جستجوی مقالات مرتبط با کلیدواژه « timurid period » در نشریات گروه « علوم انسانی »

With the emergence of Islam, religious architecture gained significant importance, and the mosque became the successor to previous places of worship (Zomarshidi, 1995, p. 9). This shift has played a crucial role in the significance of congregational mosques, making them stand out even more than other mosques in terms of decorative inscriptions (Sedaghat, 2008, pp. 19-18). These inscriptions reflect the architectural transformations of mosques as well as document significant cultural, economic, social, and political events throughout various eras, providing valuable information. This article discusses and recognizes the architecture and inscriptions of the Congregational Mosque of Qaen, which is one of the important mosques from the Timurid period in South Khorasan Province. A review of previous research reveals that there has been no comprehensive study focused on the architecture, inscriptions, decorations, and formation of the Congregational Mosque of Qaen. Therefore, considering the importance of this building, conducting more thorough and complete research on it will not only clarify its characteristics but also enhance our understanding of the culture and architecture of Khorasan. The main questions of this research are:What time period is covered by the inscriptions used in the Congregational Mosque of Qaen?
What subjects are encompassed in the content of these inscriptions?
 

Architecture of the Congregational Mosque of Qaen:

The Congregational Mosque is a two-iwan rectangular structure. The entrance iwan is located on the eastern side. Beyond the entrance iwan is the courtyard, where, on the opposite side of the entrance, another iwan and a prayer hall (shabestan) can be seen. On both the northern and southern sides, there are small iwans with a depth of two meters flanking the entrance iwan on the east side of the building. In part of the courtyard, there is a sundial as well as a water reservoir (payabi). The main iwan of the mosque, situated on the southwest front of the building, is a masterpiece of architecture, with two prayer halls constructed on either side. The decorations used in this iwan include brickwork on the main facade, featuring both horizontal and vertical patterns with geometric designs, while the surfaces below the ceiling of the iwan are adorned with geometric and arabesque patterns, as well as muqarnas. A total of 15 inscriptions have been identified in this mosque, the oldest of which, dating back to 796 AH, is located inside the main iwan and contains an Arabic text stating that the order to construct the mosque was given by Jamshid ibn Qaran ibn Jamshid ibn Ali ibn Ashraf ibn Qazi Shams al-Din Ali al-Qayeni in the year 796. The inscription reads:“This construction has been undertaken as a charity for the sake of God by the humble servant of God, Nizam al-Haqq wa al-Din Jamshid ibn Qaran ibn Jamshid ibn Ali ibn Ashraf ibn Qazi Shams al-Din Ali al-Qayeni in the months of the year 796.”
Inscriptions number 2, dating to 921 AH, concerns the collection of taxes from the people. Inscription number 3 is dated 1046 AH and pertains to a trust of water from a qanat for the mosque. Inscription number 4, also from the year 1046 AH, discusses tax exemptions for certain segments of the population. Inscription number 5 relates to repairs made to the mosque during the reign of Shah Suleiman Safavi in 1098 AH by Haji Muhammad Hossein. Inscription number 6 pertains to the construction of a wooden pulpit for the mosque, dating to 1082 AH. The subsequent inscriptions are from the Qajar period, starting from 1246 AH and continuing to the most recent one, which dates to 1993. These inscriptions, written with ink and color on plaster and mostly found beneath the iwan, include the names of the master builder, the painter, and the scribe, as well as prayers and poems commemorating the significance and grandeur of the mosque. The last inscription (number 15) is related to a tombstone that is placed on the outer wall next to the entrance iwan on the western side of the mosque.
 

Construction Inscriptions: The inscription labeled Number 1, which indicates the construction of the building, and inscription Number 6 (the pulpit) are classified as construction inscriptions. These two inscriptions are historically significant because they specify not only the date of construction but also the names of the founder, builder, and artist.
Endowment Inscriptions: An examination of the endowment inscriptions reveals the religious thoughts of the people. Inscription Number 3 states that land should be cultivated, and its proceeds are to be endowed to the mosque. At the end of the inscription, prayers are offered for the king and the owners, along with a curse on anyone who alters the endowment.
Governmental Inscriptions: Another category of common themes in the inscriptions includes government orders and decrees that were installed in buildings for public awareness. Inscriptions Number 2 and 4 fall under this category. Inscription Number 2 also features Persian words alongside verses from the Quran. Perhaps the inclusion of a Quranic verse served to bless and confer respect upon that inscription, thus preventing its destruction.
Restoration Inscriptions: The oldest of these inscriptions is Number 5, which begins with a portion of verse 18 from Surah At-Tawbah. Inscription Number 7 was written during the restoration of the building by Karbala’i Ishaq Qayeni. Inscription Number 8 is also related to the restoration, placed within a floral frame with two other inscriptions on either side, containing poetry written by Gholamreza Zaker about the majesty of the mosque’s arch. Inscription Number 9 concerns the restoration of the building and contains verses praising the greatness of the mosque. Inscription Number 14 is the most recent restoration inscription in the mosque.
Prayer Inscriptions: In addition to the use of Quranic verses in the inscriptions, there is a group that contains written prayers. Inscriptions Number 11, 12, and 13 are part of the prayer inscriptions, created during the Qajar period and featuring red and black ink on plaster.
Narrative Inscriptions: In the Congregational Mosque of Qaen, inscriptions Number 7 to 10 belong to this category. Inscription Number 7 contains a stanza from a poem in Saadi’s Gulistan. Inscription Number 10 features a poetic line emphasizing the importance of prayer. Inscription Number 8 is a stanza describing the grandeur of the mosque's iwan, spiritually comparing it to Al-Aqsa Mosque. Inscription Number 9 describes the vastness of the mosque's iwan using the literary device of exaggeration. The tombstone inscription Number 15, located at the entrance iwan on the western side of the mosque, includes verses related to the Day of Resurrection, though much of the text has become illegible due to weathering.

The inscriptions of the Qaen Mosque can be divided into two groups based on their temporal context: the first group pertains to the Timurid and Safavid periods, consisting entirely of stone inscriptions related to the construction of the building, government orders, endowments, religious objectives, and restorations of the mosque. The second group is later and primarily associated with the Qajar period, focusing on the restoration of the building and encompassing the area beneath the southern dome chamber.
The studied inscriptions, alongside governmental and restoration texts, include Quranic verses, prayers, names of God, the Prophet, Imams, as well as the names of craftsmen such as the architect, stonecutter, painter, and endower. Understanding these inscriptions is particularly important for identifying the art and local artists throughout various historical periods. The inscriptions from the Safavid period hold significant value, not only for their aesthetic aspects but also as indicators of the political, social, economic, cultural, and religious conditions of that era.

Throughout history, Iranian mosques have embodied both esoteric and exoteric aspects rooted in the four elements within their architectural design, and they possess inherent symbolic and mythological dimensions. The present study aims to elucidate the mythology of the four elements in the spaces of Iranian mosques during the Timurid period, focusing on the Jameh Mosque of Isfahan and Goharshad Mosque. The research employs a qualitative methodology based on a phenomenological approach. Initially, a descriptive-interpretative method is used, followed by a qualitative approach in the research stage, a holistic-to-particular method in the reasoning stage, and a phenomenological method in the interpretation of the four elements and components of the structures in the Jameh Mosque of Isfahan and Goharshad Mosque. The results demonstrate that in the selected mosques, grounded in the understanding of the four journeys, the progression from earth to water, air, and fire, and the transition from the physical world towards the intermediate and afterlife worlds, in alignment with the four elements, sensory perceptions of spaces, archetypal images of elements and components, and proportions and movement towards the realm of imagination are consciously employed. This conscious application enables the representation of the myth of creation and death, which can be perceived and understood through the sequential transition of spaces. Based on the principles of spatial presence, the perception of knowledge and sensory experiences, and the phenomenological understanding of space, inlogical reasoning within the discussion, intuitive knowledge of spatial perception necessitates an archetypal behavior in users, with the goal of directing attention towards the metaphysical realm and perceiving the sacred.

Monsha'at as one of the historical documentary sources has valuable content on various aspects of Iranian society. As it goes from the previous centuries to the later centuries, Monsha'at has gained importance and a high position among the Literati and Historians. Unfortunately, historians have paid little attention to them due to reasons such as their lack of widespread publication, the difficulty of their handwriting, the belief in the grand narrative of the superiority of their educational aspect, etc. Monsha'at research has not been seriously considered so far. This article, using the approach of Monsha'at research with the method of thematic analysis, aims to show the place and importance of Monsha'at and Tarassul of Moinuddin Mohammad Zamji-Esfazari, one of the 9th century actuaries (monshi) at the court of Sultan Hossein Bayqara. The calligrapher's  position has led to his creations being diverse and unique in terms of letters and content. He has created a new type of historical documentation by combining the text script (Tarasul) and the epistle(Rogea) with the Mushat script, which is unprecedented in the eyes of his predecessors. By incorporating Sultani, Diwani and Ikhwani documents, Zamji-Esfazari's work has taken a step from the educational approach to creating a documentary text with minimal omissions.

Ghazal is one of the most common formats in Persian literature and it is rare to find a poet who has written a ghazal. Esmat Bukharai is a poet of the Timurid period and one of the lyricists of this period who wrote beautiful romantic and mystical lyrics. In this article, we have analyzed two hundred sonnets of Esmat Bukharai from the three perspectives of linguistic, literary and intellectual style.

Considering its theoretical nature, the current research has been conducted based on library and electronic studies and in a descriptive-analytical style, and the target society and scope is Diwan Asmat Bukharai by Ahmad Karmi.

Based on the findings of this research, Esmat Bukharai's poetry, compared to other poets of his time, does not have thin imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent and there are no significant slang terms and interpretations in it. In his sonnets, he has used mystic and Qalandran themes.

The poet has used calm and heavy weights and brook like (Raml and Hazaj) which are suitable for pleasant romantic themes and express the feelings of the poet in sadness. He has shown special attention to rhyme and lines, and his sonnets are almost free of rhyme defects. He has refrained from bringing heavy and abandoned Arabic expressions. Ismat Bukharai has used sensory to sensory and intellectual to sensory similes a lot. Metaphors of innocence are not far from the mind and can be seen in ancient poems. Hints also have a special place in his poems, but innovation is not seen in them and it is repetitive. The main theme of his poems is love and the separation of the beloved, and the burning and burning caused by this love. It also contains lyrical and mystical themes and it is like the predecessors in war and controversy with Zahad the hypocrite.

The political school of Herat, which was formed by the Islamic-mystical thoughts of Maulana Abdul Rahman Jami and a network of Timurid era scientists, is based on justice, peace, Persian language, tolerance and tolerance, the teachings of ancient Iran and Turkish teachings. - Mongolian emphasizes. Amir Ali Shirnavai, minister of the Timurian court, and Maulana Hossein Waez Kashifi, two of Jami's students, have played a valuable role in the development of Herat's political school. Through these two, Jami's teachings have entered the political societies of that period and have practically flowed through the court in the social and cultural context. Peace is one of the most key concepts that has overlapped with other concepts such as expediency, reconciliation, tolerance and tolerance and has crystallized in the theory and practice of the political school of Herat, so that the Timurid era is one of the most peaceful periods in the history of the region. goes This article, with the conceptual framework of Quentin Skinner's constructivist school and hermeneutic methodology, aims to answer the question of the place of peace between communities in the political thought of the Herat school. It seems that the presence of Maulana Jami, the leader of the Naqshbandi sect, who is known for his peace and tolerance; As a great cultural consultant of the court, he is one of the main reasons for the peaceful atmosphere of the Timurid period. By creating a network of mystic thinkers inside and outside the Timurid rule, Jami had proposed peace as the main state of that period.

One of the important functions of waqf is to develop social welfare and provide public comfort. Considering the scarcity of water in the land of Iran and the importance of the water supply system, endowment and endowment institutions have played an important role in providing water and water supply and developing the infrastructure of the water supply system in Iran. One of the important historical periods in Iran, which had serious injuries and damages on the body of Iran's water supply system, is the period of Timur, in addition to his attacks, the conflicts of princes, umrahs, and natural factors caused the destruction of the water supply system during the period of Timur's successors (807-911 AH). A) has been done. What is supposed to be addressed in this research is the investigation of the role of waqf in the creation and reconstruction of water and water supply facilities in Iran during the period of Timur's successors. In addition, in this research, an attempt has been made to answer the question of what role the endowment and endowment institutions played in the development of the water supply system during the time of Timur Gorkani's successors with a descriptive-analytical and inferential method using documentary sources and library works. are The findings of the research indicate that along with the actions of Timur's successors, especially Shah Rukh, Sultan Abu Saeed and Sultan Hossein Bayqra, who were in the direction of creating and reviving the water supply system, the endowment institution and its capacities for cultural foundation and charitable and public benefit It is worth noting.

Since literature has been considered as a mirror of society as a whole, the purpose of this study is to examine social issues in the poems of the Timurid period. The present work has been done by library and analytical-descriptive methods. Findings indicate that various social topics such as rituals related to weddings, feasts, mourning and various beliefs related to animals, plants, games, entertainment, etc. are abundant in the poems of this period. As a result, the mentioned motifs and themes are reflected more than others in the poems of Jami, Shah Nematullah Vali, Amir Alishir Navai, Helali Joghtai and Ahli Shirazi, respectively. Among the national celebrations, only the celebration of Nowruz is mentioned in the poems of this period. Also, the appearance of all kinds of clothing and apparel related to Sufis, such as dalaq, fur, cloak, cloak, marqa, tilsan, quba, etc., evokes an image of a generally mystical society in the mind of the audience.

Relatively speaking, the policy and approach of the Naqshbandi Tariqat is derived from the Tariqat of Abdul Khaliq Ghajdwani (died 575AH). But the origin of this sect is attributed to Bahauddin Muhammad Naqshband Bukhari (717-719 A.H.), which was established and expanded in the Khorasan region and beyond. During the Timurid period, his successors were given the position of peshvai. However, the peak of prosperity and spread of the Naqshbandi Tariqat happened in the second half of the 9th century AH under the leadership of Khwaja Ubaidullah Ahrar (died895AH) who had a close relationship with Sultan Abu Said. Naqshbandiyeh was influenced by the cultural and political conditions of the Timurid period in Mawra al-Nahr(Transoxiana)and Khorasan. Investigation and research showed that 1: The Naqshbandi sect had an impact on the religious and religious orientation of the ruling body in Mawra al-Nahr(Transoxiana) and Khorasan, which was the center of power of the Timurids, and the prosperity of the Naqshbandi sect in Mawra al-Nahr(Transoxiana) and Khorasan was the result of a direct relationship with the system of social values and its religious principles. Tariqah was with the cultural and political structure of Timurid period society.2: the weakening of the Naqshbandi Tariqat in Mawra al-Nahr (Transoxiana)and Khorasan after the fall of the Timurids was due to the change in political and cultural conditions in the region of Naqshbandi and Khorasan, and this caused the influence of the sheikhs of the Naqshbandi Tariqa and its ability to influence the society to be greatly reduced. The method of this research, like historical research, is based on the description and analysis of library resource data, which uses Foucault's theory of genealogy in historical analysis.

Considering the role and importance of qibla as the most important issue in Islamic mosques’architecture, study of this element and the way it affects the architecture of historic mosques can lead to solutions for representation of the direction of qibla in the future mosques’ architecture. In the present study, aiming to identify the factors and elements influencing the strengthening of the direction of Qibla in Goharshad Mosque in Mashhad, comprehensive information about Qibla and its role in mosque architecture and architecture of Goharshad Mosque in Mashhad collected using documentary method, reviewing library texts and field study. Then, considering three factors of kinetic hierarchy, spatial axes, and geometry affected by the direction of Qibla, architectural features and spatial qualities of components and constituent elements of this mosque studied descriptively and analytically. The results showed that the architecture of Goharshad Mosque, besides other common methods in its time, has several innovative features including: the more prominent and magnificent qibla porch (with a tall turquoise dome, thick and tall side garlands,, upside down narrow porch opening, and more decorations), specifying the location of the altar with spatial expansion between the porch and the dome, various types of decorations and the use of muqarnas and decorations Besides creating legibility in the space and facilitating the orientation of the qibla, pairing and symmetrical balance in the design of physical components and decorations around the main and secondary axes of the building, etc., have an effective role in creating a spiritual atmosphere in the mosque.

This paper examines the position and function of professors in the Great Khurasan during the Timurid period of Herat, and by defining various political, social, cultural, religious and scientific functions, it will try to examine the various aspects of impact. The significance of this article is that so far it has not been addressed independently to the problem of professors as one of the most efficient classes that played a significant role in the different events of the Timurid period in Khorasan. The research method is library and archival, and it is tried to add to the content of the article using documents, manuscripts and historical sources. The findings of the research show that Timurid's attention to schooling, especially in Herat, has made the professors class as one of the most elastic and efficient social classes. The presence of instructors in various social, political, religious and scientific fields provided a platform for empowerment and their impact in various developments.

Like literature, architecture has a bond with symbols, mysteries, metaphors, mystical concepts, socio-cultural mentalities and etc. and like literature is considered one of the most outstanding displays of the culture and thoughts of nations in different periods. In fact, words, elements and idioms in architecture are considered as one of the inspiring, artistic and array making tools for poets and writers. Extracting, studying and assessing buildings that are mentioned in poetry and writings of Persian literature, helps to know the architectural styles of different periods and to illustrate the ambiguous parts of Islamic and Persian history of architecture to a large extent. The period under study in this article is the Timurid period which it's most important characteristic in its architecture, is related to the decoration of its buildings and in this view this period is considered to be one of the most important periods of Islamic architecture. On one hand results of this research are an indicator of the usage of decorations like “Muqarnas, plastering, engraving, calligraphy and inscription, goldsmithing, woodcarving and shamseh” in architecture in Timurid period, and on the other hand are an illustrator of the manner and amount of usage of these decorations in the creation of literary arrays in poetry of this period. This article is prepared using the library and interpretation and analyzation method. Surely literature is one of the most important resources of discovery and extraction of kinds of decoration used in architecture in different periods. and architectural decorations are also considered one of the most beautifying tools in literary texts. So, study of important works of poetry and writing remaining from the Timurid period, especially Jami's poetry is very important in this view.

The Timurid period in Iran is very important in terms of progress in various Islamic arts, especially architecture and related decorations, so that its peak can be seen in the method of decoration with Faience mosaic. One of the important buildings in this city is the building of Amir Malekshah, which is not well known despite its great architectural importance. In this research, an attempt has been made to study the architectural features and decorations of the Amir Malekshah building, which have not been studied so far. The results show that according to architectural features such as building plans, inscriptions and their themes, tile decorations, paintings, cellar, lack of altar, the presence of a spire and minaret, the dual use of the mosque- Tomb for it can be considered. In addition, Amir Malekshah building is comparable to the Blue Mosque of Tabriz and many Anatolian mosques, especially Green Mosque of Bursa, in terms of the mentioned features and especially in terms of usage. And according to the plan and inscriptions found in them, the builder and designer of all three buildings was from Tabriz and was probably one person.

According to the intertextuality approach and Bakhtin’s hypotheses, which were later expanded by Gérar Genette, no work of art is independent from other artistic works, and all of them bear a tight relationship with each other. A study of the shared elements of the literary and miniature styles of the Timurid period testifies to the existence of an intertextual relationship between these two prevalent artistic fields of that time. Following a descriptive-analytic approach, the present study aims to examine the literary and artistic works of the Timurid period and highlight the extent of the influence of literature over the art of miniature. The findings of the study indicate that the style of Persian literature has been employed as an introduction to the development of the miniature style of the Timurid period, and it is impossible to investigate the miniature works of this period without first learning about the common literary styles of that time.

Review topics such as food and nutrition in the timurid period it seeks to go through contemplation of beverages and snaghs which is usually in the realm of Microhistory placed and also by peying attention to social issues related to nutrition which is in the realm of macrohistory examine the history of the culture of the timurid society. In this search path to identify types of food and effects that specifically with subject cooking and food are provided during this period it can be helpful. This study seeks to answer this question that food and nutrition culture in the timurid period in the midst of court lif, omnibus and what the monasteries were like? Research results show that food and nutrition culture it was influenced by ethnic and social biology and a relationship can be established between them. This research is related to that between the subject of food and the various manifestations of social life in this period, it establishes trying to figure out the capacity of these issues in order to shed light on the history of culture take advantage of the timurid period. Research method in this article it is descriptive- analytical and library study methods have been used.

Re-visiting the Expression of Femininity in Timurid Architecture with the Focus on Visual Components (Case Study: Goharshād Mosque of Mashhad) Throughout history, women have exhibited their talents in the cultural, artistic and architectural fields whenever they had the opportunity. Patron women, especially in the Timurid period, have also played a significant role in the creation and development of ornaments and motifs related to feminine concepts. The current study attempts to represent and re-read the Iranian-Islamic architecture based on the visual components of gender focusing on the concept of femininity in architecture. For this purpose, we, first, review the concepts related to gender and then extract and study the indications related to gender and femininity in the case study. It should also be noted that in order to determine the gender identity of visual attributes, we were obliged to discuss the same idea in philosophy, evolutionary psychology, psychoanalysis as well as recent research on the gender of objects. The results indicate that visual implications associated with masculine concepts have reduced in favor of feminine ones in Goharshād Mosque of Mashhad. One of the main reasons could be the strong presence of women in politics and architecture whose leading figure was Goharshād Āghā.

After the Mongol invasion of Iran, new elements of the culture of the invading tribes entered the Iranian culture. The Uyghur script, which was written in the Mongolian language and then in Eastern Turkish, was included in the Persian layout in the eighth and ninth centuries AH, and exquisite manuscripts were written in it in Herat, Shiraz, Gilan, and possibly Yazd. So far, some studies have been done on the coins and documents written in this script, but no research has been done on the Uyghur script and the recognition of the Iranian manuscripts written in this calligraphy. This article is a historical and manuscriptologic study to understand the use of Uyghur calligraphy in Iranian manuscripts. In this article, the author seeks to clarify how many copies of this scripts have remained in the field of Iranian culture so far. Also, what is the scope of the history and connection of these manuscripts in terms of art? In this research, while introducing some unknown copies to the Uyghur calligraphy, an attempt is made to express the artistic features of these copies. The Uyghur script in the well-known versions is influenced by the Arabic and Persian alphabets, and is more like Naskh, and was not used for writing after the ninth century.

The Timurid were non-Iranian and Sunni people whose reign was based on moderateness founded on Islamic thought. Coins were considered as valuable tools to display the rulers’ power and thoughts. The significance of the present study is to investigate the religious politics of the Timurid period by the approach to the coins of that era. This paper seeks to answer the following questions: How had different forms of Shiite beliefs been reflected on the coinage of the Timurid period? Based on what factors did the Timurid rulers use the ritual of Shiism on coins? The results indicate that five types of Shiite rituals had been featured on the coin of the Timurid era using written and visual elements. Reverence for Imams by the Timurid rulers, paying attention to the Shiites to gain legitimacy, the attitude of Hanafi to the Ahlul Bayt and the Imams, and the presence of the Holy shrine of Imam Reza (AS) in the main realm of Timurid encouraged them to interact with the followers of Shiite religion in the society under their sovereignty. The data were gathered through library style and direct observation of works and the research method was analytical-comp

With regard to the status of cloth-weavers in Iranian civilization, including the Timurid period, the present research, by relying on the descriptive-analytical method, tries to answer the question as to on what policy of the court was the manifestation of this art in most of the cloth textiles used in Timurid ṭoy (merrymaking) in the form of tents coverings by the weavers according to the narratives on texts and images left behind from Timurid gatherings. The findings based on the theological and visual analysis of the narratives and designs suggest that on one hand according to Timur’s art-loving nature and on the other hand due to representing the politico-military strength and stability in national and transnational arena, display of the artistic-cultural growth and sublimation of the land under its government, and acquisition of popularity and status among other nations, the attempts were always made that the tents for the Timurid ṭoy, in which sometimes the envoys of other countries attended, to be exclusively decorated. Subsequently, as a result of and due to Timur’s supportive policies toward the works produced in this field, the artistic styles of the weavers of this period achieved its pinnacle of growth and exuberance to the extent that the cloth used in ṭoy tents based on the artistic talent of the Iranian weavers considerably distanced from the Chinese style and achieved an artistic independence using the special fabrics, designs, and colors.

Learning from ancient times to the present were over complex system in which the Proportional to the degree of civilization, governmental, political, social and religious change circumstances in any period. One of these periods is the reign of Timur's successor’s era (912-807AH.). In this era gained momentum educational institution and the kings, princes, rulers, scholars Khavatin and each had their share in the growth of the institution concerned Following the death of Timur in the territory of his successor , Shahrukh, Despite the relative peace, political stability and security was to improve the of livelihoods. Then, the scientific and cultural movement was prepared, and the schools, libraries and learning circles was built underlying to the efforts of many kings Khavatin and Rulers. Timurid sultan, the one hand, providing educational facilities and for the welfare of teachers and students on the strides of science and the improvement and the other hand, pursued the legitimate government. The most striking feature of Timurid rule was penchant of some these sultans for the growth of science, literature and built the educational centers. The multitude construction of the educational institutions It was so, that Jami claimed, has not made the school size in any period of Iran history .In this study, the authors were focused on library resources and used a descriptive and analytical method .One of the most important findings of this study was the significant role of the kings, ministers and Khavatin on the construction of schools and the educational institutions, function of libraries , writing the books and follow to a systemic educational system.