Safavid in the context of "Peshmerga"

The Ottoman persecution of Alevis is best known in connection with the Ottoman sultan Selim I's reign (1512–1520) and his war against the Safavids in 1514. But there are examples that indicate that there already existed problems with Alevi groups in the Ottoman Empire since the 14th century, The Alevis were generally persecuted for sympathizing in the negative role of Safavids.

The sitar (English: /ˈsɪtɑːr/ or /sɪˈtɑːr/; IAST: sitāra) is a plucked stringed instrument, originating from the Indian subcontinent, used in Hindustani classical music. The instrument was invented in the 18th century, and arrived at its present form in 19th-century India. Khusrau Khan, an 18th-century figure of the Mughal Empire, has been identified by modern scholarship as the inventor of the sitar. According to most historians, he developed the sitar from the setar, an Iranian instrument of Abbasid or Safavid origin.

Used widely throughout the Indian subcontinent, the sitar became popularly known in the wider world through the works of Ravi Shankar, beginning in the late 1950s and early 1960s. The advent of psychedelic culture during the mid-to-late 1960s set a trend for the use of the sitar in Western popular music, with the instrument appearing on tracks by bands such as the Beatles, the Rolling Stones, Metallica and many others.

The Ali Gholi Agha hammam is a historical hammam in the Bidabad district of Isfahan, Iran. The hammam was built in 1713 by Ali Gholi Agha, who was a courtier of two Safavid kings Suleiman I and Sultan Husayn. Its architectural style is Isfahani and it was built in the late Safavid era. The structure consists of one large hammam and a small hammam and also a Howz. Each of these hammams consists of a dressing room and a Garmkhaneh (hothouse), so that they could be used in that time separately by men and women. At present, the structure is a museum and can be visited by travellers.

A Persian carpet (Persian: فرش ایرانی, romanized: farš-e irâni [ˈfærʃe ʔiː.ɹɒː.níː]), Persian rug (Persian: قالی ایرانی, romanized: qâli-ye irâni [ɢɒːˈliːje ʔiː.ɹɒː.níː]), or Iranian carpet is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in Iran (historically known as Persia), for home use, local sale, and export. Carpet weaving is an essential part of Persian culture and Iranian art. Within the group of Oriental rugs produced by the countries of the "rug belt", the Persian carpet stands out by the variety and elaborateness of its manifold designs.

Persian rugs and carpets of various types were woven in parallel by nomadic tribes in village and town workshops, and by royal court manufactories alike. As such, they represent miscellaneous, simultaneous lines of tradition, and reflect the history of Iran, Persian culture, and its various peoples. The carpets woven in the Safavid court manufactories of Isfahan during the sixteenth century are famous for their elaborate colours and artistic design, and are treasured in museums and private collections all over the world today. Their patterns and designs have set an artistic tradition for court manufactories which was kept alive during the entire duration of the Persian Empire up to the last royal dynasty of Iran.

A Muraqqa ( Persian: مُرَقّع , Arabic: مورّقة Turkish: Murakka) is an album in book form containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several different sources, and perhaps other matter. The album was popular among collectors in the Islamic world, and by the later 16th century became the predominant format for miniature painting in the Persian Safavid, Mughal Empire, and Ottoman Empire, greatly affecting the direction taken by the painting traditions of the Persian miniature, Ottoman miniature and Mughal miniature. The album largely replaced the full-scale illustrated manuscript of classics of Persian poetry, which had been the typical vehicle for the finest miniature painters up to that time. The great cost and delay of commissioning a top-quality example of such a work essentially restricted them to the ruler and a handful of other great figures, who usually had to maintain a whole workshop of calligraphers, artists and other craftsmen, with a librarian to manage the whole process.

An album could be compiled over time, page by page, and often included miniatures and pages of calligraphy from older books that were broken up for this purpose, and allowed a wider circle of collectors access to the best painters and calligraphers, although they were also compiled by, or presented to, shahs and emperors. The earliest muraqqa were of pages of calligraphy only; it was at the court in Herat of the Timurid prince Baysunghur in the early 15th century that the form became important for miniature painting. The word muraqqa means "that which has been patched together" in Persian.

The Afrasiyab or Chalavi dynasty was a relatively minor Iranian Shia dynasty of Tabaristan (present-day Mazandaran province, Iran) and flourished in the late medieval, pre-Safavid period; it is also called the Kia dynasty. It was founded by Kiya Afrasiyab, who conquered the Bavand kingdom in 1349 and made himself king of the region. In 1504, Ismail I invaded Mazandaran and ended Afrasiyab rule of the region.

The Hotak dynasty (Pashto: د هوتکيانو ټولواکمني; Persian: امپراتوری هوتکیان) was an Afghan dynasty founded by Ghilji Pashtuns that briefly ruled parts of Iran and Afghanistan during the 1720s. It was established in 1709 by Mirwais Hotak, who led a successful rebellion against the declining Persian Safavid empire in the region of Loy Kandahar ("Greater Kandahar") in what is now southern Afghanistan.

In 1715, Mirwais died of natural causes and his brother Abdul Aziz succeeded him. He did not reign long as he was killed by his nephew Mahmud, who overthrew the Safavid Shah and established his own rule over Iran. Mahmud in turn was succeeded by his cousin Ashraf following a palace coup in 1725. Ashraf also did not retain his throne for long, as the Iranian conqueror Nader-Qoli Beg (later Shah), under the resurgent Safavid banner, defeated him at the Battle of Damghan in 1729. Ashraf Hotak was banished to what is now southern Afghanistan, limiting Hotak rule to just a small corner of their once large empire. Hotak rule came to an end in 1738, when Nader Shah defeated Ashraf's successor Hussain Hotak after the lengthy siege of Kandahar. Subsequently, Nader Shah began re-establishing Iranian suzerainty over regions lost to Iran's archrivals, the Ottoman and Russian Empires, decades earlier.

The Battle of Murche-Khort (Persian: نبرد مورچه‌خورت) was the last decisive engagement of Nader's campaign to restore Tahmasp II to the Iranian throne. Ashraf Hotak had failed to arrest Nader's advance onto Isfahan at Khwar pass where his ambush was discovered, surrounded and ambushed itself. The battle was fought in an uncharacteristic manner by the Afghans who to some extent sought to replicate their foes tactical systems which had so badly devastated their armies up to this point. Victory opened a clear road south towards Isfahan and the return of Safavid rule for a few brief years before Nader himself would overthrow it In 1736 and appointed himself as king himself founded the Afsharid dynasty