Muslim Saints and Dogs: A Sampler

That the position of dogs in Islamic societies has often been an ambiguous one is relatively well known. However, the ambiguous and sometimes hostile attitudes and practices directed at canines by some in the Islamic world down through the centuries is but part of the story of the place of the dog in Islamic societies and Islamic traditions. The role of dogs in elite culture is relatively well known- the modern day saluki, for instance, probably traces its ancestors back to dogs owned by members of elite groups in the Middle East and elsewhere- with such dogs often being employed in both hunting and as every-day animal companions. But dogs could be found in many other capacities as well: any town or city would have its street dogs, animals who show up in the story from Rūmī’s life (1207-1273) illustrated below, and in the tale from the life of Şemseddîn Ahmed Sivâsî (1519-1597), while guard and herding dogs would be found in the countryside. And, as the following stories indicate, dogs could have a more intimate relationship with humans, even to the point of close companionship.

I’ve arranged these accounts, taken from Persian and Ottoman Turkish sources, in chronological order, each reflecting a somewhat different stance towards dogs and their relationship with humans, each involving ‘friends of God’ in an Islamic setting, as described by a hagiographer. The first, written sometime before 1291, concerns the canine companion of Rūmī’s grandson, Chalabī Amīr ‘Āref, a dog named Qeṭmīr after the famed canine companion of the Seven Sleepers of Ephesus, a dog who is described as being effectively a saint in his own right. The second story, from the life of Shaykh Ṣafī al-Dīn al-Ardabalī (1252–1334), the eponym of the Safavī sufi order and later Shi’i dynasty that would rule over the Iranian lands for some two and a half centuries, is the oddest and most ambiguous of the two, as it suggests a sort of sanctity on the unnamed dog’s part, but in a very ambiguous way. The final story is from a compilation of saints’ lives produced in the late 17th century Ottoman Empire, and may very well be ‘in dialogue’ with the preceding two, since both the menâkıb of Rūmī and of Shaykh Ṣafī, in both their Persian originals and in later Ottoman Turkish translations, were well known in the Ottoman lands.

It is also transmitted that, having received Qeṭmīr [the dog] from Shaykh Nāṣeh al-Dīn, Chalabī [Amīr ‘Āref] set off and instructed Qeṭmīr: ‘Come along with us!’ When the dog had gone a few steps, he turned around and looked at Nāṣeḥ al-Dīn, who said: ‘What are you looking at? Would that I were in your place and might become the dog of that royal court!’ Then Qeṭmīr rolled about, let out a yelp, and set off running.

Similarly, in the city of Lādīq during the samā’ he would enter the circle of the companions and turn about with the noble disciples. Another of his miracles was that whether at home or abroad no dog ever attacked him, nor did any dog bark at him. When they sniffed him, they would form a circle around him and lie down. And whenever Chalabī sent a messenger somewhere, he would join Qeṭmīr to him. Indeed, whether it was a journey of ten days or a month, Qeṭmīr would escort him to his destination and then return. Moreover, they [burned] his hair and used the smoke to treat fever. The fever would depart.

Whenever he saw a denier, without mistake he would piss on him. And he would never eat food from deniers of [Mowlānā Rūmī’s] family. If they secretly mixed that food from the companions and gave it to him, he sniffed it and wouldn’t eat it!

Shams al-Dīn Aḥmad Aflākī, The Feats of the Knowers of God: Manāqeb al-ʻārefīn, translated by John O’Kane (Leiden; Boston: Brill, 2002), 659

Commentary: This is just a selection from the ‘biography’ of the dog Qeṭmīr, who receives fairly extensive treatment from Aflākī- who was himself a companion and disciple of Shaykh Chalabī. In this section, Qeṭmīr is treated much as a saint would be, with a description of his entry into the company of Shaykh Chalabī, himself sanctified primarily through his descent from Mavlānā Rūmī, followed by practices typical of a ‘friend of God,’ only here in canine form: entry into ecstatic dance (the samā’), recognition of his inherent sanctity by others of his kind, the ability to heal diseases, and preternatural recognition of interior human dispositions and other things otherwise impossible to discern. To my knowledge this is the only dog so depicted in Islamic hagiography, though the dog below comes close- if anyone out there is aware of other instances do let me know in the comments!

Another account involving dogs in the Manāqeb al-ʻārefīn: Rumi addresses the dogs of the marketplace, from a c. 1590 copy of the Ottoman Turkish translation of Aflākī’s menāqib (Morgan Library MS M.466, fol. 66v)

The custom of this dog was that if a hypocrite was in the midst of the [Sufi] assembly this dog would enter and would smell the men gathered, one by one, and upon the one who smelled of hypocrisy he would urinate, so that the person would be completely humiliated. One day a man of great reputation sat in the assembly, and when the dog smelled from this man the scent of hypocrisy, he urinated on him, so that the man was greatly embarrassed and mortified. The shaykh was angered by this, and cursed the dog that ‘He go to pieces!’ Then the dog disappeared and was not seen for one or two days. When they searched for him, they found him under a rosebush, dead, all gone to pieces.

Ibn al-Bazzāz al-Ardabalī, Ṣafvat al-ṣafā ([Tehran]: Intishārāt-i Zaryāb, 1376 [1997 or 1998]), 612. Translation by Jonathan Parkes Allen, 2019.

Commentary: The dog described here is described in a previous section as well, as being a black dog who hung around the zawīya of Shaykh Ṣafī as something of a regular fixture. The entire account is part of a chapter devoted to Shaykh Ṣafī’s miraculous interactions with the non-human world, including animals, which receive a sub-chapter. The unnamed black dog described here seems, at first glance, to be almost a facsimile of Qeṭmīr from a few decades previous: he can preternaturally detect ‘hypocrites,’ presumably meaning here people who did not believe in the sanctity of Shaykh Ṣafī or in the legitimacy of sufi practices. Yet when he seemingly righteously takes a piss on just such a person, Shaykh Ṣafī grows incredibly angry with him, employing his ‘jalāl,’ or power of divine wrath, upon the hapless animal. What are we to make of this? I am honestly not entirely sure. That Shaykh Ṣafī accumulated lands and goods and influence is not disguised in this saint’s life, so perhaps we are meant to understand him as being properly angry at alienating a man whose wealth could potentially be turned to the good use of Shaykh Ṣafī’s community. It is possible as well that the story is meant to distinguish Shaykh Ṣafī from Rūmī, though this seems a bit of stretch to me. Doubtless other things are going on in these accounts, with which I am generally less familiar than the other two examples- again, comments or suggestions are welcome!

From among [Şeyh Şemseddîn Ahmed Sivâsî’s] miracles was the following: the people of Karahisâr-ı Şarkî [modern Şebinkarahisar] sent messengers to Şems asking him that he honor them with his preaching, counsel, [performance of] zikr [remembrance of God], and his blessed noble beauty. In answer to their supplication he came, and was honored immensely, being given a fine place to stay as well as much feasting and amiable conversation. For some time he preached, gave counsel, and led zikr, then announced that he was returning to Sîvâs. When the scholars, şeyhs, merchants, notables, and ordinary people of the town all came together to give him a farewell with honor and respect, numerous dogs also came before the saint, and, as if presenting complaints, began barking! When Şems asked why they were barking so, the people replied, “Because there has been plague and pestilence in our town, the kadi [judge and administrator] of our town ordered the killing or banishing of the dogs, so that we killed some and we banished some. These are dogs that we banished.”

The saint cried out, “Your kadi was heedless of the hadith which says, If dogs were not a community (umma) from among the communities, then I would order them killed.” Saying that, he addressed the dogs: “Go safely and soundly back to dwell and to be at rest in your former places!” As the townspeople returned from bidding the saint farewell, they saw these words fulfilled as the dogs, understanding the command, followed after the people back into town to their usual places—and having done so, by the command of God, the plague was lifted on that very day!

Şeyh Mehmet Nazmî, Osmanlılarda tasavvufî hayat: Halvetîlik örneği : Hediyyetü’l-ihvân, edited by Osman Türer (İstanbul: İnsan Yayınları, 2005), 359-360. Translation by Jonathan Parkes Allen, 2018.

Commentary: In this story we see dogs recognizing someone’s sanctity, but this time that of a human saint. In recognizing Şemseddîn Ahmed Sivâsî’s holiness the dogs also engage in another typical action directed at saints, that of supplication in the face of unjust ‘secular’ authority, thus reinforcing the saint’s authority. This interaction with the dogs also allows Şeyh Şemseddîn to enact his saintly authority over the entirety of the town in a dramatic way: when he discovers that the dogs of the town have been unjustly displaced by the unkind and implicitly irreligious kadi, he rebukes the kadi and intervenes miraculously so as to restore the dogs to their rightful places in the town, restoring harmony, as indicated by the lifting of the plague. In returning the dogs to their places Şemseddîn also, at least temporarily, displaces the Ottoman kadi from his sultanically designated place, not only nullifying his anti-dog decree but also casting aspersion on the kadi’s knowledge of the Prophetic sunna, a reminder of Şemseddîn’s mastery of both the exoteric and the esoteric, mastery which could shape the very configuration of the places through which he passed, mastery to which even dogs might respond.

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The Shaykh and the Wrestlers

Wrestlers in a Persianate context, similar to that of the story below, as depicted in a sixteenth century Safavid illumined copy of Sa’di’s collected works (Walters W.618.31B)

Sufism has developed over the centuries a vast technical vocabulary, with many elements filtering out into wider Islamic (or, better, ‘Islamicate’) societies and languages. One of the more difficult terms that makes up this stock of words describing sufi practice and theology is the Arabic word himmah, taken into Persian as himmat. Its basic lexical meaning is, per Steingass’ Persian dictionary, ‘Inclination, desire, resolution, intention, design,’ with the additional meanings of ‘ambition, aspiration; mind, thought, attention, care; magnanimity; power, strength, ability; auspices, grace, favour.’ The sufi usage of himmah encompasses all of these: when a shaykh is said to possess or wield himmah, we might say that he exerts the power of his mindful intention, power which is invested in him by virtue of his relationship with God. It’s a bit like ‘the Force’ in Star Wars, in that through the use of his himmah the advanced master is able to psychically- so to speak- manipulate things in the physical world outside of his body, similar to the way a Jedi master might employ the Force to move objects or change a person’s thoughts or will.

The ambiguity of himmah is not simply the case of being at a remove from the original languages of sufism- it’s clear from the sources that medieval and early modern sufi authors felt a need to explicate what precisely was meant thereby to contemporary audiences. The story I’ve excerpted and translated below comes from a Persian-language collection of lives of Inner Asian Naqshbandī saints, entitled Rashaḥāt-i ʻayn al-ḥayāt, by Fakhr al-Dīn ʿAlī ibn Ḥusayn Wāʿiẓ Kāshifī Ṣafī (1463 – 1532-3). The story is part of longer clarifying discussion by Kāshifī about himmat, as an introduction to the miracles of the important fifteenth-century Naqshbandī saint Khwāja ‘Ubayd Allāh Aḥrār. It also speaks, by the by, to a major component of wider Persianate culture during this period and afterwards, namely, the role of wrestling, a sport which provides the setting for the miracle story.

From a somewhat earlier period, two wrestlers, as depicted on a 13th century Ilkhanid tile (Walters 48.1283)

One day we came to the wrestling-grounds where two people were wrestling—one was powerfully and immensely built of frame, while the other was weak and scrawny of body. The big fellow was making easy work of the weak one, so that we felt merciful towards him, and I said to Mawlānā Sa’d al-Dīn [Kashgārī], ‘Use your power of mind (himmat) and send out a thought (khāṭir) so that that weak one can triumph over that powerful one!’

He replied, ‘You pay heed, and we will also lend aid.’ So his thought turned in that moment to the weak one, and in a flash the weak one was invested with great strength so that he was able to extend his arm and with dexterous skill lifted the powerful-framed man from the ground, hoisted him overhead, then threw him down into the dust of the ring. A great exclamation went up from the crowd, the men watching amazed and bewildered by what had transpired, none of the spectators aware of the secret of it.

ʻAlī ibn Ḥusayn Kāshifī Ṣafī, Rashaḥāt-i ʻayn al-ḥayāt, ed. ʿA.A.’ Muʿīniyān (Tehran: Bunyād-i Nīkūkārī-i Nūriyānī, 2536/1977-8), v. II, 517.

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Print Culture Remixed: Safavid Painting Across Confessional Boundaries

Hayrapet Jul'ayec'i bible
Fig 1.: Manuscript Bible, illustrated by Hayrapet Jul’ayec’i, 1649 in New Julfa. (“Matenadaran” Mesrop Mashtots Instutute-Museum of Ancient Manuscripts, ms 189) .

The four images in this post- two from Western Europe, two from the Safavid Empire- paint a picture of the inter-connectivity of places, religious communities, and cultural traditions of early modern western Eurasia, inter-connectivity that took place without any single power or region dominating, as would be true from the nineteenth century forward. These images also illustrate the problems with the language of ‘influence,’ as well as the fact that religious communities and traditions that were at odds in some respects could still participate in shared cultural paradigms and draw upon the work and concepts of others in creative ways. In particular these images demonstrate the complicated place of ‘print culture’ in a Eurasian context, printed texts co-existing and interacting with non-print modes well through the seventeenth and eighteenth centuries.

In this first pair of images, Fig. 1 and Fig. 2, illustrating the first chapters of Genesis, the Armenian illustrator Hayrapet Jul’ayec’i has drawn upon the images of Johann Theodor de Bry for his own illumination of the Bible. The relationship is obvious upon even casual examination, such that one might be tempted to call the Armenian paintings ‘copies.’ But slightly closer examination reveals something more subtle going on. Jul’ayec’i has followed the general form and many of the details of de Bry’s engravings, but has done so in a transformative way: the images have been placed in a new arrangement, one that proceeds in chronological order from left to right, the borders dividing the scenes employing motifs with deep roots in Armenian illumination. Most significantly, Jul’ayec’i has rendered these scenes in color, in brilliant color which calls to mind earlier illumined Armenian Bibles. The entire production has furthermore been placed within a manuscript Bible, instead of the printed Bible of de Bry. The reference to de Bry, and by extension, Western European art conventions, remains unmistakable- but in rendering them in the bright splashes of Armenian painting they have been translated and re-appropriated (there is literal translation as well- note the inclusion of Armenian text in Jul’ayec’i’s painting). ‘Remix’ is one way of thinking about such a piece, the form remaining but the interpretation rendered making the piece an effectively new creation, the mood and resonances it conveys departing dramatically from the original ‘cited’ imagery, even as the new art depends on the original to some degree.

Biblia Sacra vulgatæ, pages 2 & 3
Fig. 2.: Biblia Sacra vulgatæ, pages 2 & 3, engravings by Johann Theodor de Bry, Mainz, 1609 (General Research Division, The New York Public Library).

What is particularly notable about Jul’ayec’i’s art, and that of the many other Armenian artists and manuscript producers who employed similar techniques vis-a-vis print culture circulating in Armenian communities (which in itself reminds us that it was not unusual for a Bible printed in the Netherlands to end up in the Safavid lands), is that Armenians were not themselves strangers to print culture. The first Armenian book was printed in 1512, with an increasing pace of printing in a number of presses across the vast Armenian world of western Eurasia. Simultaneously, Armenians produced, sponsored, and purchased manuscripts such as that from which contain Jul’ayec’i’s illuminations. Print culture was useful for some things, while manuscript culture and its associated arts continued to play an important role, from liturgical texts to diaries to magical scrolls. And just as manuscript arts and traditions left their imprint in Armenian print culture (and many other iterations of print culture across early modern Eurasia), the new possibilities that printing opened up could find their way into manuscript production.

In the Safavid world, Armenians were not the only people creatively adapting and ‘remixing’ Western European print culture material. Persian-speaking Muslim artists, such as the seventeenth century painter Muhammad Zaman, were also making interesting use of imagery circulating out of Western Europe. Witness Zaman’s rendering of the iconic scene of Judith with the head of Holofernes:

MSS 1005
Fig. 3.: Judith with the Severed Head of Holofernes, Muhammad Zaman, c. 1680,
Isfahan, Safavid Iran (Khalili Collections MSS 1005).

Zaman’s depiction of this scene incorporates material from an etching of a painting by the fifteenth century Italian artist Andrea Mantegna (fig. 4). But just as his Armenian contemporary had done with de Bry’s etchings, Zaman has transformed the scene. It is now in bright and vivid color, reminiscent of more traditional forms of Persianate miniature (which itself had long been in dialogue with Armenian painting). Just as Jul’ayec’i reframed his source material, Zaman has not only filled out the scene around Judith and her maidservant with lush vegetation, vivid flora, and a scene of a camp and a city in the background, but in keeping with the conventions of Persianate art he has embedded his painting within a series of frames, frames that are as much a part of the painting as the main image itself. Particularly strikingly, he has filled the upper panel with realistic flowers, flora typical of alpine Eurasia such as primroses and irises. The result is a striking contrast between the delicate beauty of the flowers and the gory sight of Holofernes’ head being held aloft, a somewhat incongruous scene. What would Zaman’s viewers have taken away from this painting? Would they have known to what it was referring, whether in terms of story or in terms of the source in Andrea Mantegna’s depiction? The Western European elements, as in the Armenian imagery above, are unmistakable, diverging as they do from the canons of Persianate art: yet they have been rendered into a Persianate style and frame (literally and figuratively). Some of the meaning is retained, while other aspects are transformed- for instance, it is possible that most viewers would not have known the story itself, leading them to imagine their own story or to connect the image with stories they did know. Continue reading “Print Culture Remixed: Safavid Painting Across Confessional Boundaries”

Shaykh Jawhar and the Green Bird of Destiny

Jami Birds
Birds, insects, and flowers, from the border of a c. 1500 calligraphic rendering of a different text by Jāmī, the Subḥat al-abrār. (Met 1985.149)

Shaykh Jawhar was in the beginning of his life the slave of someone, then became free, and took to buying and selling in the marketplace of Aden. He would attend the sessions of the [sufi] fuqarā’, [1] and had perfect belief in and loyalty towards them. He was illiterate. When the time of his shaykh’s death approached—the great shaykh Sa’d Ḥadād who is buried in Aden—the fuqarā’ said to him: ‘After you, who do you want to be shaykh?’ He replied: ‘The person who, on the third day after my passing, in the place where the fuqarā’ have gathered, a green bird comes and sits upon his head.’

When the third day came and the fuqarā’ had finished with Qur’an and dhikr they sat down in keeping with the shaykh’s words. Suddenly they saw a green bird had come down and had settled nearby, each of the important members of the fuqarā’ hoping that the green bird would sit on his head. But after a while that bird flew up and alighted on the head of Jawhar! He had not at all imagined that this would happen, nor had any of the other fuqarā’! They all came before him and were set to bear him to the shaykh’s zawīya [2] and seat him in the place of the shaykh. But he said, ‘What qualification do I have for this work? I’m just a man of the marketplace and am illiterate! I don’t know the adāb and the ṭarīqa of the fuqarā’, [3] and I have obligations towards others to fulfill and relations to untangle!’

They replied, ‘This is the will of Heaven, you don’t have any way out of it! God will help you in whatever ways are necessary.’ So he said, ‘Give me a delay so that I can go to the marketplace and fulfill my obligations towards the Muslims there.’ So he went to the marketplace and met his obligations towards everyone, then went to the shaykh’s zawīya and adhered to the instruction of the fuqarā’, and he became like his name a gem (jawhar), possessing virtues and perfections whose enumeration would stretch long—glory to the Noble Beneficient One, that is grace of God which He bestows upon whom He wills, God possesses great grace! [4]

Abb al-Raḥman ibn Aḥmad Jāmī (1414–92), Nafaḥāt al-uns min ḥadarāt al-quds, edited by Mahdi Tawhidipur (Tehran: Kitabfurushi-i Saadi, 1959), 573-4, translated by Jonathan Parkes Allen, 2018.

[1] Literally, ‘the poor ones,’ but by this period shorthand for sufi devotees (who may or may not have been literally poor).

[2] The structure devoted to a particular shaykh and his companions, for sufi ritual, teaching, and so forth. One of several words for a space of this sort.

[3] That is, the ‘mannered practices’ and ‘spiritual path’ of the sufi devotees. Both terms have so many resonances that I find it generally best not to translate them into English but to leave them in the original.

[4] The section in italics represents Jāmī’s switch from the Persian of the main narrative to Arabic.

 

 

 

 

A Dangerous Vision, a Sufi Martyr, and Ghengiz Khan

This folio from Walters manuscript W.650 depicts the hanging of Mansur al-Hallaj. s
A depiction, from an early 17th century Mughal edition of Dihlavi’s Diwan, of the martyrdom of al-Ḥallāj, perhaps the best-known, if long contested and ambiguous in meaning, martyr in the history of sufism. Walters W.650.22B

The relational nexus between Muslim saint and Muslim ruler in medieval and early modern times was almost always a fraught one. Both saint and ruler laid claim to divinely invested authority, claims that could coexist, cooperate, and clash. A given saint might support a ruler, undermine him, or simply ignore him, while rulers moved between strategies of co-opting saints, seeking them out for their baraka and the social power that being connected to a saint might bring, endowing zawiyas, khaniqahs, and the like, even as some saintly shaykhs made a prominent point of rejecting both contact with and reception of wealth from rulers. Occasionally a Muslim claimant to sainthood ran seriously afoul of a ruler, resulting in exile, imprisonment, or even martyrdom.

I encountered the story- from the early thirteenth century Khawarezm domains- I’ve translated and presented below first in an Ottoman context, in the Ta’rîh (History) of Ibrâhîm Peçevî (d. c. 1650), an Ottoman official and author, who described the martyrdom of the Kurdish Şeyh Mahmûd of Diyarbakır, executed by Sultan Murad IV, probably because the sultan feared the saint, who had a vast following across the Kurdish lands, posed a political threat. Peçevî, who had been posted in Diyarbakır as a defterdâr, had been an intimate of the saint and was deeply sorrowed to learn of his martyrdom. Upon learning that Şeyh Mahmûd had died, he was reminded, he writes, of the story I’ve translated here. It comes from the massive Persian hagiographic compilation, Nafaḥāt al-uns, by the poet, sufi, and author Nūr al-Dīn ‘Abd al-Raḥmān Jāmī (d. 1492). There are indeed striking parallels, as well as differences: Majd al-Dīn, while clearly of saintly status, is seen here oversteping his limits in his relationship with the powerful and axial saint Najm al-Dīn al-Kubrā (d. 1221) in relating his vision, a vision that implies exalted spiritual status. The remainder of the story is largely self-explanatory, though I’ve included some notes for clarification here and there. Given both the odd details, the hints of court intrigue, and the spectacular ending- the Mongols totally devastated the Khawarezm lands- it would be a popular item in Jāmī’s hagiography. Peçevî reproduced, in Ottoman Turkish form, a condensed version of the story (and thereby implicitly criticized the by-then deceased Murad IV and warned future sultans) in his chronicle, while it was circulated in Ottoman Turkish in other contexts as well. The lessons are clear enough: rulers ought to observe proper care and respect around the saints, as the consequences of not doing so can be truly enormous!

Ilkhanid Star Tile With Horse
Ilkhanid star-tile with poetry attributed to Majd al-Dīn around the border, made in 1310 (BMFA 31.729)

One day Shaykh Majd al-Dīn [Baghdādī] was sitting with a group of dervishes when a state of spiritual intoxication came over him. He said: ‘I was a duck’s egg upon the shore of the sea, and Shaykh Najm al-Dīn [Kubrā] was a bird with his wings of spiritual instruction spread out above my head until I came forth from the egg and I was like the young of the duck, then went into the sea, while the shaykh remained on the shore.’

Shaykh Najm al-Dīn knew [what Majd al-Dīn said] by the light of divinely instilled power, and the words ‘He will go into the ocean!’ passed upon his tongue [1]. When Shaykh Majd al-Dīn heard that he was fearful, and he came before Shaykh Sa’d al-Dīn Ḥamawī and with great humility asked, ‘When the time is right with the shaykh, will you give him report of me such that I may enter his presence and request forgiveness?’

Continue reading “A Dangerous Vision, a Sufi Martyr, and Ghengiz Khan”

Nader Shah, a Rebellious Governor, and a Saint’s Intercessions

partly-colored-drawing-pasted-on-an-album-leaf-e2809ca-standing-dervish-e2809d-signed-muhsin-iran-isfahan-c-1650.jpg
Partly colored drawing pasted on an album leaf. “A Standing Dervish.” Signed Muhsin. Iran, Isfahan; c. 1650. Drawing: 15.1 × 7.6 cm David Collection Inv. no. 145/2006

One of the most remarkable and fascinating, as well as tumultuous and frequently traumatic, periods in the early modern history of Persia was the meteoric rise and success of Nader Shah (d. 1747), who not only established himself in the ruins of the Safavid dynasty, having expelled invading Afghans and rather handily deposed the resurgent Safavid claimant to the throne, but also embarked on a campaign of conquest in almost every direction that was redolent of the great conquerors of Inner Asia of days past. Nader Shah’s conquests and campaigns had an enormous impact on not just the societies of the former Safavid lands but also the many places touched by his forays, including the Ottoman and Mughal lands. In the Ottoman Empire, for instance, Nader’s campaigns gave rise to a new form of resolutely Sunni devotional regime, centered around the Ahl al-Badr, the early Muslims who fought alongside Muhammad at the pivotal battle of Badr, and whose names formed a litany of saintly intercession that soared in popularity after Nader’s eruption into the Ottoman world. Nader’s conquests and empire re-making drew in and impacted the numerous Armenian communities scattered across the central Islamicate lands, from the Mughal realms in India to the far western edges of the Ottoman domains and beyond into the Polish-Lithuanian Commonwealth. As perhaps the most visible and deeply integrated- yet still distinctive and communally cohesive (for the most part)- minority group in these Muslim-majority lands, Armenians, whether Orthodox or Catholic, provide an important and fascinating vantage point for viewing events such as the rise of Nader Shah, with Armenians from different sides of the Ottoman-Iranian border providing markedly different perspectives.

The account below comes from an otherwise unknown chronicler of Nader’s rise and campaigns, one Abraham of Erevan, who, as the translator of his chronicle, George A. Bournoutian, notes, was probably either a military man or somehow involved in military affairs, perhaps on the logistics side, as he shows particular acumen in relating military operations and the intricacies of the various campaigns Nader carried out. He is throughout strikingly ‘pro-Nāder,’ even as he gives evidence of Armenians on the Ottoman side with quite different sentiments. The passage I have selected here (and I will perhaps follow up with more selections from Abraham’s chronicle and from other sources in a range of languages dealing with Nader Shah), has to do with, among other things, a Muslim saint, as seen by an Armenian chronicler, and his interactions with, on the one hand, Nader Shah, and, on the other, a rebellious provincial governor who had fled into the saint’s protection. In keeping with the theme of my recent previous set of postings, we see in Abraham’s account a sense of a shared economy of holiness, triply so: Abraham understands the Muslim saint as being in many ways similar to saints in his own tradition, and expects his audience to understand things in this way as well. It is also possible, if not likely, that the saint in question, dwelling on the Iranian littoral away from the centers of Persian Shi’ism, may have been Sunni, though there is no real indication one way or another. If he was, however, this story points to a continued shared economy of holiness between Shi’i and Sunnis in the former Safavid sphere; regardless, the markers of sainthood identified here would have been shared across boundaries. Finally, the story is a reminder of the limits of this economy of holiness- while the saint saves the life of the governor, it is not an unmitigated rescue, as we will see!

fragment-of-a-pile-carpet-wool-and-silk-e2809canimal-carpete2809d-iran-end-of-16th-century.jpg

After that, Nāder marched on Shiraz, whose governor, called Mohammad, had rebelled against him, even though Nāder had appointed him to control the disloyal Balūç. Instead of convincing the Balūç to become loyal to Nāder, Mohammad rose against Nāder, gathered an army, and planned to march on Isfahan. Meanwhile, he had gone to the Bandar region [on the Persian Gulf coast] and had killed those who refused to join him. He added the rest to his army, went to Shiraz and prepared to attach Isfahan.

Nāder was informed of Mohammad’s intentions and dispatched an envoy with a letter that stated, “What are you doing? You are my servant and have eaten my bread. I raised you above five or six other khans. What is the reason that you have rebelled, have become alienated, have raised you sword and men against me? Repent and change your evil ways.” Nāder sent similar messages three times, but the latter did not answer. After the fourth message, Mohammad Khan replied, “I risk my neck on my action. Let God decide between us. Be aware that either I or you shall lose our life.”

When Nāder heard this, he no longer communicated with Mohammad Khan. Instead, he gathered his army and marched on Shiraz. Mohammad Khan was informed of his approach and went out to meet him on the plain. During the battle Mohammad’s army took flight and many were killed. He himself barely escaped and took refuge in a fortress in the Bandar region caled ‘Avaẓ. The chief of the fortress, a certain Sheikh Jabbār, had an extraordinary knowledge of the supernatural and the Muslims of the region considered him a saint and believed his every word, for her had reportedly performed many miracles. Mohammad Khan thus went to the Sheikh, told him what had occurred, and begged him for God’s sake to intercede with Nāder, since the latter held the Sheikh in great reverence.

The Sheikh gave in to his request and sent a letter to Nāder stating, “For my sake, receive Mohammad Khan, who has repented and who wishes to return to your bosom. Have mercy on him, do not execute him, although he is not worthy of your generosity.” Nāder responded, “Let it be so. Because of your entreaties I shall not execute him. Send him to us.” The Sheikh showed Nāder’s letter to Mohammad Khan and the latter went to him. When he appeared before him, Nāder said, “Do you remember when I was in Baghdad and wrote to you not to go against me? You answered that God shall decide which one of us will remain alive. Well, God has placed you in my hands and it is just that I should kill you.” Mohammad Khan replied, “Do as you wish; I am here in your hands.” Nāder replied, “Although you deserve to die, for the sake of the Sheikh who begged that I spare your life, I shall spare you. But I shall give you a minor punishment.” He then ordered one of his slaves to remove Mohammad Khan’s eyes. Nāder then gave the blind khan one hundred tomans and said, “Go! Live on this sum and pray for me.” He then entrusted him to fifteen soldiers and sent him to Mashhad. [Nāder] then went to Isfahan to prepare the conquest of Shirvan and Shemakhi.

Abraham of Erevan, History of the Wars (1721-1738), translated by George A. Bournoutian (Costa Mesa: Mazda Publishers, 1999), 83-38.

Fire Poured Out From Heaven: Muslim Saints’ Shrines in Safavid Miniature Painting

Miniature from a copy of Jafar al-Sadiq_s Falnama. “Scene From a Mausoleum” Iran, Tabriz or Qasvin; c. 1550
Miniature from a copy of Jafar al-Sadiq’s Falnama. “Scene From a Mausoleum”
Iran, Tabriz or Qasvin; c. 1550 (David Collection, Inv. no. 28/1997)

“Prayers in a Mosque” Miniature from Kulliyat-i Mawlana Ahli Shirazi (Collected Works of Mawlana Ahli Shirazi) Shiraz, Iran; c. 1550
Miniature from Kulliyat-i Mawlana Ahli Shirazi (Collected Works of Mawlana Ahli Shirazi)
Shiraz, Iran; c. 1550, David Collection, Inv. no. Isl 161

As any long-time reader of this blog will know, one of my primary areas of scholarly interest is the history of saints and sainthood in the Islamic world, primarily within Islamic traditions but also in Christian and Jewish traditions practiced within or in contact with Islamicate cultures. The very fact that ‘Muslims have saints’ often comes as a surprise, with the usual follow up question being something along the lines of ‘Just what is a Muslim saint like?’ The answer, of course, varies from place to place and time to time, with the usual caveats that Muslims saints ‘look’ both like and unlike saints in other religious traditions, and that some forms of Islam, especially in the modern world, largely reject sainthood (similar to some forms of Christianity after the Protestant Reformation).

One difference between Muslim modes of understanding and depicting saints and sainthood and those found in many other traditions such as Christianity and Buddhism is the relatively low-key role of visual depictions in describing saints and in venerating them or inscribing their memory. While it is not true to say that Islam across the board lacks iconographic traditions, explicit uses of icon-like depictions for veneration has historically tended to be limited to either to depictions of non-human items and places, described in last week’s post, or in a rather supplemental manner (for private devotions or in the context of a shrine), such as has become common in contemporary Shi’i devotion (though certainly not only Shi’i- for instance, see this example from resolutely Sunni Morocco). The two miniatures above fall into another category altogether: in both we have something quite rare, namely, artistic renderings of practiced devotion to saints. These two images, both of which were produced in Safavid Iran while it was still in the long process of transitioning from a Sunni polity to a Shi’i one, give us a pretty good visual idea of what tomb veneration looked like in an early modern context- while they come from the Persian world, we know from literary evidence that the practices and architectural elements depicted in them would have been shared with other regions, including the neighboring Ottoman lands. The images are hence worth a closer look. Continue reading “Fire Poured Out From Heaven: Muslim Saints’ Shrines in Safavid Miniature Painting”