The Routledge Handbook on the Sciences in Islamicate Societies provides a comprehensive survey on science in the Islamic world from the 8th to the 19th century. Across six sections, a group of subject experts discuss and analyze scientific practices across a wide range of Islamicate societies. The authors take into consideration several contexts in which science was practiced, ranging from intellectual traditions and persuasions to institutions, such as courts, schools, hospitals, and observatories, to the materiality of scientific practices, including the arts and craftsmanship. Chapters also devote attention to scientific practices of minority communities in Muslim majority societies, and Muslim minority groups in societies outside the Islamicate world, thereby allowing readers to better understand the opportunities and constraints of scientific practices under varying local conditions. Through replacing Islam with Islamicate societies, the book opens up ways to explain similarities and differences between diverse societies ruled by Muslim dynasties. This handbook will be an invaluable resource for both established academics and students looking for an introduction to the field. It will appeal to those involved in the study of the history of science, the history of ideas, intellectual history, social or cultural history, Islamic studies, Middle East and African studies including history, and studies of Muslim communities in Europe and South and East Asia.

An original study of the transformation of Safavid Persia from a majority Sunni country to a Twelver Shi'i realm "Mysticism" in Iran is an in-depth analysis of significant transformations in the religious landscape of Safavid Iran that led to the marginalization of Sufism and the eventual emergence of 'irfan as an alternative Shi'i model of spirituality. Ata Anzali draws on a treasure-trove of manuscripts from Iranian archives to offer an original study of the transformation of Safavid Persia from a majority Sunni country to a Twelver Shi'i realm. The work straddles social and intellectual history, beginning with an examination of late Safavid social and religious contexts in which Twelver religious scholars launched a successful campaign against Sufism with the tacit approval of the court. This led to the social, political, and economic marginalization of Sufism, which was stigmatized as an illegitimate mode of piety rooted in a Sunni past. Anzali directs the reader's attention to creative and successful attempts by other members of the ulama to incorporate the Sufi tradition into the new Twelver milieu. He argues that the category of 'irfan, or "mysticism," was invented at the end of the Safavid period by mystically minded scholars such as Shah Muhammad Darabi and Qutb al-Din Nayrizi in reference to this domesticated form of Sufism. Key aspects of Sufi thought and practice were revisited in the new environment, which Anzali demonstrates by examining the evolving role of the spiritual master. This traditional Sufi function was reimagined by Shi'i intellectuals to incorporate the guidance of the infallible imams and their deputies, the ulama. Anzali goes on to address the institutionalization of 'irfan in Shi'i madrasas and the role played by prominent religious scholars of the eighteenth and early nineteenth centuries in this regard. The book closes with a chapter devoted to fascinating changes in the thought and practice of 'irfan in the twentieth century during the transformative processes of modernity. Focusing on the little-studied figure of Kayvan Qazvini and his writings, Anzali explains how 'irfan was embraced as a rational, science-friendly, nonsectarian, and anticlerical concept by secular Iranian intellectuals.

Although in the last few years the study of painting in 19th century Iran has made considerable progress it still remains somewhat tradition bound. It would seem that art historians find it difficult to go beyond oil paintings, lacquer, and enamel. In 1998, Robinson, the doyen of Qajar art history, wrote: "Qajar painting found its most prestigious outlets in oil painting, lacquer, and enamel." In this study it is shown that paintings were probably the most important form of expression for painters for many centuries and as prestigious as the other forms of painting. Mural paintings were very popular and were to be found on various types of buildings ranging from the royal palaces, private homes, bath-houses to a religious shrine. Painting was a craft and a business that was actively pursued by artisans in most major towns in response to a general demand for-figurative art. As to the themes depicted these remained basically limited to (i) dynastic and epic (Qajar 'family portraits'; battles, hunts; Shahnameh scenes), (ii) sensual (flora, fauna, erotic), and (iii) religious (prophets, lmams, 'olama) subjects. These subjects occurred in any type of building irrespective of its function. The wide use of figurative representation in religious buildings and practice is of great interest. People almost invariably assume that Moslems until recent times did not tolerate paintings and the like of humans and animals adorning public and private buildings and publications. This study shows otherwise. There is even evidence of the use of paintings as religious icons, which is a totally neglected subject. Rock reliefs and other forms of sculptured works in and on buildings and its accessories such as doors show a similar development as mural paintings. Although information is even less copious than for wall paintings, it is clear that the depiction of living beings in the forms of sculptures was very widespread and pre-dates the Qajar period. The nature and form of murals were influenced by the increased contacts between Persia/Iran and the outside world, in particular Europe and India. This holds in particular for the use of prints and the occurrence of European scenes in frescos and other forms of paintings. Willem Floor has written extensively on many aspects of social, economic, and art history of Iran.

Remedying an important deficit in the historiography of medicine, public health, and the Middle East, A Modern Contagion increases our understanding of ongoing sociopolitical challenges in Iran and the rest of the Islamic world.