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Muzaffar al-Din Jahan Shah ibn Yusuf (; جهان شاه; 1397 in Khoy or 1405 in Mardin – 30 October or 11 November 1467 near Bingöl) or Abu al-Muzaffar Jahan Shah was the leader of the Qara Qoyunlu Oghuz Turkic tribal confederacy in Azerbaijan and Arran who reigned c. 1438 – 1467. During his reign he managed to expand the Qara Qoyunlu's territory to its largest extent, including Anatolia, most of present-day Iraq, central Iran, and even eventually Kerman. He also conquered neighbouring states. He was one of the greatest rulers of the Qara Qoyunlu. He was also allegedly fond of drinking and entertainment. During his reign Jahan Shah had the Gökmedrese and Muzafferiye theological schools constructed in his capital city Tabriz.
In 1452-1453, Jahan Shah seized the opportunity of the death of Sultan Muhammad bin Baysonqor, Timurid Governor of Fars, to further expand East and South, taking Savah, Qumm, Isfahan, Shiraz and Yazd. He was seconded by his son Pir Budaq, who became governor of Shiraz.
In the summer of 1458, Jahan Shah advanced as far as Herat, leading to the occupation of Herat for six months, but finally had to turn back because of a revolt by his son Hasan Ali and also because Abu Said's march on Tabriz.
Hasan Ali was kept in Maku prison for a while for his rebellious nature. He was defeated in winter 1458. But this time, his son Pirbudag rebelled, who was soon joined by Hasan Ali in Fars province. However, he was spared at the request of his mother and replaced by Mirza Yusuf, another son of Jahan Shah. Pirbudag was sent to govern Baghdad, his other sons Qasim beg was assigned to Kerman with Hasan Ali being imprisoned again. However, Pirbudag again rebelled, now controlling Baghdad. He was defeated in 1464 and was executed by Mirza Muhammad.
Jahan Shah set out from Tabriz with a great army on 16 May 1466, and came to the basin of Lake Van. While there, he was furious to learn that Uzun Hasan was raiding his lands with 12,000 cavalry. Meanwhile, Uzun Hasan, suspecting that Jahan Shah was planning to attack him, had carefully guarded the mountain passes. Envoys went back and forth between them, but because of Jahan Shah’s heavy demands, an agreement could not be reached. Having advanced as far as Muş, Jahan Shah had to postpone his attack because of the onset of winter. As his troops began to complain, he decided to withdraw to a winter residence. Uzun Hasan caught his army by surprise and totally defeated them in a sudden attack. Mirza Yusuf and Mirza Muhammad was captured on 30 October or 11 November 1467 at the Battle of Chapakchur. Jahan Shah was killed in battle while fleeing. and with his death the great era of Qara Qoyunlu history came to an end. He was succeeded by his son Hasan Ali. Jahan Shah had been buried in southern part of Blue Mosque, Tabriz.
Jahan Shah, along with being a poet, promoted culture, learning and architecture. Using the pseudonym " Haqiqi", Jahan Shah wrote poetry in Azerbaijani Turkic and Persian. In 1447 he married his daughter to a descendant of the famous mystic Shah Nimatullah Vali whom the Shia revered as a saint and a worker of miracles.
Jahanshah is also known for renovation work on the Eastern entrance iwan of the Jameh Mosque of Yazd in 1457. The portal has a central dedication in the name of Jahanshah: "the structure of this lofty arch (taf) was restored during the reign of . . . Abu’l-Muzaffar Sultan Jahanshah, Nizam al Dawlah wa’l-Din al-Hajj Qanbar, in Dhu’l-Hijjah 861." It is thought that the contribution was specifically related to the muqarnas of the portal. (1988). 9780691035871, Princeton Univ. Pr. ISBN 9780691035871
The Blue Mosque in Tabriz was started through a foundation established by the wife of Jahanshah, Khatun Jan Baygum. The mosque was completed in 1465, but the mausoleum extension south of the mosque was completed later during the reign of the Aq Qoyunlu, into the 1480s CE.
The artist Abu'l-Hasan Mostawfi Ghaffari (died 1797/98) was active at the court the Zand dynasty and is known for several watercolors of historical subjects.
The identification of Jahan Shah is based on an inscription in Arabic in the Thuluth calligraphical style, appearing in a row of blue tiles behind the subject: "The Great Sultan, the Most Honorable Khagan Abu al-Muzaffar, Amir Jahanshah Turkman, may God perpetuate his kingdom and his authority." (السلطان الاعظم الخاقان الاكرم ابو المظفر امير جهانشاه تركمان خلد الله ملكه و سلطانه, al-sulṭān al-aʿẓam al-ẖāqān al-akram abū al-muẓaffar amīr ǧahānšāh Turkmān ẖalada Allāh mulkahu wa sulṭānahu). In several of his works, Abu'l Hasan uses epigraphic panels in Thuluth script, incorporated into arched bays (designed after the Khodakhaneh in Shiraz).
The subject in the painting wears a costume with flower patterns, as well of the dagger and the sabers decorated with precious stones, which are designs of the 18th century."The gold brocade costume, decorated with numerous florets, appeared to be from the 18th century, not the 15th, as did the weapons, the dagger and the sabre, whose sleeves are decorated with precious stones." ("Le costume de brocart d'or, orné de nombreuses fleurettes, semblait être du XVIIIe siècle, non du XVe, de même que les armes, le poignard et le sabre, donc les manches sont ornés de pierres précieuses.") in Iran : pièces du musée de Téhéran, du musée du Louvre et de collections particulières, cat. exp. (Paris, Musée Cernuschi), Paris, Musée Cernuschi, 1948, p. 74-75, n° 152
The original signature of the portrait was imperfectly erased in modern times, and replaced by the signature "Khalil Musawir, year 841" (خليل مصوير سنه ۸۴۱) in an apparent attempt to claim that the painting was much more ancient, corresponding to the period of Jahan Shah (1437), and a production of the famous painter of Shahrukh named Khalil Musawir, in the year 841 (1437 CE).According to Musée Cernuschi, the original signature by Abu al-Hasan Ghaffari Mustawfi al-Kashani was erased, and a new inscription was then fabricated to claim a more ancient production of the painting by the famous painter of Shahrukh named Khalil Musawir, in the year 841 (1437 CE): "Encore qu'on l'ait affublé récemment du nom d'un peintre célèbre de la cours de Shah Rukh, Kalil Mosawwar, et d'une date, 841 (1437), qui est celle de l'avènement de Shah Jahan. (...) Nous nous aperçûmes aussi que le portrait de Djahan Shah avait bien été signé par son véritable auteur, comme celui de Shah Safi, mais que la signature avait été lavée, pour qu'elle ne contredise pas l'attribution de cette oeuvre à Kalil Mosawwar." in Iran : pièces du musée de Téhéran, du musée du Louvre et de collections particulières, cat. exp. (Paris, Musée Cernuschi), Paris, Musée Cernuschi, 1948, p. 74-75, n° 152
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