While the impact of the Persian style is undeniably reflected in most aspects of the art and architecture of Islamic Central Asia, this Perso-Central Asian connection was chiefly formed and articulated by the Euro-American movement of collecting and interpreting the art and material culture of the Persian Islamic world in modern times. This had an enormous impact on the formation of scholarship and connoisseurship in Persian art, for instance, with an attempt to define the characteristics of how the Islamic art of Iran and Central Asia should be viewed and displayed at museums, and how these subjects should be researched in academia. This important historical fact, which has attracted scholarly interest only in recent years, should be treated as a serious subject of research, accepting that the abstract image of Persian art was not a pure creation of Persian civilization, but that it can be the manifestation of particular historical times and charismatic individuals. Attention should therefore be given to various factors that resulted in the shaping of "Persian" imagery across the globe, not only in terms of national ideologies, but also within the context of several protagonists, such as scholars, collectors and dealers, as well as of the objects themselves. This volume brings together Islamic Iranian and Central Asian art experts from diverse disciplinary and professional backgrounds, and intends to offer a novel insight into what is collectively known as Persian art

虽然波斯风格的影响不可否认地反映在中亚伊斯兰艺术和建筑的大多数方面，但这种波斯与中亚的联系主要是由近代以来收集和解释波斯伊斯兰世界的艺术和物质文化的欧美运动形成和阐明的。这对波斯艺术的学术和鉴赏能力的形成产生了巨大的影响，例如，试图界定伊朗和中亚的伊斯兰艺术应该如何在博物馆里被观看和展示，以及这些主题应该如何在学术界被研究的特点。这一重要的历史事实在最近几年才引起学术界的兴趣，应该把它作为一个严肃的研究课题，接受波斯艺术的抽象形象不是波斯文明的纯粹创造，它可以是特定历史时期和有魅力的个人的表现。因此，应该关注导致 "波斯 "意象在全球范围内形成的各种因素，不仅是国家意识形态方面的因素，还包括几个主角，如学者、收藏家和经销商，以及物品本身的背景。本卷汇集了来自不同学科和专业背景的伊斯兰伊朗和中亚艺术专家，并打算对统称为波斯艺术的东西提供新的见解。