Shah Jahangir Hashemi Kermani is a poet and mystic of the 15th and 16th centuries CE who was descended from Ghasem Anvar and Shah Nematollah Vally. After reviewing his works and other related historical documents and sources, it can be claimed that he was a great poet and mystic. His works can be categorized as the direct heritage of the mystic school of Nematollahiyeh. In his lifetime, Hashemi traveled extensively. Towards the end of his life he emmigrated to Sindh. There he was revered by Shah Hassan Arghoon, the ruler of Sindh, and other great personages of the region. His main verse collection was destroyed, and only a few of its poems have remained retrievable from some scattered Tazhkirahs. Mazhar-al-Asrar was his other work in which he was heavily inspired by Nezami’s Makhzan-al-Asrar. Fortunately, numerous copies of Mazhar-al-Asrar have survived. Composed in 1562 CE, Mazhar-al-Asrar was completed by Kermani while he was in Sindh. In 1568 CE, while he was returning from Sindh, he was killed by bandits. After reviewing and comparatively analyzing numerous sources, the present study presents a precise and comprehensive account of the life and the works of Shah Jahangir Hashemi Kermani.

Agra/Akbarabad is the third largest city in the state of Uttar Pradesh in India, located on the banks of the Yamuna River. The name of Agra has been mentioned in the epic book of “Mahabharata’ as ‘Agrevana’ the meaning of which has been stated as ‘Eden’ and ‘Paradise’ by the semanticists. Agra became of great importance during the reign of Akbar Shah, Jahangir Shah, and Shah Jahan. Being the capital city of Akbar Shah, the great king of the Indian Mughal Empire_ the Gurkani Dynasty_, it turned into the center of art, culture, trade, and education of the vast country of India; hence, it was called Akbarabad in the past. The present paper is an attempt to introduce the city of Agra/Akbarabad from historical, political, and cultural aspects based on biographies and history.

 Iranian migration to India, especially the migration of a wide range of artists, scholars, bookmen, poets, and even military elites, is one of the common processes of various periods in Iranian history that has led many historians and writers investigated the causes of this migration. Therefore, various views and statements have been presented in this regard. There have been various reasons for the migration of Iranian elites to India during the Safavid era, perhaps the most prominent of these reasons is being the religious toleration of the Gurkani kings and the kings’ benevolent and the nobility of the kings and elders of this dynasty towards Iranian immigrants. It was known that the Gurkani dynasties honored the Iranian immigrants and provided them with the support they needed to grow and flourish. As such, more elites were daily attracted to the Gurkani court and, under the dynasties’ support, appeared in various stages of politics, art, and culture, etc., and often shone brightly, but simultaneously with growth and excellence of the great Iranian men in India in Gurkani era, some Iranian women immigrated to this area also showed good fortune in various fields of this period. These women, who were linked in various ways to the Gurkani court, gained great influence and validity against the kings and elders of this dynasty, thus directly or indirectly interfering in affairs and playing a very effective role. The events of this period have had many occasions, and most of the good names have been remembered on the history page of Indian Gurkani. Accordingly, the main question of the present study is: What was the role of Iranian women in Gurkanian court in the political issues of this period and what was the outcome of such activities? The various domains of politics and power and the consequence of such activities are on the situation of the court and the society of Gurkani era.

The present study, using descriptive-analytical methods and library resources such as historical sources, memoirs, literary books, and memoirs, clarifies various aspects of the role of Iranian women in the Indian Gurkhani court.

 Along with the migration of some Iranian elites to the Indian subcontinent in Gurkani era, some of the women associated with these individuals found a way to the court for various reasons, such as being assigned to the great men of this period, financial independence, beauty, intelligence and courage and often found a privileged position beside the kings and elders of the dynasty, thus using their position in the court to contribute to politics and government, and to the men of this dynasty, in growth and excellence of Indian society of the Gurkani era have taken steps, according to the historical sources and documents of this period, some of these women have participated in and intervened in political affairs, or with the support of the king and elders of the government and in the battlefields, were actively involved in the political conflicts of this period, such as Nurjahan Beygom (Mehralensa) (1055/984 AH), the beloved wife of Jahangir Shah Gurkani and daughter of Khaje Ghiyasuddin Tehrani, Jahangir Shah’s Chancellor, was one of the prominent women activists of Gurkani era whose love and trust in Shah Jahangir has given rise to Nourjahan's interference in royal affairs and has made her the most powerful lady in India's Gurkani‎ era. Kurdish. (Jahangir Gurkani, 1980: 287, 181) Jahangir Shah, after marrying Nurjahan, made him the first lady of the court and granted him the high position and other members of his family (Shahnawaz Khan, 1809, c.1151). Arjmand Beygom, the Iranian wife of Shah Jahan, also had a privileged position in the Gurkani court and the love of Shah Jahan towards his wife was so high that the most important royal seal (Ozuk's seal designed by the king's name and letters and orders and important government documents were sealed by it) was given to Arjomand Beygom (Lahori, 1867, c. 1: 148) Hamideh Beygom's presence in the wars in Homayun period and her companion with Gurkani king, Homayoun Shah and Nurjahan Beygom's campaign against Mahabat Khan during the reign of Jahangir was also one of the cases that highlighted the significant role of women in the wars in this period and the suppression of enemies. (Bedaouni, 2001, Vol. 1: 310-2299 / Jahangir Gurkani‎, 1980: 316) The courage and skill of Nurjahan in using war equipment was such that Jahangir Shah always praised his wife's intelligence, cleverness, and courage in her memoirs. He is known for his skillful riding and accurate shooting (Ibid: 214 and 119). The presence of some other Iranian women in the Gurkani court had a significant impact on the consolidation of the Gurkanian power stands, such as Babur's marriage to Maham Beygom and Homayun Shah's marriage to Hamideh Beygom, both of whom are descended from a great and Sufi Aref, Ahmed Zhende Pill, had a significant impact on the consolidation of the Gurkanian power stands in Afghanistan and the Indian subcontinent, and Babur and his successor, Homayoun Shah, supported the marriages and their dependents, especially enjoyed the support of the Safavid government (Tatvi, 2003, Vol. 8: 5507) Some other Iranian women have interfered with the mediations between the elders at the Gurkani court and resolved the problems and conflicts of this period with a profound footprint in the course of the events during this period, while others participated in conspiracies and court plots or by intervening in the appointment of the Crown Prince, dismissing and appointing of the government officials, they have played a significant role in weakening or consolidating the foundations of the Gurkanian government. In this regard, the efforts of Nurjahan Beygom to dismiss Prince Khorram from Crown Prince, and his support for Shahriar, another son of Jahangir Shah can be mentioned (Behkari, Bita: 69-62).

At Gurkani Sultanate’s harem in India, there were representatives of different races and ethnicities, women of different ethnicities like Mongol, Turkish, Indian, Iranian, and so on women gathering in the court of the Gurkani dynasty clarified free political open space and religious toleration are the beliefs of kings and elders of the dynasty; however, the Iranian women of the Gurkani court were always at the forefront of the harem’s women and had a special respect and prestige for the kings and elders of the dynasty. This respect and prestige provided them with a privileged base and the Iranian women of Gurkani court were present in various political, social, cultural and economic fields with their wisdom and intelligence. The direct and even indirect participation of some of these women in politics and power had a profound impact on the events in this period. For example, the marriage of Maham Beygom to Baburshah and Hamideh Beygom to the Homayun Shah played an important role in maintaining, sustaining and consolidating the foundations of Gurkani monarchy, and the power of Nurjahan Beygom during the reign of Jahangir Shah and his direct interference in political affairs in this era. And the conflicts between the king's children had a great impact on the succession issue. Also, some Iranian women of the Gurkani court, such as Arjomand and Janan Beygom, took advantage of their prestige and respect to resolve the disputes between the courtiers, princes and the Gurkani kings and problem-solving, and overall the growth and ascendancy of Gurkani's reign. Other women, such as Seti al-Nesa Beygom, as a physician and tutor to the Gurkani princes, achieved a much higher status in the Gurkani reign. Investigation of the life and practice of Iranian women at Gurkani court shows that they had tried in various ways to make the most of their political and privileged status to facilitate affairs, although in some cases their performance was contrary to this process.

Muraqqa Golshan is one of the famous masterpieces manuscripts which is made and illustrated during Jahangir Shah’s reign in India (century 11 Ah). One of the importances of this Muraqqa is about art historic studies of Iranian and Indian paintings at the time of Safaivid and Mugals when Iranian art and culture was noticeable for mugal kings. Furthermore, This is a collection in various types of paintings and calligraphys which is one of the best collections of renowned Iranian and Indian painters and calligraphers such as Bihzad, Abd-al- Samad, Mir Seid Ali, Sultan Ali Mashhadi and Bishindas. Among these painters, Aqa Riza is one of the painters who like some other elites of Iranian society had immigrated to India at the time of Safaivid and started to work for the young Emperor Jahangir when he was as a prince. Little is known of the family background of this painter beyond Jahangir’s reference to him as “Aqa Riza al Heravi”. It is evident from the artist’s signature that most of his works of art was illustrated at the time of Jahangir’s princedom (he called Shah Salim).By the order of Shah Salim, painters practiced and made adaptations from European engravings which most of them had include of Christianity context so Aqa Riza used to apply hem in his paintings too. During these years Jahangir’s taste had been changed a lot. He was fascinated by these topics such as his father Akbar Shah. During these years and years later Indian paintings had confronted with a lot of changes. European realism and aesthetics, shadows, lights had been become to Indian paintings. In this reason Aqa Riza was studying and practice European paintings, engravings and western techniques too. Then elements drawn from European sources, as well as those taken from earlier Mugal painting are placed in his Iranian compositional frame work which is shown in paintings borders. However he remained faithful to Persian aesthetics. The Iranian aspect of his style is clearly evident in some of illustrations which will be introduced in this paper. The main focus of this article is on salim Shah’s studio within his few years of princedom and will be shown Aqa riza’s family background, artistic career, his style, technique and introduce his works of art. The main sources of this artist’s works of art are some isolated pages from Golshan album and illustrations from Anvar-e-Sohaily which is held in British library, but in this article are proceeded to the Golshan Muraqqa. To reach this purpose the author will try to analyze different names of the painter which is came on his signature and also will described about his artistic environment. In addition at the end of the article all of the paintings in that album will be introduced. In this case the author has tried to research among the original sources such as Golshan Muraqqa in Golestan Palace manuscript library and other source books. The way of this research is descriptive and analytical.

Among the Gurkān kings of India, the long twenty-three-year reign of Jahāngīr Shah (1014-1037 AH) is especially famous because he was interested in Persian language and Iranian culture. He also wrote his diaries in Persian and named it Jahāngīrnāmih. Based on this book of Jahāngīr Shah and the report of one of his courtiers, Abdul Sattar Lahori, that is, the book of Jahāngīrī's meetings. The authors of the following article, relying on the descriptive-analytical method and with a comparative study, have tried to hold celebrations and festive behaviors that both works have been widely explained, examined. Then answer these questions such as what were the main elements of each of the festivals of Hindus, Iranians and Muslims, and what transformations have those festivals undergone? Based on the findings of this research, fire-lighting and lighting, which were elements of Iranian and Indian celebrations, had obvious effects on most of the festive behaviors of Muslims, as sometimes some Islamic holidays, such as Shab Barat, which had entirely an  Islamic content had changed into a kind of non-religious festival, so that the commemoration ceremony of Muslim parents and elders with the presence of minstrels and musicians became a festive ceremony.

In the Imperial Mughal painting, there are many monographs of the portraits of the king, royal family, courtiers, and kings and ambassadors from other countries. The political relations between the Safavids and the Mughal are often accompanied by friendly engagement. The influence of these relationships in the Mughal's art can be found from the inspiring of Iranian painting techniques to illustration the Persian literature and the depiction of the portrait of the Safavid kings and ambassadors. This article studies a painting named Jahangir's Dream by a painter in Mughal court in India, and attempts to find out some contemporary meanings of this text by applying the symptomatic approach and visual semiotics methodology. Also, by using some comparative and contextual information that has been grasped by some contemporary verbal and visual texts with this painting, we could get into the unconscious layer of this text and what the text has denied saying them explicitly because of ideological repressions. This painting that was drawn after the siege of Qandahar by the Abbas I king of Iran. Composition of this image is a metaphoric structure such as more paintings that was drawn by the Jahangir's order, in spite of narrative structure that was common during his father Akbar's reign. For analyzing this image, social visual semiotics was selected as the method of research; and according to three metafunction which descript in this method we have done. Results from analyzing the Jahangir's Dream with have been shown that there are some Ideological signs with metaphoric functions in this painting. Have been found contradictory semantic implications that helped us understand the unconscious thought of the text. In this visual text has been tried to illustrate Jahangir as a superior ruler versus Abbas. At the first look deference between their garments attracts the audience attentions. The whit turban of him with contrast by gold halos round his head salience him. Jahangir as the active agent of the sense embracing Abbas, staring at a distant horizon and Left unanswered the eager eyes of Abbas. We could classify participants of this image in tow group, first of two is composed of Jahangir and Abbas and the second composed of lion and ship that lying on a globe with a detailed map. The lion under the Jahangir's foot that in this text Because of Companion Interpret as the metaphor of Mughal's territory push back the ship - metaphor of Safavid's territory- from Qandahar and even more so inside center of Iran. In conclusion, can be said which enmity and hypocrisy with a powerful neighbor and ally who recently attacked a part of their territory is a political position that is not politically in favor of Jahangir and seems to be repressed, but this desperate desire through contradictions and gaps this text is visible. The reason of Jahangir's claim of a friendly relationship between himself and Shah Abbas I, leastwise after Qandahar's story, could be his need of a strong confederate in the region, and his lack of enough power to resist against it, not his true will.

In Safavid period, some of the families immigrated from Iran to neighbouring countries like India because of different reasons. The immigration of these families had deep effects in political and cultural life of these countries. One of these families was Tehrani family which immigrated to India in Safavid period. The services of this family to India Timurids dynasty started from Akbar Shah period (1556-1605 A.D.) and reached to the highest point in his son Jahangir Kingdom (1605-1627 A.D.).In this period, Ghias ud-Din Tehrani and his two children Mehr un – Nesa Beigom and Abu’l -Hasan Khan took the important titles like E‘temad ud -Dawla, Queen and Khansamani and played active role in internal and external politics. This article with a descriptive - analytical method takes a look to the past of this family in Safavid period and investigates the place and influence of their presence in political and cultural life of Jahangir Timurid period.

Jahangir Nameh, written by Qasim Madah, is one of the epic poems after Shahnameh in the history of Persian literature, which contains different layers of meaning due to the various narratives and adventures, and the action and confrontation of the characters. Precisely, it expresses social, historical, mythological psychology and such confrontations on two levels of deep structure and superstructure are the main reason for the formation of different stories in this system. In other words, such confrontations express the reason for the formation of such a system and, for this reason, it is provided in this article in a descriptive-analytical way. Such fundamental confrontations are provided to determine what they are and what their function is. Based on the results obtained, along with other possible confrontations, this poem is in the depth of the narration of the four confrontations between Father and Cheser, Iran and Turan, the tribes of the desert and the settled tribes of herders and warriors and Ardas. It precisely takes the form of a confrontation between Jahangir and Rostam, Afrasiab and Kikavus, Rostam and Shabanan are the presidents of Shah and Rostam and Ardas.

History reviles that Indian Sub-Continent has attracted large population from all over the world due to its significant natural environment. Some of the migrant were mughals who came through Iran and central Asia to India. Baber shah, Homayoon, Akbar, Jahangir and Shah Jahan were the most famous mughal kings who were concomitant to the Safavid dynasty in Iran. Bilateral relation between Iran and India were reached to the highest level in all aspects of life. It was at this time that Shahjahan abad the most famous preplanned city implemented in which many ideas and design criteria were borrowed from Isfahan, the capital of Iran during Safavid dynasty. Therefore, this paper deals with the significant of Persian art, architecture and especially urban design on Indian sub-continent.In this connection, a brief history of both countries has been reviewed up to 18 century and some of the similar design cases of both cities- Isfahan and Shahjahan abad- have discussed. Out of which the concept of sustainability is the most important one to be mentioned.

Tur, son of Jahangir, known as Tabardar, is one of the heroes in the folkloric Persian pahlavani texts. Since the stories of Jahangir, father of Tur, are not very old, the accounts about his sons are naturally of recent time, concocted by storytellers and raconteurs of the recent centuries. Although the life-story of Tur b. Jahangir has been extensively recounted in versified heroic texts, his stories in narrative scrolls are scant, often mentioned in the Haft Lashkr’s wars. Nonetheless, accounts of Tur continue in certain texts up to the time of the battles revenging Bahman and Azarbarzin. Of the beginning of Tur b. Jahangir up until his heroic deeds there has remained a separate versified text overlooked so far by scholars.In this article we will first address the accounts of Tur b. Jahangir in Iran’s heroic texts. We will then introduce “The Story of Tur b. Jahangir” and examine some of its features.