British Museum showcases Iranian heritage: the rich history of 15th century Iran is explored in London.

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"He is equally at home on the dervish's mat and the royal throne." These two preoccupations of Shah 'Abbas, a leading figure in the creation of modern Iran, described by biographer Iskandar Munsti Bey in 1629, are the focus of a major exhibition at the British Museum, staged as Iran celebrates the 30th anniversary of the Islamic revolution.

The exhibition is a remarkable achievement for Neil MacGregor, director of the British Museum, and Sheila Canby, its curator, as eight separate Iranian institutions have contributed and loaned artefacts, never before seen outside Iran.

MacGregor sees similarities between 'Abbas and his contemporary, England's Elizabeth I, who consolidated the state religion, saw off foreign threats and presided over a golden age: "He inherited in difficult circumstances an unstable country that had recently redefined its religion and was surrounded by powerful enemies. Like Queen Elizabeth I, he was able to create a compelling sense of a distinct national identity of which Shi'ism was a key component." By the time of his death in 1629, he had created an imperial power stretching from the Tigris to the Indus.

Religion and spiritual practices were important to Shah 'Abbas who donated 1,000 pieces of porcelain and 250 Persian poetic and historic manuscripts to the Ardabil shrine of his ancestor, Sheikh Sail, a 14th century Sufi mystic. Some of these gifts--among them Chinese porcelain and mosque lamps--are on display in London.

Shah 'Abbas, who came to the throne in 1587 as the fifth ruler of the Safavid dynasty, transformed four key sites: Isfahan, as the new capital, the Ardabil ancestral shrine, the Mashhad burial site of Imam Riza, the only Shia imam (infallible spiritual guide) who is buried in Iran, and Qum, the shrine city of Fatimeh Ma'sumeh, Imam Riza's sister.

Every shrine received priceless objects: Korans, Arabic and scientific manuscripts and calligraphy. The exhibition displays many of these gifts and provides background information about each shrine, its historical significance and its relevance to present-day Iran.

The British Museum's exhibition, with carpets of silk and gold embroidered with precious metals, miniature prayer rugs, carpets, ceramic dishes combining Safavid and Chinese designs, wine cups, and silk and velvet textiles offers a penetrating insight into the life of Iranian royalty.

Although Shi'ism was declared the state religion of Iran in 1501, it was Shah 'Abbas who consolidated its preeminence, through the rule of law and suppression of heterodox Shia sects and extremist dervish orders. The clerics in his circle established the parameters of Shia orthodoxy and strengthened the role of the religious elite throughout Iran.

A restless, decisive, ruthless and intelligent leader, he either murdered or blinded three of his sons to ensure they would not succeed him before he was ready to go. During his reign (AD 1587-1629), a new artistic style developed in metalwork, textiles, carpets, calligraphy and bookbinding. He also commissioned many public buildings, which are shown in the British Museum as models or flashed on the walls at the end of the exhibition as giant slides. A video shows the various shrines as they are today.

The Shah fostered good relations with Europe and welcomed foreigners among them the English Sherley brothers who feature in a painting by Van Dyck. Richly illuminated Armenian gospels show a tolerance of other faiths. The Armenian merchant class in Isfahan was nurtured, to secure the lucrative silk trade. The liberal face of Islam is also portrayed--with the ban on alcohol not as strictly adhered to as it is today, many of the pictures show drinking, and wine vessels are on display.

The exhibition is accompanied by a richly illustrated book by Sheila Canby and a full public programme of lectures, workshops, family events, film screenings and gallery talks.

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Shah 'Abbas: The Remaking of Iran, Reading Room, The British Museum, until 14 June.