This article looks at the efforts China and Iran made towards strengthening themselves and their search for independence and integrity after the First World War. Since the nineteenth century, the two countries had been in a similar situation, under pressure from treaties and rivalries with European powers. The change of the world order brought about by the 1914–18 war created an opportunity for China and Iran to claim back their rights, such as ending extra-territoriality. After the war, the Fourteen Points drawn up by the American president, Woodrow Wilson, gave hope for China and Iran to maintain their independence and integrity. During the Paris Peace Conference of 1919, China and Iran made both gains and losses. China was unable to solve the Shandong Problem but became one of the founding members of the League of Nations, while Iran did not get access to the Peace Conference but obtained Britain’s assurance of independence and integrity by signing the Anglo-Iranian Treaty of 1919, and then joined the League of Nations. China and Iran attempted to bring about cooperation between Asian countries, and therefore signed a treaty in 1920. The significance of the treaty was that the two countries agreed not to grant extra-territoriality to each other, which was what both countries were seeking to achieve at that time.

Under the early Qajars, Tabriz rose from being a provincial backwater in ruins to the foremost commercial entrepôt of Iran. Initially, its insignificant foreign trade was limited to Turkey (mostly raw Gilani silk), but, when the major commercial southern and western supply routes of Iran became unsafe and costly, trade moved to the northern route. Moreover, after Russia opened its territory to European goods in 1821, these also flowed via Tiflis to Tabriz. When ten years later Russia revoked this permission, the Tiflis trade moved to Tabriz via Trabzon, gradually replacing not only the Tiflis route but also the Istanbul-Erzerum route. This turned Trabzon into a quasi-“Iranian” port, as initially most of its imports were destined for or coming from Iran. Four-fifths of imports to Tabriz were European fabrics. Initially these had come from Russia, but, as of the 1820s, such were replaced by British, German, French, and Swiss fabrics. By mid-century, Manchester fabrics dominated the import trade of Tabriz. Thus, Great Britain took Russia's place as its primary trading partner, although by 1900 the tables had turned. During the majority of the nineteenth century, Caucasian Armenian merchants dominated Tabriz's foreign trade, with European merchants playing an important but limited role in the import of Manchester goods and the export of raw silk. After 1870, the importance of Tabriz as the commercial hub of N.W. Iran decreased, due to various reasons such as the outbreak of the Gilan silk disease, Russia stopping the transit of non-Russian goods, and the opening of the Suez Canal, but also because it became cheaper to import goods via Bushehr and Baghdad-Kermanshah. Nevertheless, even with a diminished role as a financial center and less foreign trade, Tabriz continued to be Iran's major commercial center until WW I.

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.

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.

When Crassus met the Parthian ambassador Vagises on the eve of his disastrous expedition ending at the Battle of Carrhae in 53 BC, Vagises mocked his boldness and showed the palm of his hand, on which, according to him, no hair would ever grow unless the Roman were to reach Mesopotamia, the heart of Parthian empire. This bizarre gesture and statement, usually assumed to be frivolous, can only be understood in the context of Zoroastrian sexual and cathartic ethics, which of course no Roman or Greek could understand. The source of this information therefore could not have been Plutarch, but rather someone conversant with Persian culture, from either Parthian or Armenian stock.

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.

The publication of four Gujarati travelogues written by Parsis traveling to Iran in quick succession in the 1920s marked the intensification of a relationship that had hitherto been based mainly on philanthropy directed towards the Zoroastrians of Iran. The Pahlavi regime, with its assurances of religious tolerance and equity, prompted Parsis to consider deepening their connection with Iran through trade and business investments and also examine the possibility of return to their motherland. The encounters which constitute these travelogues could be framed as experiments which helped the Parsi community in India to construct a framework for developing this relationship. The Parsi travelogues, while attempting to recover a Zoroastrian past in Iran, also try to map the future for the community by addressing its present anxieties and aspirations.

In February 1617, Jan Lucasz. van Hasselt arrived in Persia accompanying Pietro Della Valle (1586–1652), a Roman noble. Sometime between 1618 and 1621 Van Hasselt entered the service of Shah ʿAbbas I (r. 1588–1629), for whom he worked as a painter until the death of the shah. Later, during the reign of Shah Safi I (r. 1629–42) and until 1654 he tried to establish himself as a commercial agent for Persia. The present paper examines the career of this Dutch painter in Persia and the Netherlands. Meanwhile the artworks that may be attributed to him will be discussed.

This article considers style in Persian literary history and its critical rhetorical and hermeneutical roles for poets and critics in the medieval and Safavid-Mughal eras. It explores how tarz (manner) emerged as a hermeneutical term in the thirteenth and fourteenth centuries and achieved a central position in sukhansanjī (evaluating speech) in the seventeenth and eighteenth centuries. This account of tarz—grounded in its historicity and multivalent implications—offers new insights into language for early modern Persian literary history, which is often periodized as sabk-i hindī (Indian style) or tāza-gūyī (fresh-speaking). Through a close reading of Safavid-Mughal tazkiras (literary compendiums), this contribution examines tarz as an operating concept deployed by a number of prominent tazkira writers. Finally, the article concludes by discussing this legacy's impact on twentieth-century scholarship.

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

Using Soviet foreign ministry documents found in the Russian State Archive of Socio-Political History, this article seeks to shed a new light on the identity of those behind the assassination of Haj ʻAli Razmara in 1951, and the reasons for it. In seeking a power to back his aspirations to become the ruler of Iran, Razmara hopped between the USSR and the United States, finally gambling on USSR. In spite of this, the United States was not in a hurry to get rid of him; instead, they preferred to use the Shah's fear of Razmara to secure the former's cooperation and to extract from him what they wanted, especially oil concessions in Iran. However, by then Iran was already marching rapidly toward oil nationalization, which Razmara opposed on the grounds that the USSR should be the power that produced the oil for the Iranians. This was unacceptable to the Americans, who, according to Soviet sources, decided to get rid of Razmara during the early stages of the Cold War.

Historical treatments of the “rogue lyrics” (qalandariyyāt) of medieval Persian poetry typically identify their origin in the Sufi poetry of Bābā Tāher, Abu Saʿid, and Sanāʾi and portray them as a poetic instantiation of the intellectual and antinomian critiques of the formalistic modes of piety practiced in the increasingly powerful institutionalized Sufi orders. However, the qalandari panegyrics of the Saljuq court poets Borhāni and Amir Moʿezzi—arguably the earliest datable examples of this poetry—analyzed in this article complicate this narrative. They utilize the heterotopic poetics of the qalandariyyāt not to subvert or critique, but rather to augment the sociopolitical authority of the ruler of Qazvin, constructing a new and distinctly Saljuq model of Islamic kingship, a Qalandar King.

This paper provides a translation and analysis of Sloane Mss. 3259 in the British Library, a Persian farmān from the court of King Chandrawizaya Rājā in the Arakanese Kingdom of Mrauk U (1429−1784). Written in 1728 and addressed to the Armenian merchant Khwājeh Georgin of the port of Chennaipattana across the Bay of Bengal in India, the decree is a permit for the lucrative trade in elephants and ivory from the forests of Arakan. The royal decree reveals the presence of Persian as a mutual language of encounter, exchange, diplomacy, and correspondence in eighteenth-century Southeast Asia. Through the manuscript, a view emerges of a sovereign forest kingdom of manifold rarities at the margins of the Persianate and Mughal worlds.

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.

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.

This article brings a new perspective to Parsi philanthropy in late Qajar Iran by exploring its British imperial dimensions. It examines how Parsis leveraged British diplomatic heft in their amelioration of Iranian Zoroastrians and how imperial connections helped Parsis translate charity into political and economic power. This was a mutually beneficial process: British diplomats identified strategic value in Parsi philanthropy for Iranian Zoroastrians. It was particularly useful in Great Game rivalries against Russia, as Britain attempted to cultivate Iranian Zoroastrians to shore up its influence in southern Iran. Interactions between Parsis, Iranian Zoroastrians, and British diplomats neatly illustrate the extraordinary influence which small minorities could wield in imperial politics.