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.
"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."--Bloomsbury Publishing.
This study is one of the first interdisciplinary examinations of the material religion and art objects of Naser al-Din Shah's court, vis à vis popular Shiite beliefs during the Naseri period (1848-1896). The primary focus of this book remains the intercession of Shiite religion and the occurrence of depictions of the Prophet Mohammad and Imam Ali inside the royal court during the reign of Naser al-Din Shah. In this work, Pedram Khosronejad has paid special attention to the role of Naser al-Din Shah's popular Shiite values in shaping attitudes toward the depiction in portraiture of the Prophet Mohammad and Imam Ali. Khosronejad's observations further confirm Naser al-Din Shah's deep-rooted connections to popular Shiite beliefs and related superstitions. The king's devotional practices and his sacred rites regarding the objects on/in which may be seen visual representations of the Prophet Mohammad and Imam Ali, especially their portraiture, explain "deep-seated beliefs" that Shiite visual pieties were invested in his life.
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.
The representation of prophets and saints in Islam is erroneously considered nonexistent by many scholars of Islam, Muslims, and the general public. The issue is often dealt with superficially without attention to its deep roots in piety and religiosity. Visualizing Belief and Piety in Iranian Shiism offers new understanding of Islamic iconography and Muslim perspectives on the use of imageries in ritual contexts and devotional life. Combining iconographic and ethnographic approaches, Ingvild Flaskerud introduces and analyzes imageries (tile-paintings, posters and wall-hangings), ritual contexts and interviews with male and female local viewers to discuss the representation, reception and function of imageries in contemporary Iranian Shia environments. This book presents the argument that images and decorative programmes have stimulating qualities to mentally evoke the saints in the minds of devotees and inspire their recollection, transforming emotions and stimulating cultic behaviours. Visualization and seeing are significant to the dissemination of religious knowledge, the understanding of spiritual and ethical values, the promotion of personal piety, and functions as modes of venerating God and the saints.
Charts the history and development of Twelver Shi'ismAs many as 40 different Shi`i groups existed in the 9th and 10th centuries; only 3 forms remain. Why is Twelver Shi`ism one of them? As the established faith in modern Iran, the majority faith in Iraq and areas in the Gulf and with its adherents forming sizeable minorities elsewhere in the region, it is arguably the most successful branch of Shi'ism. Andrew Newman charts the history Twelver Shi'ism, uncovering the development of the key distinctive doctrines and practices which ensured its survival in the face of repeated challenges. He argues that the key to the faith's endurance has been its ability to institutionalise responses to the changing, often localised circumstances in which the community has found itself, thereby remaining remarkably resilient in the face of both internal disagreements and external opposition.
While the impact of the Persian style is undeniably reflected in most aspects of the art and architecture of Islamic Central Asia, this Perso-Central Asian connection was chiefly formed and articulated by the Euro-American movement of collecting and interpreting the art and material culture of the Persian Islamic world in modern times. This had an enormous impact on the formation of scholarship and connoisseurship in Persian art, for instance, with an attempt to define the characteristics of how the Islamic art of Iran and Central Asia should be viewed and displayed at museums, and how these subjects should be researched in academia. This important historical fact, which has attracted scholarly interest only in recent years, should be treated as a serious subject of research, accepting that the abstract image of Persian art was not a pure creation of Persian civilization, but that it can be the manifestation of particular historical times and charismatic individuals. Attention should therefore be given to various factors that resulted in the shaping of “Persian” imagery across the globe, not only in terms of national ideologies, but also within the context of several protagonists, such as scholars, collectors and dealers, as well as of the objects themselves. This volume brings together Islamic Iranian and Central Asian art experts from diverse disciplinary and professional backgrounds, and intends to offer a novel insight into what is collectively known as Persian art.
Islamicate Occult Sciences in Theory and Practice brings together the latest research on Islamic occult sciences from a variety of disciplinary perspectives, namely intellectual history, manuscript studies and material culture. Its aim is not only to showcase the range of pioneering work that is currently being done in these areas, but also to provide a model for closer interaction amongst the disciplines constituting this burgeoning field of study. Furthermore, the book provides the rare opportunity to bridge the gap on an institutional level by bringing the academic and curatorial spheres into dialogue. Contributors include: Charles Burnett, Jean-Charles Coulon, Maryam Ekhtiar, Noah Gardiner, Christiane Gruber, Bink Hallum, Francesca Leoni, Matthew Melvin-Koushki, Michael Noble, Rachel Parikh, Liana Saif, Maria Subtelny, Farouk Yahya, and Travis Zadeh.
This book explores the transformation of home culture and domestic architecture in twentieth century Iran. While highlighting the role of architects and urban planners since the turn of the century, the book also studies the interplay between foreign influences, gender roles, consumer culture, and women's education as they intersect with taste, fashion, and interior design.
The symbolic value of targets is what differentiates terrorism from other forms of extreme violence. Terrorism is designed to inflict deep psychological wounds on an enemy rather than demolish its material ability to fight. The September 11, 2001 attacks, for example, demonstrated the power of symbolism. The World Trade Center was targeted by Al Qaeda because the Twin Towers epitomized Western civilization, U.S. imperialism, financial success, modernity, and freedom. The symbolic character of terrorism is the focus of this textbook. A comprehensive analysis, it incorporates descriptions, definitions, case studies, and theories. Each chapter focuses on a specific dimension of symbolism in terrorism and explains the contexts and processes that involve the main actors as well as the symbolism of both the purposes and targets of terrorism. Also discussed are new religious movements, which represent another important aspect of terrorism, such as Aum Shinrikyo, the Japanese cult that used sarin gas in the Tokyo subway in 1995. Over forty areas of symbolism are covered throughout the chapters, including physical and non-physical symbolism, linguistic symbolism, the social construction of reality, rituals, myths, performative violence, iconoclasm, brand management, logos, semiotics, new media, and the global village. This allows for an in-depth examination of many issues, such as anti-globalization, honor killing, religious terrorism, suicide terrorism, martyrdom, weapons, female terrorism, public communication, visual motifs, and cyberspace. Main concepts are clearly defined, and followed by theory illustrated by international case studies. Chapter summaries, key points, review questions, research and practice suggestions are recurring components as well. This groundbreaking text encompasses all major aspects of symbolism in terrorism and will be an essential resource for anyone studying terrorism.
