did have a significant influence both on the negotiating process and on the eventual result. It demonstrates how in his role as chief negotiator Dobbs drew on experience and techniques that he had earlier acquired as a political officer in frontier areas. His aim seems to have been to influence matters so that the treaty would deliver on what he regarded as important while giving away nothing that he thought damaging. The article thus sheds light on how—in a novel and volatile context—Dobbs handled differing views in London and Delhi, and negotiated with the Amir. Given the necessary authority by the British Government, he finally arrived at an agreement accepted by the various parties—Afghans, the Viceroy and the British Government in London. The source for this revised perspective on the negotiations and fuller understanding of his role are Dobbs’ recently-discovered letters and private papers, previously unavailable to historians, together with a re-examination of official sources prompted by this new material.

In ‘The World of the Skandapurāṇa’, published in 2014, Hans T. Bakker presents a possible scenario for the composition of the Skandapurāṇa1 (SP), dating its conception to the reign of the Maukhari king Avantivarman in the late sixth century and the completion of its first recension to the times of king Harṣa in the first half of the seventh. Because of the attention it receives in the text, Vārāṇasī is identified as the most likely place of origin;2 the authors of the text belonged to the Pāśupata Śaivas, writing for a broad audience of mostly lay Māheśvaras.3 In this paper I would like to comment on some aspects of this scenario by investigating the relations between the SP and king Harṣa – both his person and his region of origin, the kingdom of Thanesar. I will argue that there are internal indications that the original constituent parts of the text may originate from there — and that its further development may have been impacted by the political reality of Harṣa having come to power. My argument will consist of three parts: the first related to the geography of the sacred places mentioned in the SP, the second concerning the way Harṣa is alluded to in the chapters describing the birth and consecration of Skanda and the third about the expansion of the original, “core” part of the SP.

The Huá-yí-yì-yǔ is a general name for the various wordbooks between the Chinese language and its neighbouring languages compiled from the beginning of the Ming dynasty (1368–1644). It has broadly 4 different classes. In the wordbooks of the third class the words of each foreign language were transliterated only in Chinese characters and the letters of the language in question were not used. To this third class belongs the manuscript in the collection of the library of Seoul National University. Its seventh volume is for the Uighur language. It contains 19 categories. In this paper the first category of astronomy with 85 entries is treated.

There are many scribal errors in these materials. Apart from the shortcomings of the Chinese characters, this may be the main reason why the Uighur word materials in the wordbooks of this class are not highly regarded.

The ancient site of Babylon has long attracted the interest of European visitors. With the expansion of British geopolitical interests into the Middle East and India during the eighteenth century those in the service of the East India Company were afforded new opportunities to examine and explore regional antiquities. The historiography of archaeological exploration has traditionally focused on the contributions of key Orientalists such as Claudius James Rich and Paul Émile Botta. This has been at the expense of other equally significant individuals who also undertook a range of supporting scholarly, archaeological and museological activities. This article will redress that balance by considering the work of one of these unsung heroes of the East India Company, Captain Robert Mignan.

Khargi is spoken on the island of Kharg in the Persian Gulf. A member of the Southwest branch of the Iranian languages, Khargi is related to the languages spoken in the province of Fārs and along the coastal line down to the Strait of Hormuz, suggesting extensive maritime contact, yet does not lend itself to any of the known subgroups of the family. As Khargi remains largely obscure, this article offers a morphosyntax and lexical analysis based on published texts and those collected by the author. It investigates the linguistic position of Khargi based on comparative-historical phonology as well as areal features, with a look at cross-linguistic influence in the situation of language contact. By contrasting linguistic findings with details of history and economy, an attempt is made to date the original and later human settlements on the island.1