XXXI Международный конгресс ИИСАА. 23–25 июня 2021 г. Т. 1

120 XXXI Международный Конгресс по источниковедению и историографии стран Азии и Африки Секция IV the phenomenon has been interpreted primarily as a reflection of the acculturation of both Mongols and Turks to the cultural ethos of their Persianised subjects. Yet, despite the fact that there was certainly a process of Persianisation of the Mongol sovereigns, the majority of these texts were dedicated to local rulers subject to the Ilkhans in Anatolia, Iraq and southern Iran. In Anatolia, a significant number of administrative works were produced in the first half of the 13th century and dedicated to the Seljuq Sultans of Rūm before the Mongol invasion. However, the Mongol invasion of Anatolia transformed not only Seljuq politics but also its intellectual culture, affecting also the composition of advice literature in post-Mongol Anatolia. One particular work of this genre, the Fusṭāṭ al-ʿadāla was composed by an anonymous author and dedicated to the local Chobanid rulers of Kastamonu in 1284. The text is based on the famous Siyar al-mulūk, the Persian mirror for princes attributed to the Seljuq vizier Niẓām al-Mulk (d. 1092). This paper examines the Fusṭāṭ al-ʿadāla ’s adaptations on the original text by scrutinizing the arrangement of content and chapter omissions vis-à-vis the original work. We will argue that the additions made by the author of th e Fusṭāṭ al-ʿAdāla to his rendition of the Siyar al-mulūk might tell us about the particularities of the religious, political and social history of north-western Anatolia in the second half of the 13th century. Ravandi-Fadai Lana (Institute of Oriental Studies, RAS; Russian State University for the Humanities) Letters by Knife, Russian Dervishes and Blood-sucking Serpents: Images from Revolutionary Gilan Museums and archives in Russia and Iran have preserved propaganda posters, caricatures and portraits made by Iranians and Soviets, both amateur and professional, who were present during the revolutionary events in the Gilan Province in the early 1920s. These understudied visual materials were being posted in the streets, distributed as leaflets and published in contemporary revolutionary newspapers, such as “Red Banner” ( lava-ye sorkh ) and “Red Iran” ( īrān-e sorkh ). Even Ehsanollah Khan, who became the second leader of the Persian Socialist Republic, produced and disseminated some caricatures. The paper examines visual codes and approaches of several artists engaged in producing these materials. Caricature targets sometimes reveal divergences in the alliances of the artists, and in the goals of local Iranian and “guest” Soviet revolutionaries. An Iranian graphic artist Mohammed Agha Kesmayi of Resht had already an experience of drawing pictures that mocked the Shah and the Qajar dynasty. Some elements of his style overlap with those of the Russian “lubok” popular prints, as well as with the Soviet and European poster iconography — the serpent/hydra as a symbol of predation, for instance. Other Iranian-produced images related to Gilan