The ‘Iran’ Curtain: the historiography of Abu’l-Khairid (Shaybanid) arts of the book and the ‘Bukhara School'

Abstract

In treating illustrated Persian-language manuscript arts from the medieval and early-modern periods, dynasties have come to be associated with Iran and their art forms labelled ‘Persian’ and ‘Iranian’. Materials from sixteenth-century Central Asia— implying the Abu’l-Khairid dynasty (commonly called Shaybanid Uzbek, in power 1500—1599)—challenge this classification. Scholarship has witnessed intellectual fissures dividing Iran from Central Asia, and Russian-speaking and Anglophone scholars from each other. These are not pedantic trivialities, but deliberate intrusions of national and political agendas into art historical analyses. The geographic split partitioning Iran from Central Asia has its origins in the historical battles waged between the Safavids and Abu’l-Khairids across the sixteenth century, while the linguistic and ideological rift separating English- and Russian-language academics stems from political divisions from the time of British and Romanov imperial ambitions during the late nineteenth century, through Cold-War tensions spanning the twentieth.

Keywords

• historiography
• codicology
• persian manuscripts
• central asia
• early modern period
• us—ussr political relations