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  1. Encyclopaedia Iranica. Azerbaijan. Azeri Literature in Iran.: «Another poet-ruler of great significance is Shah Esmāʿīl I (892930/1487-1524), founder of the Safavid dynasty, who established Shiʿism as the state religion of Iran. The strong adherence of the Turks of Azerbaijan to Shiʿism was among the factors that were to weaken their ties with the rest of the Turkic world, giving Azeri literature a local identity and restricting it to Azerbaijan and the area just north of it (now Soviet Azerbaijan). Writing with the pen name of Ḵaṭāʾī, Shah Esmāʿīl declared his own devotion to ʿAlī and his family in passionately ecstatic azals. His dīvān also includes robāʿīs and maṯnawīs and a didactic Naṣīat-nāma. His Dah-nāma (Ten letters; comp. 911/1506), a maṯnawī of more than 1,400 distichs, contains ten love letters exchanged between the lover (i.e., the poet) and his beloved. The poetry of Shah Esmāʿīl shows the influence of the folk poetry and the ʿāšeq (q.v.) style.»
  2. Encyclopaedia of Islam. SAFAWIDS. «There seems now to be a consensus among scholars that the Safawid family hailed from Persian Kurdistān, and later moved to Azerbaijan, finally settling in the 5th/11th century at Ardabīl»
  3. Z. V. Togan, "Sur lOrigine des Safavides, «in Melanges Louis Massignon, Damascus, 1957, III, pp. 345-57
  4. . . .
  5. ., ...
  6. Barry D. Wood, The Tarikh-i Jahanara in the Chester Beatty Library: an illustrated manuscript of the Anonymous Histories of Shah Ismail, Islamic Gallery Project, Asian Department Victoria & Albert Museum London, Routledge, Volume 37, Number 1 / March 2004, Pp: 89  107.
  7. Payvand News. Old Tati (  , .)
  8. Samples of the Azeri Persian language include poems written by Sheikh Safi al-Din Ardebili  David Menashri Central Asia Meets the Middle East. Routledge, 1998 ISBN 0-7146-4600-8, 9780714646008 p.123
  9. Habibollah Ayatollahi, abīb Allāh Āyat Allāhī, Shermin Haghshenās, Sāzmān-i Farhang va Irtibāṭāt-i Islāmī (Iran). Markaz-i Muṭālaʻāt-i Farhangī-Bayn al-Milalī Shermin Haghshenās Alhoda UK, 2003 ISBN 964-94491-4-0, 9789649449142 p.180
  10. E. Yarshater, Encyclopedia Iranica. Book 1, p. 240:
  11. Encyclopaedia Iranica. E. Yarshater, The Iranian Language of Azerbaijan: " (=) , , , ( --, , ), . (Adari lost ground at a faster pace than before, so that even the Safavids, originally an Iranian-speaking clan (as evidenced by the quatrains of Shaikh Sáafi-al-din, their eponymous ancestor, and by his biography), became Turkified and adopted Turkish as their vernacular)."
  12. Roger M. Savory. Safavids in Peter Burke, Irfan Habib, Halil Inalci:»History of Humanity-Scientific and Cultural Development: From the Sixteenth to the Eighteenth Century", Taylor & Francis. 1999. Excerpt from pg 259:", , , , , . , , , - , - (the present time, it is certain that the Safavid family was of indigineous Iranian stock, and not of Turkish ancestry as it is sometimes claimed. It is probable that the family originated in Persian Kurdistan, and later moved to Azerbaijan, where they adopted the Azari form of Turkish spoken there, and eventually settled in the small town of Ardabil sometimes during the eleventh century.)".
  13. , , «» «». : . , , . . (The question of the language used by Shah Ismail is not identical with that of his race or nationality. His ancestry was mixed: one of his grandmothers was a Greek princess of Trebizond. Hinz, Aufstieg, 74, comes to the conclusion that the blood in his veins was chiefly non-Turkish. Already, his son Shah Tahmasp began to get rid of his Turcoman praetorians  V. Minorsky, The Poetry of Shah Ismail, Bulletin of the School of Oriental and African Studies, University of London, Vol. 10, No. 4. (1942), pp. 1053)
  14. Britannica Online Encyclopedia.Ismāʿīl I.
  15. .. , .. .., .. , .. , .. . « XVIII ». 1958
  16. XVI , , , (, ) , - , , ; - , (In the 16th century, the Turcophone Safavid family of Ardabil in Azerbaijan, probably of Turkicized Iranian (perhaps Kurdish), origin, conquered Iran and established Turkic, the language of the court and the military, as a high-status vernacular and a widespread contact language, influencing spoken Persian, while written Persian, the language of high literature and civil administration, remained virtually unaffected in status and content.) -John R. Perry, «Turkic-Iranian contacts», Encyclopædia Iranica, January 24, 2006
  17. Vladimir Minorsky. «The Poetry of Shah Ismail», Bulletin of the School of Oriental and African Studies, University of London, Vol. 10. No. 4, 1942, p. 1006a.
  18. Laurence Lockhart, Peter Jackson. The Cambridge History of Iran, Cambridge University Press, 1986, p. 950, ISBN 0-521-20094-6
  19. Michel M. Mazzaoui, «Islamic Culture and literature in the early modern period» in Robert L. Canfield, Turko-Persia in historical perspective, Cambridge University Press, 1991. pg 87
  20. Ronald W. Ferrier, «The Arts of Persia». Yale University Press. 1989. pg 199
  21. Shāh Ismā'īl, even though he must have been bi-lingual from birth, was not writing for his own hearts delight. He had to address his adherents in a language fully intelligible to them, and thus the choice of the Turcoman Turkish became a necessity for him. The admixture of Chaghatay forms in Ismā'īls poetry would indicate that he did not feel any one definite dialect as his own, but this admixture must have a purely literary origin (influence of Chaghatay dīvāns)  V. Minorsky, The Poetry of Shah Ismail, Bulletin of the School of Oriental and African Studies, University of London, Vol. 10, No. 4. (1942), pp. 1053)
  22. Encyclopaedia Iranica. Esmail I afawi. "Esmail was a skillful poet who used prevalent themes and images in lyric and didactic-religious poetry with ease and some degree of originality. His authentic poetic corpus is mostly lyrical, while religious themes receive less attention. As reflected in his poems, Esmails religiosity consisted of a certain confluence of Golat, Sufi, and Horufi views, a synthetic religious phenomenon that was quite common in the Turkish-Persian cultural spheres at the turn of the 16th century. The significance of Esmails poetry thus is not primarily on account of its religious content (pace Minorsky, p. 1025a). He was rather a genuine participant in the Adari lyric tradition, and his poetic corpus is best studied within that context."

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