جستجوی مقالات مرتبط با کلیدواژه « Identification » در نشریات گروه « تاریخ »

The Turkmens were clans of the Ural–Altaic tribes who migrated to Iran between the 10th and 16th centuries, from the other side of Syr Darya. The Turkmen’s tribes who had migrated to Iran before the Ṣafavid dynasty (R.1501-1722) gradually assimilated into Iran's culture and connected with other Iranians. However, after the establishment of the Ṣafavid, the tribes who entered Iran took actions against the Iranian dynasties, and until the late nineteenth century repeatedly plundered the northeast of Iran. These newly-arrived Turkmen tribes, who settled in northern Khorasan and eastern Astarābād, converted to Sunni Islam under the influence of the Uzbeks of Bukhara. Following the Uzbek scholars, Turkmens were given the right to loot and kill the Shia Muslims. In Turkmens perception death at the hands of Shias was looked upon as martyrdom. Interestingly, when Turkmens changed their religion to Shia Islam, they stopped looting and killing Iranian Shias and took actions against other Turkmens. Anyway, the Qajars who themselves were assimilated Turkmens and had a long term ties with these newly-arrived Turkmen tribes, tried to give them the Iranian identity and prevent them from looting. However, Qajar strategies ended in failure. In this paper, I will show what strategies the Qajars adopted towards the Turkmens. I will further discuss the reasons behind their failure and would provide some analysis.

Although the number of the seals and signets attributed to Sasanian Kings is small compared to the collection of the remaining seals from this period, they are distinguished from the other seals of the period due to their materials, embellishments, used in the structure and inscribed motifs on them. The Sasanian kings to whom a seal or signet is attributed include Ardeshir I, Shapur I, Narseh, Bahram IV, Bahram V, Peroz, Kavad I, Khosrow A, and Khosrow Parviz. The motifs on these seals are the kings’ portraits, the scene of victory over the enemy, and some animals. The base of our knowledge about these seals relies on the items remaining in the museums and sometimes, simply on the descriptions in the written resources. As there is a disagreement between the researchers about the identity of some kings inscribed on the seals and signets, this survey is going to identify the kings and illuminate the amount of Sasanians’ impressibility from their contemporaries and previous arts through studying the seals and signets of Sasanian kings existing in the museums and Islamic texts focusing on their motifs. The studies show that the theme of the Sasanian kings’ seals is influenced by the patterns of ancient Iran and eastern civilizations. Also, the impressibility of Sasanians from western patterns and the neighbors is seen in the external form and following their method; however, in most cases, Sasanians adjusted these patterns to their own standards. Other artistic works of this period and new findings can be used to remove the ambiguities about the kings inscribed on the seals

Poetry as one of the most fundamental ways of conveying meaning and connection with others is based on the two pillars of thought and imagination in the linguistic figures of speech. The thought that sits on the wing of imagination is easier to be engraved in the heart and mind of the audience. Ghadir event has been the subject of some poems since the very first years after its occurrence. The poets of Ghadir, as the narrators of this prophetic hadith, have played an undeniable role in keeping it alive, lasting, impressing the audience and explaining the various dimensions of Ghadir. After a brief explanation of the concept of poetry and its place in Islamic culture, this paper has tried to focus on the ode of Joljolieh composed by Amr ibn al-'As ibn Wa'il (43 AH) in the first century AH and by analyzing the implications of this poem, the study also seeks to show the contribution of Ghadir's poetry in the historical description and explanation of the dimensions of Ghadir's event and turning it into an identity sign for the followers of the Ahl al- Bayt school or giving them an identity.

The existence of some places in northern Iran with different climates has created special features and since the climate has a direct impact on the formation of culture and architecture of each region, cold and mountainous climate in Kojoor region has led to the formation of different architecture from other parts of the north. Which is mostly taken from the ancient cultures of this area. Meanwhile, architecture and sustainable development, based on naturalism, audience-oriented, functionalism based on exterior design with a combination of memories, needs and common aesthetics between archeology and architecture, designs and directs the exterior space. Kojoor is located between Haraz and Chalous valleys in the west of Mazandaran province, which has the widest areas and identified artifacts belonging to the Islamic era in the region. These works are divided into two groups: hills, and grounds and tomb buildings. In the archeological study of the works of Between the mountains plain of Kojoor, a lot of works including yards, cemeteries, ordering stone architecture, stone mills were identified, which shows its impact on the current culture and architecture. According to the clay data, the time range of the identified areas includes from the prehistoric period (Middle and New Bronze Age, Old Bronze, Iron) to the Islamic period (Qajar), with the largest number of settlements belonging to the Parthian historical period. Considering the large number of places, sites and cultural monuments of different periods in this region, it can be said that favorable conditions for the establishment of human societies have ruled this region. The present article tries to analyze the results of this research and examine the developments of this period, to address the role of these areas in the sustainable development of the region. 

Religious differences in Islamic religion between Shiite and Sunni, especially in Iran, have always attracted the attention of European travelers during the Safavid period, so their itineraries can be an important source of information on the way these differences have been introduced. Since Shi'a was known by the Safavid kings as the official state religion of Iran, the most information provided by these travelers about beliefs was viewed from the Shi'a perspective. The Safavid Empire ruled over Iran and Shi'a was introduced as the official religion and then traveled through other areas in the Islamic World. Thus, the focus of this study is on Shi'a and Sunni Islam in Iran. In this article, which is descriptive-analytical, while discussing the differences between Shi'a and Sunni and the religious politics of the Safavid government, it is attempted to explain the causes of the presence of tourists in Iran in the 17th century and to examine their views on the religious differences between Shi'a and Sunni, and how they deal with these differences. As Protestant Christians in the 17th century were persecuted by Catholics, they identified well with the Shiite minority in the Muslim world. this view is studied first. Then, the view of Catholic travelers who were the majority group in Europe is analyzed. Finally, the result of these two perspectives reflects the political orientations of the then-ruling governments in dealing with religious differences of the Safavid era.

Iran, a country which has always been the center of attention due to its special geopolitical status and natural and historical attractions, has attracted a great number of visitors and tourists in the course of history all over the globe. In the Safavid period, as the history shown, a numerous European visitors and tourists who have been visit Isfahan, have written many itineraries in different areas. Some of them presented worthy descriptions about Isfahan's historical buildings and their architectural circumstances that reminded us of tailored viewpoints in addition to the comparison between Isfahan’s architectural buildings and European ones; paying attention to them can help identifying the transmitted concepts and thoughts in this age. The reason of the visitors’ attraction towards these kinds of architectural styles in the Safavid period, the way of describing and exploring the buildings and their architectural elements and key concepts in itineraries that provided the way to study the artistic stylistics of later periods, are the questions for which this study is supposed to answer. The research results revealed that views and perspectives of European tourists toward Isfahan's art and architecture and their attention to identifying Iranian concepts and architectural thoughts in Safavid period itineraries, have provided the circumstance of these concepts by means of publishing itineraries in Europe; also, the pictures that some of the tourists have taken from Isfahan's historical works and the influence that these pictures have exerted on art and west architecture, have provided the penetration areas as well as transfer of ideas of Iran's architectural style in Europe. The present study, through application of the descriptive-analytical approach, examined the identification and conveying ideas of Isfahan’s architecture of the Safavid era from the viewpoint of itineraries.