Jalayirids

References

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6. ^, Although certain scholars have imputed Shiʿite sympathies to the Jalayerids, the strongest grounds for this view lie in the dynasty's preference for names such as ʿAli, Ḥasan and Ḥosayn and in the expressed desire of Ḥasan-e Bozorg to be buried in Najaf. It is true that Ḥasan-e Bozorg was also on excellent terms with Shaikh Ṣafi-al-Din, the ancestor of the later Safavid dynasty, at Ardabil, and that friendly relations with Ṣafi-al-Din's successors persisted under Šayḵ Ovays. Yet at this early stage it is doubtful whether the Ardabil order itself can be described as Shiʿite in any real sense. The evidence of Jalayerid coins, on the other hand, suggest a more Sunni stance: the overwhelming majority carry the names of the Orthodox Caliphs, and only rarely does a coin, like that struck by Ḥasan-e Bozorg at Āmol in 741/1340, bear the names of the Twelve Imams.
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9. "the Jalayirid Mongol dynasty..." Dadparvar, Shabnam; Shams, Ismail (29 April 2025). Chinese, Kurds, Iranians and the Silk Road: A Historical Perspective. Cambridge Scholars Publishing. p. 92. ISBN .
10. "The Mongol dynasty of the Jalayirids..." Blair, Sheila S. (1 June 2019). Text and Image in Medieval Persian Art. Edinburgh University Press. p. 172. ISBN .
11. "...the Jalayirid Mongol dynasty" Kim, Hyun Jin (18 April 2013). The Huns, Rome and the Birth of Europe. Cambridge University Press. p. 136. ISBN .
12. "The Jalayirid tribe was a branch of the Mongols that migrated to eastern Persia ('Iräq-i 'Ajam) in the retinue of the Ilkhanids (1256-1353)" Çağman, Fi̇Li̇Z; Tanindi, Zeren (2011). "Selections from Jalayirid Books in the Libraries of Istanbul". Muqarnas. 28: 221. ISSN 0732-2992.
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25. ^ 479. ISBN . Jalayirid Diez Album Paintings: However, in the Diez albums there are several candidates for royal painting in the 1340s-1350s, in particular a series of illustrations from Shāhnāma-like epics. (...) This is exceeded in a couple of paintings that make use of the margin, a clear sign, as discussed above, of post-Ilkhanid painting. The second, showing four unhappy warriors lying down with buttocks exposed (fig. 17.7), looks to be a scene of punishment (although I am happy to accept the suggestion that Abolala Soudavar made while viewing the painting at the exhibition that it could be one of branding rather than whipping).
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32. ^ 480. ISBN .
33. ^ 937. doi:10.4324/9781315165172-75. ISBN .
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35. ^ 132: 75. The most powerful of the minor dynasties which carved up the disrupted Il-Khanid empire was that of the Jala'irs, the descendants of Shaykh Hasan Buzurg. These princes made Baghdad their capital, but gained control over much of Persia and Transcaucasia. For a short time after the suppression of Anushirvan, the mints at Tiflis and at Qara-Aghach were under Jala'irid control. Dirhems struck in the name of Shaykh Hasan, and, apparently anonymously, by his successor Uwais were minted in both places in A.H. 757-8/ 1356-7.
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53. ^ 484. ISBN .
54. ^ 54. doi:10.2143/PERS.18.0.491. There has been very little research into the British Library's 1386-88 Khamseh ('Quintet') of Nizami (Or.13297), considering it is so far the earliest definitely dated illustrated version of this text to come to light.
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63. ^ 78. ISSN 0021-0862. A more extreme example is provided by the copy of Khwajii Kirmanil's romantic epics prepared for Sultin Ahmad Jali'ir in 1396. (...) The painting of Sultan Malik-Shah and the Old Woman is primarily a depiction of the ruler and his entourage. The details of his retinue must reflect contemporary practice as they are unnecessary for the subject represented. (...) The incorporation of the images of patrons within the paintings themselves, suggests that manuscripts may have served as a vehicle for royal flattery or propaganda.
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70. ^ . Leiden Brill. p. 44. ISBN .
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73. ^ 78. ISSN 0021-0862. It is possible that the painting refers to a specific marriage celebration of Ahmad Jala'ir, but it has not yet been possible to provide documentation of this connection. (...) The incorporation of the images of patrons within the paintings themselves, suggests that manuscripts may have served as a vehicle for royal flattery or propaganda.
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86. ^ 292. ISBN .{{}}: CS1 maint: publisher location ()
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91. ^ . Muqarnas. 28: 230, 258 Fig.56. ISSN 0732-2992. JSTOR 23350289.
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102. ^ 197. ISBN .
103. ^ 106. ISBN . OCLC 53139275.