Winner of the Houshang Pourshariati Iranian Studies Book Award 2009This beautifully illustrated history of Safavid Isfahan (1501-1722) explores the architectural and urban forms and networks of socio-cultural action that reflected a distinctly early-modern and Perso-Shi'i practice of kingship.An immense building campaign, initiated in 1590-91 at the millennial threshold of the Islamic calendar (1000 A.H.), transformed Isfahan from a provincial, medieval, and largely Sunni city into an urban-centered representation of the first Imami Shi'i empire in the history of Islam. The historical process of Shi'ification of Safavid Iran and the deployment of the arts in situating the shifts in the politico-religious agenda of the imperial household informs Sussan Babaie's study of palatial architecture and urban environments of Isfahan and the earlier capitals of Tabriz and Qazvin.Babaie argues that since the Safavid claim presumed the inheritance both of the charisma of the Shi'i Imams and of the aura of royal splendor integral to ancient Persian notions of kingship, a ceremonial regime was gradually devised in which access and proximity to the shah assumed the contours of an institutionalized form of feasting. Talar-palaces, a new typology in Islamic palatial designs, and the urban-spatial articulation of access and proximity are the architectural anchors of this argument. Cast in the comparative light of urban spaces and palace complexes elsewhere and earlier-in the Timurid, Ottoman, and Mughal realms as well as in the early modern European capitals-Safavid Isfahan emerges as the epitome of a new architectural-urban paradigm in the early modern age.

In the seventeenth century, the Persian city of Isfahan was a crossroads of international trade and diplomacy. Manuscript paintings produced within the city’s various cultural, religious, and ethnic groups reveal the vibrant artistic legacy of the Safavid Empire. Published to coincide with an exhibition at the Getty Museum, Book Arts of Isfahan offers a fascinating account of the ways in which the artists of Isfahan used their art to record the life around them and at the same time define their own identities within a complex society.

This illustrated book gives a unique introduction to the world of Shah 'Abbas and the beautiful mosque and shrines that he created and adorned in the so-called golden age of Persian art.

SHAH ʻABBAS (1571–1629) is the most well-known king of Iran’s Safavid dynasty (1501–1722), ruling at the height of its power and prestige. When Shah ‘Abbas came to power his country was in chaos. Yet within eleven years he had regained territory lost to his enemies, moved his capital city and begun a transformation of Iranian society. Few aspects of life were unaffected by his policies and the new capital he built, the spectacular Isfahan, is still referred to as nisf-i jahan, or “half the world”, by Iranians today. In this wide-ranging profile, Sholeh A. Quinn explores Shah ʻAbbas’s rise to power and his subsequent interactions with religious movements and artistic developments, reaching beyond the historical narrative to assess the true impact of the man and his politics. Thought provoking and comprehensive, this account is ideal for readers interested in uncovering the life and thoughts of a man who ruled during a period described by many as a golden age for the arts in Iran.

The era of Safavid rule was a time of religious and political development in Iran, when the arts attained new heights of brilliance and architecture flourished. This volume deals with Safavid painting and the conservation of works from this period.

Shows and describes examples of Persian calligraphy, glass, tile, pottery, lacquer, books, paintings, jewelry, textiles, sculpture, and architecture