"Morocco was closely linked to developments in Spain, where the largest and most prosperous Jewish population in the world lived during the Middle Ages. But, as the Reconquista by the Catholic monarchs progressed in Spain, Jews were increasingly persecuted. After a wave of anti-Jewish violence in 1391, many Jews sought refuge in Morocco, where the ruling dynasty, the Marinids, was more hospitable to them. Spanish or ‘Sephardic’ Jews settled throughout the country, particularly in the northern cities (such as Tetuan), which became major destinations for Iberian refugees. Fez received a large number of Jewish immigrants, and as the city’s Jewish population grew, the Marinid Sultan ‘Abd al-Haq b. Abu Sa’id decided to confine the Jews to a special quarter near the palace in 1438. The immediate cause of the sultan’s decision was a Muslim massacre of the Jewish community, following allegations that Jews had placed wine in the mosques of Fez. The sultan intervened by relocating the Jews to a quarter next to the imperial city in ‘New Fez.’ But broader context of the inter-religious tension may well have been competition between Jews and Muslims over urban space, especially in light of the growing immigration of Spanish Jews. The spot chosen by the sultan was called the mellah and soon the new Jewish quarter swarmed with thousands of arrivals from Spain, following the expulsion of Spanish Jewry in 1492. The term mellah came to be used for other quarters in Morocco where Jews resided in a designated, enclosed district of the city. […]


In many of the places they settled in Morocco, the new arrivals from Spain were collectively known in Hebrew as the megorashim (or ‘those expelled’), to distinguish them from the native Jews, the toshavim (or ‘residents’). In northern Morocoo, the refugees usually formed the majority of the community. In Fez, which contained Morocco’s largest Jewish community during this period, Spanish refugees exercised enormous influence on the religious and cultural life of the community. Their influence was also significant in the southern and eastern communities. In Debdu, a community in eastern Morocco where the majority of the town’s inhabitants were Jewish, Jews of Spanish origin appear to have formed the dominant family groups. In Marrakesh, the Spanish refugees were concentrated in one area and maintained separate synagogues. A French observer noted in 1903: “In Marrakesh there are both native and Spanish Jews. Each sect possesses synagogues and a Talmud-thora of its own…” Over the centuries, however, the descendants of Spanish Jewry in many Moroccan communities assimilated aspects of the indigenous Jewish culture, and thus gave bieth to a new, uniquely Moroccan cultural synthesis."

Morocco: Jews and Art in a Muslim Land, by Vivian B. Mann

The Sephardic Diaspora, pages 31-32

(via reclaimingthejewtag)

(via this-is-not-jewish)


kombizz:

Tajrish Bazar Enterance

kombizz:

Tajrish Bazar Enterance


fotojournalismus:

Women wait in line at a polling station to vote during presidential elections in Qom, south of Tehran, Iran on June 14, 2013.
[Credit : Ebrahim Noroozi/AP]

fotojournalismus:

Women wait in line at a polling station to vote during presidential elections in Qom, south of Tehran, Iran on June 14, 2013.

[Credit : Ebrahim Noroozi/AP]


deepwishfulthoughts:

Shrine and the Golden dome of Imam Reza a.s.

deepwishfulthoughts:

Shrine and the Golden dome of Imam Reza a.s.


gunsandposes:

YOUTH HOLDING A CANDLE AND AN INCENSE BURNER — Iranian, Safavid period, circa 1640. Opaque watercolor and gold on paper. From the Johnson Museum of Art: ”The idealized youthful figure, whose gender seems ambiguous, wears a hat that suggests he is male. He is shown holding a burning candle and a censer from which thick smoke rises. A slight breeze blows his flowing garments and long, wispy locks of hair. A delicate background pattern of landscape elements and clouds, all painted in gold, creates an otherworldly setting. All of these features characterize the conventionalized images that were so popular during this period. Such depictions have strong poetic connotations, many related to Sufism (Islamic mysticism), that heightened the spiritual content of poetry and contributed new levels of meaning. In this context a painting of a youth could be a metaphor for earthly or divine beauty or love.”

gunsandposes:

YOUTH HOLDING A CANDLE AND AN INCENSE BURNER — Iranian, Safavid period, circa 1640. Opaque watercolor and gold on paper. From the Johnson Museum of Art: ”The idealized youthful figure, whose gender seems ambiguous, wears a hat that suggests he is male. He is shown holding a burning candle and a censer from which thick smoke rises. A slight breeze blows his flowing garments and long, wispy locks of hair. A delicate background pattern of landscape elements and clouds, all painted in gold, creates an otherworldly setting. All of these features characterize the conventionalized images that were so popular during this period. Such depictions have strong poetic connotations, many related to Sufism (Islamic mysticism), that heightened the spiritual content of poetry and contributed new levels of meaning. In this context a painting of a youth could be a metaphor for earthly or divine beauty or love.”


corbis:

Author: Mohsen Shandiz

corbis:

Author: Mohsen Shandiz


yourelegy:

A funeral at the Abdulazim shrine. Tehran, Iran. Oct 2006© Paolo Pellegrin

yourelegy:

A funeral at the Abdulazim shrine. Tehran, Iran. Oct 2006
© Paolo Pellegrin


farsizaban:

Googoosh (late 70’s)

farsizaban:

Googoosh (late 70’s)


revolutionizethesoul:

Typical Iranian Girls
More than 30 years ago. 
Love everything about this picture.

revolutionizethesoul:

Typical Iranian Girls

More than 30 years ago. Love everything about this picture.