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Summary: This travel note introduces Qianlong Emperor's Islamic Helmet and Persian Scimitar: Muslim Artifacts in Beijing. Last Saturday, I went to the newly opened Palace Museum military equipment exhibition at the Guardian Art Center and saw two interesting artifacts that I would like to share with everyone. It is useful for readers interested in Islamic Art, Qianlong Emperor, Persian Sword.

Last Saturday, I went to the newly opened Palace Museum military equipment exhibition at the Guardian Art Center and saw two interesting artifacts that I would like to share with everyone.

The first item is a white iron helmet with gold inlay and Arabic script, presented to the Qianlong Emperor by the Torgut tribe's Beizi (a noble title) Shalakouken in 1779 (the 44th year of the Qianlong reign). It is decorated with gemstone-set tassel tubes and features sable fur ear and neck flaps, making it extremely exquisite. The three gold-inlaid parts at the top are the Most Beautiful Names of Allah, the bottom part is a dua (supplication), the middle part is a praise of Allah, the right part is a praise of the Prophet, and the left part is a praise of Ali. Shalakouken was a noble of the Torgut tribe who had been nomadic in Ili for generations. After the Qing Dynasty destroyed the Dzungar Khanate in 1758, Shalakouken followed his uncle Sheleng to the Volga River to join the Torgut Khanate. In 1771, he followed the Torgut tribe back to the east and was granted the title of Gushan Beizi. Later, he was appointed as the deputy league leader of the New Torgut tribe, stationed southeast of Qinghe County in Altay. In 1779, Shalakouken traveled to Chengde for the second time to have an audience with the Qianlong Emperor and participated in the Mulan hunting expedition; it was during this time that he presented the iron helmet to the Emperor. However, I have not yet found out why Shalakouken, who practiced Tibetan Buddhism, possessed such an exquisite Islamic iron helmet. Whether it was obtained from the Ottomans when the Torgut Khanate participated in the Russo-Turkish War, or purchased from Russian merchants, remains unknown.









The second item is a Shamshir (Persian curved sword) presented by the 6th Panchen Lama in 1780 (the 45th year of the Qianlong reign) after he gave a sermon to the Qianlong Emperor at the Ning-shou Palace. At the time of presentation, it was called a 'Xizhu waist sword,' meaning it came from India. After receiving it, the Qianlong Emperor ordered the Imperial Household Department's workshops to make a leather-covered box to store it and replaced the gold thread belt of the scabbard, enshrining it in the Fanzong Building. Near the hilt, the blade has three lines of gold-inlaid Persian script: 'Amal-e Asadollah Isfahani,' which means 'Work of Asadollah of Isfahan'. Isfahan is a famous city in Iran, and Asadollah was a renowned craftsman. Additionally, some believe that 'Asadollah' should be translated as 'Lion of Allah,' which is an honorary title. Unfortunately, during the exhibition, the side with the Persian script was facing the back; one could only see a little bit by crouching down and twisting their head, and an average person would not notice it at all. However, when this sword was exhibited in Chengde in 2020, the blade was not even pulled out of the scabbard, so this time is a slight improvement compared to that. In Persian, the term Shamshir originally referred to a double-edged straight sword. During the 12th-13th centuries, in the Seljuk Empire and the Ilkhanate period, single-edged curved swords began to be brought into Iran from Central Asia by Turkic-speaking groups. By the 16th century, during the Safavid Dynasty, it became the main form of the Shamshir. It also spread widely in the Ottoman Empire and the Mughal Empire, and one can often see figures wearing Shamshir curved swords in Mughal miniature paintings. This sword of the Qianlong Emperor was very likely obtained by the Panchen Lama from the Mughal Empire.



















Additionally, I will share a Mughal Empire jade gunpowder flask from the Palace Museum collection. view all

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Summary: This travel note introduces Panjiayuan Antique Market: A Ming Zhengde Arabic-Inscribed Incense Burner and Vase Set. In late June, Zhongmao Shengjia held a spring auction preview at the Shanggu Antique City in Panjiayuan. It is useful for readers interested in Panjiayuan, Islamic Art, Ming Zhengde.

In late June, Zhongmao Shengjia held a spring auction preview at the Shanggu Antique City in Panjiayuan. I went to admire the exquisite Ming Zhengde-marked Arabic-inscribed incense burner and vase set on display, and I also saw a set of panoramic photos of Istanbul from the late 19th century.



The Ming Zhengde-marked brass Arabic-inscribed three-piece incense set, valued at eight figures, features the bright jujube-red patina characteristic of official Ming Dynasty copperware, commonly known as 'Zhengde Red'. The Arabic calligraphy engraved on the pearl-patterned background consists of phrases commonly used by the faith, and it is truly exquisite. During the Zhengde period, the imperial palace favored items inscribed with Arabic and Persian, most of which were traditional stationery items, and many featured the Quran, Hadith, and praises of Allah.

The three-piece incense set (lu ping san shi) was a classic hall display during the Ming and Qing dynasties, consisting of an incense burner, an incense box, and an incense vase, with an incense shovel and incense chopsticks kept inside the vase. In the past, traditional Hui Muslim families would place the three-piece incense set on a long table against the wall in the center of the main room, and they would burn incense over charcoal on important days such as Eid or Quran-recitation ceremonies. Use the incense chopsticks to pick out incense charcoal from the incense box, light it and bury it in the incense ash in the burner, then use the incense shovel to flatten the surface of the ash.















Two Zhengde-marked Arabic-inscribed incense burners, engraved with the Shahada (the Islamic declaration of faith).

















An eight-panel panoramic albumen print of Istanbul from the 1890s. view all

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Summary: This travel note introduces Hui and Islamic Artifacts at Poly Art Museum's Porcelain Exhibition. In June 2022, the Poly Art Museum opened a comparative exhibition of Yuan and Ming dynasty blue-and-white porcelain from the Jingdezhen Imperial Kiln ruins and collections from home and abroad, displaying some artifacts. It is useful for readers interested in Islamic Art, Porcelain, Poly Art Museum.

In June 2022, the Poly Art Museum opened a comparative exhibition of Yuan and Ming dynasty blue-and-white porcelain from the Jingdezhen Imperial Kiln ruins and collections from home and abroad, displaying some artifacts related to the Hui Muslims and Islam.



A fragment of a Ming Xuande period Arabic-inscribed wudangzun (a type of vessel without a handle) unearthed at the Zhushan Imperial Kiln in Jingdezhen in 1983, now housed in the Jingdezhen Imperial Kiln Museum, mimics the shape and patterns of 14th-century Middle Eastern brass inlaid with silver. The Palace Museum's Wuying Hall displays a Ming Yongle period Arabic-inscribed wudangzun from the former Qing imperial collection; the two pieces are basically the same in shape, but there are subtle differences in the brushwork of the characters and the painting of the scrolling floral patterns. Although the Palace Museum's exhibition label says it is Arabic, it is difficult to tell what is written. It is possible that at the time, they were only imitating the shapes and patterns of similar Middle Eastern objects without mastering the content of the text.







In the Palace Museum exhibition hall, there is a comparison photo of the wudangzun and a 14th-century Egyptian Mamluk dynasty brass stand inlaid with silver from the British Museum, and the shapes are indeed exactly the same.



A fragment of a Ming Zhengde period Arabic-inscribed square basin unearthed at the northern foot of the Jingdezhen Imperial Kiln in 2002 looks quite large.



A Ming Zhengde period Arabic-inscribed bowl from the collection of Mr. Jin Liyan of Liangqing Shuwu. According to Mr. Jin, the Veritable Records of the Joseon Dynasty (Li Chao Shilu) record that in the third year of the Zhengde reign (1509), the Zhengde Emperor learned about Islam: 'Hearing that Hui Muslims do not eat meat slaughtered by others, but must slaughter it by hand to eat it, and that they have a good heart for reading scriptures, he welcomed them into the palace to serve them as teachers.' "



A Ming Wanli period Persian-inscribed long-necked vase from the collection of Mr. Jin Liyan of Liangqing Shuwu, which features a Persian ruba'i (quatrain) poem. During the Ming Wanli period, Islam was treated very favorably. According to Ma Zhu's Qingzhen Zhinan (Guide to Islam) - Qing Bao Biao, 'The Shenzong Emperor issued an edict to repair mosques throughout the world, honoring them with titles. All those in charge were granted the grace of wearing official caps, exempted from corvee labor, and served to burn incense and pray to the Lord who created heaven, earth, man, spirits, and all things.' The Niujie Mosque in Beijing underwent large-scale expansion during the Wanli period, and the Sanlihe Mosque was also built during the Wanli period.

According to Mr. Jin, the Persian ruba'i (quatrain) poem mentions the great Persian poet Omar Khayyam (1048-1131), who was famous for his ruba'i quatrains. view all

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Summary: This travel note introduces Bukhara Old City Bazaar Guide: Miniature Art, Muslim Heritage and Local Crafts. A record of my trip to the ancient city of Bukhara during the 2019 Spring Festival holiday to eat, shop, buy hats, and purchase miniature paintings. It is useful for readers interested in Bukhara Travel, Islamic Art, Bazaar Culture.

A record of my trip to the ancient city of Bukhara during the 2019 Spring Festival holiday to eat, shop, buy hats, and purchase miniature paintings.

Food

When I was in Bukhara, I stayed at the Komil Hotel, which is recommended by Lonely Planet. The hotel is located in an alley in the center of the ancient city. It was originally a wealthy merchant's residence built in the 19th century, purchased by Komil's grandfather 50 years ago, and opened as a hotel in 2000. The owner, Komil Kadirov, speaks fluent English and is very welcoming to guests.

The hotel still retains the wood carvings and paintings of traditional 19th-century Bukhara architecture. The room I stayed in has been partially renovated, but the dining room where breakfast is served is very well preserved, as if I had traveled back to Bukhara over 100 years ago. Their breakfast is very hearty; even for one person, it fills the entire table, which made me feel a bit embarrassed. Breakfast was truly a highlight of my trip to Uzbekistan. Basically, every hotel prepares more than ten types of dishes and will ask if you want boiled or fried eggs, and black or green tea. The service attitude is really great.



















The Bukhara Central Bazaar (Buxoro markaziy bozori; the 'a' in Uyghur is pronounced as 'o' in Uzbek) is in the western part of the old city. It is very lively and sells everything. The best snack to eat in winter is, of course, the flaky somsa (baked meat buns; 'Samsa' in Uyghur)! Uzbek somsa is served with a homemade sauce, often containing fennel and onions, and sometimes cilantro.



















Naan stalls are the most common stalls in the bazaar.





Eating kebabs at the Doniyorbek restaurant opposite the Bukhara Central Bazaar. While walking through the bazaar, I saw a very Soviet-style restaurant across the street. After going inside, I found it had such a great atmosphere—the green walls, the stove in the room, and the classic service window made it feel like I had returned to the Soviet Union.

Note that in the former Soviet regions, when talking about eating kebabs, you should say 'Shashlik' instead of the Uyghur word 'Kewap'. The term 'Shashlik' originated from the Crimean Tatars and became popular throughout the Russian Empire after the 18th century. In Uzbekistan, saying 'Kebab' will get you Middle Eastern-style minced meat skewers; 'Shashlik' is the meat-chunk skewers we are familiar with.

In addition, the side dishes for the meat are very rich. I chose yogurt with small side dishes, which is very refreshing and cuts through the greasiness.



















Eating Kifta Shurva (clear meatball soup), Manti (steamed dumplings), and grilled lamb chops at Temir's restaurant in the center of the old city of Bukhara. Their environment is nice, and it is the only place in the old city of Bukhara where you can withdraw cash using a Mastercard credit card.

Manti is believed to have been spread from East Asia to West Asia and even Eastern Europe by Mongol and Turkic peoples along the Silk Road during the Mongol Empire era. Now, Manti has become a traditional delicacy in Xinjiang, the former Soviet Union, Afghanistan, Turkey, and the Balkans. Central Asian Manti is generally eaten dipped in thick yogurt.

Their restaurant is right next to the famous Magoki Attor Mosque in Bukhara. This mosque, built in the 12th century, is a model of architecture from the Karakhanid dynasty period in Bukhara and even all of Central Asia.











Another meal of fried chuchvara (dumplings) and lamb soup.











Eating plov (pilaf) and drinking meat soup, as well as having two types of salads, at the Chayxana chinar teahouse in the ancient city of Bukhara. Teahouses in Central Asia serve food and are also a type of public activity space.

















Performing Jumu'ah (Friday prayer) at the Po-i-Kalyan Mosque (Maedjid-i Kalan). The Kalyan Mosque was originally built in 1121 by Arslan Khan of the Karakhanid dynasty. It was later destroyed during Genghis Khan's siege of Bukhara, leaving only the minaret. The current mosque was built in 1514 during the Bukhara Khanate period. Today, the Kalyan Mosque is the most important Jumu'ah mosque in Bukhara. It consists of a rectangular courtyard with 288 domes and 208 pillars, with a tall Iwan (vaulted hall) gate in the center. The main hall can accommodate 12,000 people.

According to archaeological findings, there are two layers of mosque ruins buried beneath the current mosque. The bottom layer is a mosque from the Karakhanid dynasty in 1121, with the same scale as the current one, and the upper layer is a mosque built in the early 14th century during the Chagatai Khanate period, made entirely of brick.



















Miniature painting

I visited the first miniature painting workshop in Bukhara and bought a few small miniature paintings.

















The Tok-i-Zargaron (Jewelry Dome Market) was built in 1570. It is the largest of the four remaining dome markets from the Bukhara Khanate period in the ancient city of Bukhara and is the best witness to Bukhara's role as a trade center in Central Asia in the 16th century.

'Tok-i-Zargaron' means 'Dome of the Jewelers.' It has four arched passages for Silk Road trade caravans to pass through, as well as 16 domes on an octagonal base. During the Bukhara Khanate period, there were 36 jewelry workshops and shops under the dome, selling rings, earrings, necklaces, and various other jewelry.







Buying miniature paintings in the market.



















The Toqi Telpak Furushon (Hat Dome Market), built at the end of the 16th century during the Bukhara Khanate, consists of a central dome and a hexagonal base, connecting five streets in the old city. This place was originally called the Kitab-Furushon (Book Market), but later gradually switched to selling various headscarves, fur hats, and skullcaps. Now it has become a place for selling tourist souvenirs.











I bought a miniature painting at a workshop in the market; this one was painted directly on old paper.











Hats

Some historical sites in the ancient city of Bukhara have shops selling traditional hats. This time, I bought several at the Abdulaziz Khan Madrasah (Islamic school), which was built in 1652.



As soon as you enter the gate of the madrasah, there is an auntie on the right selling antique jewelry.



I helped a friend purchase a 19th-century Uzbek Tilla Qash (gold brow headpiece) here.









Then I went to another auntie's shop in the madrasah.





I bought two Soviet-era almond-patterned doppa (traditional skullcaps). These colorful almond-patterned doppas are rare now; the ones worn on the street today are basically black and white.





There was also a traditional Central Asian hat; this pointed style is hard to find in Xinjiang.



I also bought a traditional tablecloth from her shop.



I helped a friend purchase five hats in the old city of Bukhara. The young girl selling the hats took a liking to my portable charger and wanted to trade it for a hat, but since I was still traveling, I didn't agree.













Streets of Bukhara view all

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Summary: This travel note introduces Museum of Turkish and Islamic Art. The museum was founded in 1914, initially as an Islamic Foundation Museum (Vakıf-ı İslamiye Museum) within the Süleymaniye complex. It is useful for readers interested in Turkey Travel, Islamic Art, Museum Visit.

The museum was founded in 1914, initially as an Islamic Foundation Museum (Vakıf-ı İslamiye Museum) within the Süleymaniye complex. After the establishment of the Republic of Turkey in 1923, it was renamed the Museum of Turkish and Islamic Arts, and its exhibits shifted from Ottoman imperial culture to showcasing the culture and art of the Islamic world across various periods. In 1983, the museum moved to its current location, the Ibrahim Pasha Palace, and currently houses over 40,000 artifacts, including Islamic calligraphy, tiles, carpets, and other works of art.





Table of Contents

I. The Era of the Prophet

II. The Umayyad Caliphate: 661-750

III. The Abbasid Caliphate: 750-1258

IV. Artifacts from Konya, Capital of the Seljuk Sultanate of Rum

V. Ceramics of the Seljuk Empire: 1040-1157

VI. The Ayyubid Dynasty: 1171-1250

VII. The Mamluk Sultanate: 1250-1517

VIII. The Ilkhanate: 1256-1353

IX. The Timurid Empire: 1370-1507

X. The Safavid Dynasty: 1501-1722

XI. The Ottoman Dynasty: 1299-1923

I. The Era of the Prophet

The beard of the Prophet Muhammad (Lihye-i Saadet) and his footprint (Kadem-i Saadat).





II. The Umayyad Caliphate: 661-750

The Umayyad Caliphate was the first hereditary dynasty of the Arab Empire. It was established in 661 by Muawiyah, the former governor of Syria, after the era of the four Rightly Guided Caliphs ended. In Chinese historical records, it is known as the 'White-Robed Caliphate'.

A Quran manuscript from the early 8th century



A 7th-century stone inscription in Kufic Arabic calligraphy







III. The Abbasid Caliphate: 750-1258

In 750, the descendants of Abbas, the uncle of the Prophet Muhammad, overthrew the Umayyad family and established the Abbasid Caliphate. In Chinese historical records, it is known as the 'Black-Robed Caliphate'. In 762, the Abbasid Caliphate moved its capital to Baghdad. The early period of the Abbasid Caliphate (750-842) was the peak of the Arab Empire, and its major cultural and artistic achievements continued until the mid-10th century.

Although the capital of the Abbasid Caliphate was in Baghdad, its monuments stretched from Kairouan in Tunisia to the west, to the ancient Central Asian city of Bukhara to the east. Many cities founded by the Abbasid Caliphate saw further development later on. In the early Abbasid period, the hypostyle mosque with a flat roof, inherited from the residence of the Prophet Muhammad in Medina, was further developed. Artisans from Persia introduced the Sassanid four-iwan courtyard and the iwan (vaulted hall) into Abbasid architecture. In the late 8th century, with the influx of Khorasanians and the introduction of Sassanid court etiquette into the Abbasid court, the influence of Persian culture expanded further within the Abbasid Caliphate.

A tombstone from 859



A 9th-century marble carving



Fragments of a 9th-century mural



A 10th-century Quran



9th-century column capitals and paving fragments excavated from Samarra.

Samarra is located 125 kilometers northwest of Baghdad. It became the capital of the Abbasid Caliphate in 836 until the capital was moved back to Baghdad in 892. Because Samarra was abandoned after the 10th century and the population returned to Baghdad, a large number of ruins were left behind. It is hailed as the only metropolis of the late ancient world that can be fully excavated, and it was listed as a UNESCO World Heritage site in 2007.

The Abbasid Caliphate built several palaces, barracks, markets, two grand mosques, and countless gardens and private residences in Samarra. The Great Mosque of Samarra was enormous, measuring 240 by 156 meters, and featured a hypostyle structure. Judging from the surviving mosaics and the wooden panels surrounding the mihrab, the decoration was once very magnificent. The Caliph's private residence was decorated with marble slabs, stucco sculptures, paintings, and gilded teak wood.





IV. Artifacts from Konya, Capital of the Seljuk Sultanate of Rum

The Seljuks were a branch of the Oghuz Turkic tribes. They established the Seljuk Empire in Khorasan in 1037, defeated the Byzantines in the 1070s to occupy Asia Minor, and established the Seljuk Sultanate of Rum in 1077. The rapid expansion of the Seljuk Empire caused panic among Christian nations, directly triggering the First Crusade. In 1097, after the capital Nicaea was captured by the Crusaders, the Sultanate of Rum moved its capital eastward to Konya.

In the early 13th century, after the Mongol invasion of Central Asia and Persia, a large number of Turks and Persians came to Konya for refuge. In the 1220s, Konya was filled with refugees from the Khwarezmid Empire. Many were educated intellectuals or skilled artisans, the most famous of whom was the Sufi scholar and great Persian poet Rumi. In 1243, the Seljuk Sultanate of Rum was defeated by the Mongol Empire and became a vassal state, but Konya remained the capital of the Sultanate. People lived in stability, and many existing Seljuk buildings were constructed during this period.

Stone lions in front of the Alâeddin Pavilion (Alâeddin Köşkü). The Alâeddin Pavilion is the only remaining tower site of the Konya city walls. Located on the north side of Alâeddin Hill, it was originally a brick tower of the inner city wall of Konya. The Seljuk Sultan of Rum, Kilij Arslan II (reigned 1156-1192), built a palace adjacent to the city wall and turned this tower into part of the palace.







The Alâeddin Pavilion I photographed.



Warrior stone carving. As the capital of the Seljuk Sultanate of Rum, Konya was the final 'Turko-Persian' cultural center of the Seljuks after the fall of the Seljuk Empire. Seljuk culture is a very distinctive branch of 'Turko-Persian' culture, most famous for its tiles and stone carvings featuring human and animal motifs.



Griffin stone carving. The griffin is a common theme in Iranian mythology, possessing the body of a lion and the beak and wings of an eagle, and is considered a symbol of power.



Sphinx. The sphinx has a human head and an animal body, originating from ancient Egypt and later spreading to Iran and the Anatolian region.







A 13th-century carpet from Konya. These carpets from the Seljuk Sultanate of Rum period are among the most important collections in the Museum of Turkish and Islamic Arts, and are the most unique and precious among Seljuk artifacts.











A 13th-century Quran calligraphy tile





An early 14th-century wooden window





A 1251 tabut (coffin) box and wooden stele







A 13th-century Quran



V. Ceramics of the Seljuk Empire: 1040-1157

12th-13th century, Iran







VI. The Ayyubid Dynasty: 1171-1250

The Ayyubid dynasty was established in 1171 by the Kurdish general Saladin. It was an important dynasty during the Crusades, with its capitals successively in Damascus and Cairo. In 1260, the Mongol army captured Damascus, and the Ayyubid dynasty existed in name only.

13th-century wood carving from Damascus.







12th-13th century ceramic bowl.



A 1205 Hajj certificate





VII. The Mamluk Sultanate: 1250-1517

The Mamluk Sultanate was a state that ruled Egypt, the Levant, and the Hejaz region from the 13th to the 16th century. Most Mamluks were Kipchak Turks from Central Asia. They were brought to Western Asia as slave mercenaries and became an important force in the military during the Ayyubid dynasty. In 1260, they overthrew the Ayyubid dynasty to rule Egypt and Syria, and subsequently prevented the invasion of the Ilkhanate. In 1517, the Mamluk Sultanate was destroyed by the Ottoman Empire.

A late 14th-century Quran manuscript (Juz').



A 1380 Quran manuscript.



A 14th-century ceramic vase.



A 1282 astrolabe.



VIII. The Ilkhanate: 1256-1353

In 1256, Hulagu, the grandson of Genghis Khan, was enfeoffed as the Ilkhan, establishing the Ilkhanate. In 1260, Kublai Khan sent an envoy to issue an edict, placing the lands west of the Amu Darya up to the Egyptian border, including present-day Iran and Afghanistan, under Ilkhan rule.

A 1333-4 Quran manuscript, copied by Muhammed el-Hac Devletshah esh-Shirazi.



A 1338-9 Quran manuscript, copied by Yahya el-Sufi.



A 1318 Quran manuscript, copied by Ahmed b. al-Suhreverdi.



A 1323-4 Quran manuscript, copied by Huseyin bin Ali bin Camii.



A 1320-21 Quran manuscript, copied by Argun bin Abdullah Kamili.



Two Quran manuscript volumes (Juz') copied by Ali ibn-i Mehmed in 1306-7 and 1310-11.





A 1286-87 Quran manuscript, copied by Yakut el-Musta'simi.



IX. The Timurid Empire: 1370-1507

The Timurid dynasty was established in Samarkand in 1370 by the Chagatai Mongol noble, Timur the Great. Timur began his western campaigns in 1380, successively occupying Afghanistan and Iran. After Timur's death in 1405, his successors continued to rule Iran, and the Timurid dynasty was deeply influenced by Persian culture.

Under the rule of the Timurid dynasty, the ancient Afghan city of Herat flourished. The Timurid prince Sultan Husayn Bayqara, who ruled Herat from 1469 to 1506, strongly supported the development of Persian poetry and literature. His minister, Mir Ali-Shir Nava'i, was a famous Persian poet. Herat at that time was also famous for its architecture, miniatures, and music. The ancient Iranian city of Shiraz also became a center of art and literature during this period, hailed as the 'House of Knowledge' and the 'Athens of Iran'. Shiraz's miniatures are also world-famous.

A 15th-century book from the city of Shiraz, Iran.





1445 and 1482 books of the 'Masnavi' from Herat, Afghanistan; this is a long poem collection by the famous Persian poet Rumi.





A 15th-century book from Herat, Afghanistan.



A 1398 book from Shiraz, Iran.



X. The Safavid Dynasty: 1501-1722

The Safavid dynasty originated from the Sufi Safaviyya order, and its rulers were Kurds living in northwestern Iran. The Safavid family itself spoke Turkic and composed poetry in Turkic, but they also strongly supported Persian poetry, literature, and various forms of Persian culture and art. For over 200 years, the Safavid dynasty ruled parts of Iran, the Caucasus, Iraq, Turkey, and Afghanistan. It is considered the first native Iranian dynasty since the Sassanid Persian Empire and is also considered the beginning of modern Iran.

An early 17th-century Kashkul, a bowl used by Sufi dervishes for begging. Sufi dervishes would generally chant praises to Allah and the Prophet along the streets, then use the Kashkul to collect donated money and food. The Kashkul actually used were mostly made of coconut shells, brass, wood, or clay. They were boat-shaped and hung from the shoulder with metal chains, with a relatively simple design. This is because true Sufi dervishes had abandoned the desire for worldly wealth and devoted themselves entirely to Allah. In addition, many beautifully crafted Kashkuls were used by the wealthy as decorative items, most of which have Quranic inscriptions.



A 17th-century Quran from Shiraz.

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A 1591 Quran from Shiraz.



A 17th-century Quran volume (Juz') cover.



A 1549 Quran from Shiraz.



A 1580/1 Quran from Shiraz.





XI. The Ottoman Dynasty: 1299-1923

A late 15th-early 16th-century scripture box



14th-15th-century tiles











The book 'Zubdet'ut Tevarih (Faith, Islam, and Ottoman History)', produced in 1583 by the calligrapher Seyyid Lokman Ashuri for Sultan Murad III





A Quran written by the calligrapher Seyh Hamdullah in 1494



Chapter 6 of the Quran, 'The Cattle', written by the calligrapher Ahmed Karahisari in 1443



A Quran written by the calligrapher Hafiz Osman between 1540 and 1550



A 1612 endowment deed of Sultan Ahmed I



A 1738 Ottoman Qiblanuma (qibla compass), which is the most famous of all Ottoman qibla compasses.







An early 15th-century wooden door from the Karaman dynasty view all

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Summary: This travel note introduces Notes on Visiting the Exhibition at the Museum of the Islamic Era in Iran (Part 1). The National Museum of Iran is divided into two parts: the Museum of Ancient Iran, built in 1937, and the Museum of the Islamic Era, built in 1972. It is useful for readers interested in Iran Travel, Islamic Art, Museum Visit.

The National Museum of Iran is divided into two parts: the Museum of Ancient Iran, built in 1937, and the Museum of the Islamic Era, built in 1972. The Museum of the Islamic Era displays important artifacts from various Islamic dynasties in Iran over the past thousand years, organized chronologically.





Mihrab prayer niche

Mosaic tile mihrab

A mosaic tile mihrab from 1641, from the holy city of Mashhad during the Safavid dynasty, featuring Thuluth calligraphy.







Stucco mihrab

A mihrab from 1133, from the Karrar shrine in the city of Bouzun, Isfahan province, during the Seljuk Empire. It was made by Ali ibn-e Shirzad Ansari al-Qazvini and features Thuluth, Kufic, and Reqa scripts.







A mihrab from 1308, from the Rabi' Khatoon shrine in the city of Oshtorjan, Isfahan province, during the Ilkhanate period, made by Masoud Kermani. It features Kufic and Thuluth calligraphy.













Lustreware mihrab

A lustreware mihrab from 1271, from the tomb of Habib ibn-e Musa in Kashan, Isfahan, during the Ilkhanate period, featuring Thuluth calligraphy.



A lustreware mihrab from the early 14th century, from the tomb of Hares Ibn-e Ahmad Ibn-e Zein 'Abedin in the city of Qom during the Ilkhanate period, featuring Thuluth calligraphy.







A 14th-century Ilkhanate period lustreware mihrab featuring Naskh calligraphy.



A 1333 lustreware mihrab from the Ali ibn-e Jafar shrine in the city of Qom, also known as the Gate of Paradise (Dar-e-Behesht), featuring Kufic, Naskh, and Thuluth calligraphy.













Stone mihrab

An 11th-century stone mihrab from the city of Meymeh, Isfahan province, featuring Kufic calligraphy.







A 17th-century Safavid dynasty mihrab from the Ganj mosque in Kerman, featuring Thuluth calligraphy. The Ganjali Khan complex was built between 1596 and 1631 by Ganj Ali Khan, who ruled Kerman at the time; the architect was Mohammad Soltani from Yazd.







A 16th-century Timurid dynasty mihrab from the Jameh Mosque of Abarkuh, with Thuluth calligraphy on three sides and Kufic calligraphy on the two corners. Furthermore, the mihrab features two unique and beautiful marble columns on either side, which also bear Kufic calligraphy. Abarkuh is located in Yazd province, and its Timurid-era Jameh Mosque is situated in the city center square.







A 15th-century Timurid dynasty marble mihrab featuring Thuluth and Kufic calligraphy.



A 1413 Timurid dynasty marble mihrab featuring Thuluth calligraphy.







Brickwork art

11th-century brick Kufic inscriptions from the Nezamiyyeh School in Khargerd, Khaf city, Razavi Khorasan province, northeastern Iran. Khaf is a historic city near the Iran-Afghanistan border, home to numerous ancient monuments.



















A 1148 brick Kufic inscription, possibly from the Joneyd shrine in the village of Turan Posht. Turan Posht is one of the oldest villages in Yazd province, home to the Sheikh Joneyd and Chehel Dokhtaran domed shrines, known for their exquisite Kufic calligraphy.





Wood carving art

10th-century Kufic wood carving from the city of Qom.











An 11th-century wooden door from the city of Behbahan, Khuzestan province, southwestern Iran, featuring Kufic and Naskh wood carvings.





A 1341 wooden door from Fars province, southern Iran.





Ilkhanate tiles

14th-century Ilkhanate tiles unearthed at the Takht-e Soleymān site in West Azerbaijan province. The Takht-e Soleymān site is a World Heritage site; it was originally an important Zoroastrian temple during the 5th-century Sassanid dynasty and was rebuilt in the 13th century as a summer palace for the Ilkhanate. Here, the Ilkhanate blended Eastern art with Iranian art, developing a unique Ilkhanate artistic style.

Takht-e Soleymān is the only surviving secular complex of the Ilkhanate. The walls of the Great Khan's palace are decorated with exquisite tiles, serving as a direct reflection of the cultural and artistic exchange between China and Iran in the 14th century. The tiles depict various floral, animal, and human motifs, with themes covering Buddhism, Chinese mythology, pre-Islamic Iran, as well as the Islamic Quran and Shia traditions, showcasing a fusion of multiple cultures. Some of the tiles feature themes from the famous Iranian epic, the Shahnameh, which also reflects the integration of the Ilkhanate into Iranian culture at the time.













13th-14th century Ilkhanate period tiles from the city of Saveh, Markazi province. Saveh was an important city during the Parthian Empire; it was later destroyed by the Mongol army and rebuilt during the Ilkhanate period.











13th-century Gorgan, located on the Caspian coast. Gorgan was an important city during the Sassanid Empire and remained a center for Zoroastrianism after the 8th century. Old Gorgan was destroyed by the Mongols, and the city was relocated to a new site during the Ilkhanate period.









13th-14th century Ilkhanate period tiles from Kashan, Isfahan province. During the Seljuk Empire and Ilkhanate rule from the 12th to the 14th century, Kashan was an important center for the production of high-quality pottery and tiles in Iran. In modern Persian, the word for tile (kashi) is derived from Kashan.











Artifacts from Nishapur, 9th to 11th century.

Nishapur is located on the ancient Silk Road in northeastern Iran and was once one of the four major cities of the Greater Khorasan region. In the 9th century AD, Nishapur became the capital of the Persian Tahirid dynasty. Under the rule of the Persian Samanid dynasty in the 10th century, Nishapur developed into an important cultural and commercial center of the Islamic world, continuing through the 11th-century Seljuk dynasty. Between the 9th and 11th centuries, various cultures and religions converged in Nishapur, where trade routes from Central Asia, China, Iraq, and Egypt intersected. The glazed pottery produced in Nishapur at that time became an important trade commodity in the West, once rivaling Baghdad and Cairo.

In 1221, Nishapur was massacred by the Mongols and subsequently completely destroyed; the former metropolis was buried deep underground. It was not until archaeological excavations by the Metropolitan Museum of Art in New York between 1935 and 1940 that countless artifacts and ruins were discovered beneath the farmland. Today, most of the excavated Nishapur artifacts are preserved in the Metropolitan Museum of Art, as well as in museums in Tehran and Mashhad.

According to historical records, Nishapur had at least 38 madrasas before the 11th century. Before the archaeological excavations, no ruins were visible except for a mound in the farmland. Archaeological excavations identified six layers of the Tappeh Madreseh site dating from the 9th to the 13th century; although signs of destruction and subsequent restoration or reconstruction were found in each layer, they maintained a relatively consistent overall layout.

The lowest layer of the madrasa dates back to the 9th century and is believed to have been built by the Tahirid ruler Abdallah ibn Tahir (reigned 828-845). The early spaces were large, but were further subdivided during the Samanid dynasty in the 10th century and the Seljuk dynasty in the 11th century. Overall, however, the madrasa featured a square courtyard in the center, surrounded by more than 20 rooms on three sides, with rectangular colonnades.

9th-century colored plaster murals unearthed at the Tappeh Madreseh site.







9th-century plaster hunting murals unearthed at the Tappeh Takestan site in Nishapur.





9th-10th century pottery with Kufic calligraphy.









Artifacts unearthed from the ancient city of Ray.

Ray is located in the southern suburbs of Tehran and is an important ancient city in northern Iran, referred to as 'Layi' in books such as the History of Yuan. The history of the ancient city of Ray is very old, mentioned in both the Zoroastrian Avesta and the Christian Bible.

In the 640s AD, the Sassanid dynasty used the ancient city of Ray as a base to resist the Arab invasion, but ultimately failed, and Ray came under the rule of the Arab Empire. In the 9th century AD, the Shah Abdol-Azim shrine was built in Ray, becoming an important religious site in Iran.

In 1043, the founder of the Seljuk Empire, Tuğrul Beg, made Ray the capital of the empire and carried out large-scale reconstruction of the ancient city. Under the rule of the Seljuk Empire, Ray reached its peak, with a massive bazaar and very prosperous commerce. Import and export trade, primarily in silk, connected the entire Eurasian continent. Ray was the center of painted pottery production in Iran at the time, and Ray-style painted pottery was an important handicraft of this period.

In 1220, the Mongol army invaded Ray, which was under the rule of the Khwarazmian Empire. Due to the lack of fierce resistance, the Mongols did not massacre the city. Nevertheless, the residents of the city gradually left, and the center of pottery production shifted to the southern city of Kashan. After this, Ray became a ghost town, but its sturdy walls still allowed it to be used as a military fortress during wars. It was not until the construction of the walls of Tehran in the 16th century that Ray was finally abandoned.

8th-9th century dado, located on the lower part of interior walls, serving both to protect the wall and as decoration.





11th-century Seljuk Empire period mihrab.



11th-century Seljuk Empire period circular stucco decoration with Kufic calligraphy.





A fragment of a stucco wall from an 11th-century Seljuk Empire school.



























12th-13th century pottery bowl with typical Seljuk style and overglaze Kufic calligraphy.











12th-13th century pottery bowl with transparent glaze and Taʿlīq Persian calligraphy.



Ray-style silk fabric from the early Islamic period, 7th-10th century.













Others

13th-century Kufic tile, unearthed in the city of Damghan, Semnan province, Iran.



1469 Timurid dynasty wood carving with Thuluth calligraphy.



15th-century Timurid dynasty tile with Thuluth calligraphy, unearthed in the city of Taft, Yazd province. view all

Reposted from the web

Summary: This travel note introduces Notes on Visiting the Exhibition at the Museum of the Islamic Era in Iran (Part 2). Silk garment made by Moein Mosavar in 1646. It is useful for readers interested in Iran Travel, Islamic Art, Museum Visit.





Silk garment made by Moein Mosavar in 1646



Silk hat from the Safavid dynasty in the 17th century view all

Reposted from the web

Summary: This travel note introduces Encountering Persian Poetry in the Forbidden City—Exhibition Notes at the Wuyingdian Ceramics Museum. The Ceramics Gallery in the Hall of Martial Valor (Wuyingdian) at the Forbidden City officially reopened on May 1st after renovations. It is useful for readers interested in Forbidden City, Islamic Art, Persian Culture.

The Ceramics Gallery in the Hall of Martial Valor (Wuyingdian) at the Forbidden City officially reopened on May 1st after renovations. I visited over the weekend, and because I arrived early, I was able to experience the gallery without any crowds.









The first piece I want to share is the Ming Yongle period blue-and-white porcelain 'wudang' vase with scrolling floral patterns and Arabic script, produced at the Jingdezhen imperial kilns and held in the former Qing palace collection. Both its shape and decorative motifs imitate 14th-century brassware inlaid with silver from the Middle East. A white-glazed 'wudang' vase of the same shape was once unearthed at the Ming imperial kiln site in Zhushan, Jingdezhen. Originally, this piece of porcelain had no name, but because the Qianlong Emperor thought it looked like a vase without a base, he gave it this name.

This piece uses the imported 'Sumali blue' glaze characteristic of the Yongle and Xuande periods. Because it is a 'high-iron, low-manganese' cobalt pigment, the patterns often exhibit black-blue metallic crystalline spots of iron oxide. When viewed from the side, one can see an uneven texture, and the black-blue and cobalt-blue colors complement each other beautifully.









After the recent renovation of the Ceramics Gallery, they displayed a comparison photo of the 'wudang' vase alongside a 14th-century Egyptian Mamluk dynasty brass stand inlaid with silver from the British Museum; the shapes are indeed identical!



There are also blue-and-white porcelain candle holders with Arabic script and white-glazed porcelain plates with red-enamel Arabic and Persian script, all produced by the imperial kilns during the Ming Zhengde period (1506–1521). The imperial court during the Zhengde era was very fond of using porcelain with Arabic and Persian script. The third issue of the 'Journal of the Palace Museum' in 1984 published an article by Li Yihua titled 'Two Pieces of Zhengde-era Arabic and Persian Script Porcelain: Also Discussing the Influence of Islamic Culture.' It mentions that the Palace Museum holds over 20 pieces of Zhengde-period porcelain with Arabic and Persian script, but only one piece features red enamel. The four Arabic phrases in the center of the porcelain plate read, 'Allah, the Exalted and Majestic, says,' and the three lines of Arabic in the center of the plate are from the Quran, Surah Al-Isra (17:29), the latter half: 'And do not make your hand chained to your neck nor extend it completely and [thereby] become blamed and insolvent.' Additionally, there are four lines of Arabic Hadith on the wall of the plate, which mean: 'Allah, the Exalted and Majestic, says: Whoever does an atom's weight of good, or whoever does an atom's weight of evil, He (Allah) will see it; this is the reward for those who do good.' "

The most interesting part is the three lines of text on the bottom of the plate, which Li Yihua interpreted as 'Dimani Khan, namely Aman Suleiman Shah,' suggesting it may have been commissioned for a country in the Arab region. However, some scholars are more inclined to believe that 'Dimani' should be 'Da Mink,' meaning 'Great Ming.' According to this, the text reads 'The ruler of the Great Ming is King Suleiman,' which means the Zhengde Emperor's Arabic/Persian name was likely 'Suleiman (Solomon).' Therefore, some people jokingly refer to this piece of porcelain as 'King Solomon's Treasure.' Coincidentally, the ruler of the Ottoman Empire during almost the same period was the famous Suleiman the Magnificent (reigned 1520–1566).









There is also a very classic Ming Tianshun (1457–1464) imperial kiln blue-and-white porcelain three-legged cylindrical incense burner with Persian poetry and a 'Tianshun Year' mark. The outer wall is inscribed with poetry from 'The Orchard' (Bustan) by the famous Persian poet Saadi. After this renovation, they thoughtfully included a translation of the poem. Appreciating Persian poetry fired over 500 years ago inside the Forbidden City—my Inner Asian appreciation level just went up by 10,086.











During the Ming Yongle and Xuande periods (1403–1435), the blue-and-white porcelain produced by the imperial kilns learned much from the vessel shapes of the Middle East from the 12th to 14th centuries, resulting in many shapes that had never appeared before. After this renovation, the Ceramics Gallery in the Hall of Martial Valor specifically placed display boards for comparison, making it look very clear. In particular, this Ming Yongle blue-and-white jar with brocade patterns features motifs that are very classic in the Arab and Persian cultural spheres and can be seen on many famous mosques.



















The newly renovated Ceramics Gallery has opened the Yudetang (Hall of Bathing in Virtue) on the west side of the Hall of Martial Valor as an exhibition hall for export porcelain. The most interesting thing about the Yudetang is that there is a beamless hall behind the outer hall that looks very much like a Turkish bath. The ceiling and walls are paved with white glazed bricks, flawless and pure. Behind it, there is an iron fireplace for heating water, which uses copper pipes to bring water into the room.

In his article 'A Study of the Yudetang in the Forbidden City's Hall of Martial Valor,' Shan Shiyuan argued that the Yudetang is a relic of the Yuan Dynasty imperial palace and was an Arabic-style bathhouse for the garrison commander outside the southwest corner tower of the Yuan Dadu palace city. Previously, during maintenance of the Forbidden City, white glazed tiles from the Yuan Dynasty were excavated near the Yudetang. They are very similar to the glazed bricks of the bathhouse and are very different from the yellow and green glazes commonly used in the Ming and Qing Forbidden City. Before the War of Resistance, the Society for Research in Chinese Architecture identified this bathhouse, noting that its dome is extremely similar to the Hagia Sophia in Constantinople... and it is likely a Yuan Dynasty structure.

Unfortunately, only the outer hall of the Ceramics Gallery is open this time. The Turkish bath in the back is not open to visitors because the passage is too narrow. From the outside, one can only see a part of the dome, which feels so much like the traditional bathhouse domes I have seen in Turkey. view all