Shah Abbas

Iskandar Beg Munshi (Persian: اسکندربیگ منشی), a.k.a. Iskandar Beg Turkman (اسکندربیگ ترکمان) (c. 1560 – c. 1632), was a Persian historian of Turkmen origin of the Safavid emperor Shah Abbas I. Iskandar Beg began as an accountant in the bureaucracy, but later became a privileged secretary of the Shahs. He wrote one of the greatest works of Persian historiography, Tārīk̲h̲-i ʿĀlam-ārā-yi ʿAbbāsī (Alamara-i Abbasi). The work begins with the origins of the Safavids and continues through the reign of Shah Abbas I.

His native language was Azerbaijani

The Fotuhat-i Gitisitan was composed in verse three years before the fall of the Safavid monarchy.  A rich historical epic, its focus is on the battles of the most famous kings of the dynasty and provided valuable information in regards to the social, cultural and political history of the Safavid dynasty.
  The poet is the grandson of the famous grand vizier, Khalifah Sultan, who traces his lineage to a branch of the Mar'ashi family of Mazandaran. The family had immigrated to Isfahan during the reign of Shah Tahmasb and held different imperial positions during the Safavid period, especially in the clerical establishment.

  Despite the rationalism that marks the poet’s writing, fatalism colors his world-view where fate is understood to be the main cause for victory or defeat. His language and the selected topics of his composition reveal  the poet's nostalgia for the glorious age of  Shah Abbas I.

  The main intellectual challenge of the poet is to show the importance of his epic and the unique perspective of the poet. This article is a synopsis and analysis of the content of the Fotuhat-i Gitisitan and to outline what it has to offer to the historians of the Safavi world.

Shah Abbas Safavid period can be known as the golden age of textile industry-art in Iran. During his government, he provided the necessities for growth and development of textile in Iran more than ever by supporting the artists and also inviting them to develop the textile workshops in different cities such as Isfahan, Yazd, Kashan and Qom. At this time, the cooperation of painters and weavers led to create fabrics such as brocade, woven wire, Cashmere and Calico fabrics that are masterpieces of textile art. Two famous styles in the textile of Safavid period were formed under the leadership of Khwaja Ghiyāth al-Dīn Naqshband Yazdi, and another one by the help of Reza Abbasi. The analysis shows that the most important score in this period compared to other periods is the high proximity of art painting with textile industry and changes in painting design compared with previous periods. Accordingly, this research which its aim is practical and also descriptive-analytical in method, is trying to examine and analyze the causes of development of textile in this period, its characteristics and its features by using historical resources, meanwhile the study of a number of remaining samples.

The Shah Abbas travelogues provide an account of the process of accepting ambassadors to the Shah Abbas court, reflecting the power relations and mechanisms of its use in Iran. In fact, in the face of the king with ambassadors, many of the traditions, norms, beliefs and components that go directly with the king, his authority, the hierarchical structure of power, the hospitality, and the compassion of the king, are very much reproduced. In this context, what was happening was the creation of a narrative of political culture in Iran that was supposed to influence the imaginations of the envoys and ambassadors. This study seeks to answer the question of how did you object to the policies of Shah Abbas in the process of accepting ambassadors to political authority? The results show that the narrative of travel writers, despite their shortcomings in content, encompasses a variety of references to the Iranian court's attempt to create an authoritarian narrative to influence the minds of ambassadors. In this descriptive-analytical study, the emphasis is placed on the presence of ambassadors in the court of King Abbas, in which the Shah of Iran and his staff come to the hosts seeking to establish a powerful image of Iran and its principles. Rule over the relations of the exercise of power in its political structure