Persia in the post-Mongol era is an ambiguous concept. The area is riddled with different ethnicities, religions, and seemingly endless claims to power. The Timurid Empire is no exception to this trend. Temür rises to power in 1370 using Central Asian nomadic styles of ruling and quickly dominates this geographic region inhabited by a plethora of ethnicities and religions. He understands the volatility of maintaining a large, diverse empire and takes key steps in securing his “united” rule. The key political move that this paper examines is Temür's commissioning of art. The art endorsed by the Timurid government surrounds the illumination of manuscripts and the illustration of literature. The Timurids conveyed two main messages to those living under their empire. The first message targets the main ethnic groups: Iranians, Mongols and Turks, justifying Temür as their rightful leader. The second message is delivered to the ethnic minorities, instilling fear to prevent rebellions and ensure subjugation. This paper will demonstrate that the Timurids decided to present political messages through cultural media because they understood the how literature and art were imperative in shaping identity.

中文翻译：

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Temür，政治画家

后蒙古时代的波斯是一个模糊的概念。该地区充斥着不同的种族、宗教和看似无穷无尽的权力主张。帖木儿帝国也不例外。铁木尔在 1370 年以中亚游牧式的统治方式掌权，并迅速统治了这个由众多种族和宗教居住的地理区域。他了解维持一个庞大而多元化的帝国的波动性，并采取关键步骤来确保他的“统一”统治。本文考察的关键政治举措是铁缪尔的艺术委托。帖木儿政府认可的艺术围绕手稿的照明和文学的插图。帖木儿向生活在他们帝国之下的人们传达了两个主要信息。第一条信息针对主要民族：伊朗人、蒙古人和土耳其人，证明铁木尔是他们的合法领袖。第二条信息传递给少数民族，灌输恐惧，防止叛乱，确保被征服。本文将证明帖木儿决定通过文化媒体传达政治信息，因为他们了解文学和艺术在塑造身份方面的重要性。