Issue 5-6 of Vol. 52 (2019) of the journal Iranian Studies with special interest to the Persian poet Saʿdi has now been published.
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Iranian Studies (vol. 52, issue 5-6)
Tag: Art History
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Dynasties of Persia and figurative art
Compareti, Matteo. 2019. Dinastie di Persia e arte figurativa. Bibliografia ragionata per/un millennio e mezzo di iconografie iraniche. Bologna: edito da Paolo Emilio Persiani.
Dinastie di Persia e arte figurativa – Scopo di quest’opera è quello di fornire una bibliografia quanto più aggiornata e circostanziata possibile sulla produzione artistica persiana dall’epoca antica fino all’arrivo dei turchi selgiuchidi. Il testo si presenta quindi come una rassegna relativa a un periodo di tempo molto lungo, dalla metà del I millennio a.C. circa alla fine del I millennio d.C. Il volume – probabilmente tra i lavori più esaustivi per ciò che riguarda lo studio della civiltà e dell’arte persiana – può essere collocato tra le pietre miliari del settore. Obiettivo principale è quello di agevolare un’indagine quanto più documentata possibile della fase tardo-antica dell’arte iranica, con particolare riguardo all’epoca sasanide, secondo alcuni una sorta di “età dell’oro” persiana.
L’iconografia occupa un ruolo privilegiato all’interno della rassegna in senso ampio e onnicomprensivo, senza però sottrarre importanza a quelli che sono gli elementi di fondo mesopotamici e – a partire da una certa epoca – ellenistici, determinanti per la formazione della cultura iranica antica.
Saggio di natura storico-artistica, il lavoro di Compareti è eclettico e minuzioso anche per quanto concerne l’utilizzo delle fonti scritte (mesopotamiche, classiche, medio-iraniche, siriache, cinesi, islamiche, ecc.) atte a proporre identificazioni e letture altrimenti estremamente ardue. Lo studio è preceduto da un’introduzione del noto iranista e islamista Gianroberto Scarcia, da sempre attento testimone di ogni aspetto culturale prodotto in terra d’Iran.
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Music of a Thousand Years
Lucas, Ann. 2019. Music of a thousand years: A new history of Persian musical traditions. Oakland: University of California Press.
Iran’s particular system of traditional Persian art music has been long treated as the product of an ever-evolving, ancient Persian culture. In Music of a Thousand Years, Ann E. Lucas argues that this music is a modern phenomenon indelibly tied to changing notions of Iran’s national history. Rather than considering a single Persian music history, Lucas demonstrates cultural dissimilarity and discontinuity over time, bringing to light two different notions of music-making in relation to premodern and modern musical norms. An important corrective to the history of Persian music, Music of a Thousand Years is the first work to align understandings of Middle Eastern music history with current understandings of the region’s political history.
Source: Music of a Thousand Years by Ann E. Lucas | University of California Press
Ann E. Lucas is Assistant Professor of ethnomusicology in the Department of Music at Boston College, where she also teaches in the Islamic Civilizations and Societies Program. She is recognized for her work on music historiography of the Middle East.
A free open access ebook will be available upon publication of the book. Visit this link to find out more: www.luminosoa.org.
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Central Asian Textile Images
Gasparini, Mariachiara. 2019. Transcending patterns: Silk road cultural and artistic interactions through Central Asian textile images (Perspectives on the Global Past). Honolulu: University of Hawai’i Press.
In Transcending Patterns: Silk Road Cultural and Artistic Interactions through Central Asian Textiles, Mariachiara Gasparini investigates the origin and effects of a textile-mediated visual culture that developed at the heart of the Silk Road between the seventh and fourteenth centuries. Through the analysis of the Turfan Textile Collection in the Museum of Asian Art in Berlin and more than a thousand textiles held in collections worldwide, Gasparini discloses and reconstructs the rich cultural entanglements along the Silk Road, between the coming of Islam and the rise of the Mongol Empire, from the Tarim to Mediterranean Basin. Exploring in detail the iconographic transfer between different agents and different media from Central Asian caves to South Italian churches, the author depicts and describes the movement and exchange of portable objects such as sculpture, wall painting, and silk fragments across the Asian continent and across the ages.
Mariachiara Garsparini received a PhD in transcultural studies and global art history from Heidelberg University, Germany. Her research focuses on Central Asian material culture, wall painting, artist’s praxis, and Sino-Iranian and Turko-Mongol interactions. She has conducted extensive fieldwork in Asia. Since 2015 she has been teaching Asian art in the San Francisco Bay Area.
Asutay-Effenberger, Neslihan & Falko Daim (eds.). 2019. Sasanidische Spuren in der byzantinischen, kaukasischen und islamischen Kunst und Kultur | Sasanian Elements in Byzantine, Caucasian and Islamic Art and Culture (Römisch Germanisches Zentralmuseum 15). Bonn: Verlag Schnell & Steiner.
The Sasanian Empire (224-651 AD) spreads over areas of today’s Iran, Iraq, Azerbaijan, Pakistan and Afghanistan. The Caucasus regions were also under its political influence. Many elements of Sasanian art and culture can be found in neighboring countries and cultures, such as Byzantium or the Christian Caucasus, and continued to live after the Sasanian fall in the Islamic dominions that developed on their former territory. To examine the continuing role and the survival of Sasanian art after the fall of the last Persian Empire, an international conference was held in September 2017 at the Roman-Germanic Central Museum in Mainz. The contributions of scholars from different disciplines are published in this volume.
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Art of Sogdian immigrants
Xu, Jin. 2019. The funerary couch of An Jia and the art of Sogdian immigrants in sixth-century China. Burlington Magazine, No. 1399 – Vol 161. 820–829.
The tomb of An Jia, leader of a Sogdian immigrant community in sixth-century Xi’an, northern China, contained a remarkable stone couch. Its form is Chinese but its decoration imitates gilt silverware imported by Sogdian merchants from Sasanian Persia, reflecting An Jia’s dual cultural identity.
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Journey to the City
Tinney, Steve & Karen Sonik (eds.). 2019. Journey to the City :A Companion to the Middle East Galleries at the Penn Museum. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology.
The Penn Museum has a long and storied history of research and archaeological exploration in the ancient Middle East. This book highlights this rich depth of knowledge while also serving as a companion volume to the Museum’s signature Middle East Galleries opening in April 2018. This edited volume includes chapters and integrated short, focused pieces from Museum curators and staff actively involved in the detailed planning of the new galleries. In addition to highlighting the most remarkable and interesting objects in the Museum’s extraordinary Middle East collections, this volume illuminates the primary themes within these galleries (make, settle, connect, organize, and believe) and provides a larger context within which to understand them.
The ancient Middle East is home to the first urban settlements in human history, dating to the fourth millennium BCE; therefore, tracing this move toward city life figures prominently in the book. The topic of urbanization, how it came about and how these early steps still impact our daily lives, is explored from regional and localized perspectives, bringing us from Mesopotamia (Ur, Uruk, and Nippur) to Islamic and Persianate cites (Rayy and Isfahan) and, finally, connecting back to life in modern Philadelphia. Through examination of topics such as landscape, resources, trade, religious belief and burial practices, daily life, and nomads, this very important human journey is investigated both broadly and with specific case studies.
Steve Tinney is Associate Curator-in-Charge of the Babylonian Section and the Clark Research Associate Professor of Assyriology at the University of Pennsylvania.
Karen Sonik is Assistant Professor of Art History at Auburn University.
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The reshaping of Persian art
Szántó, Iván & Yuka Kadoi (eds.). 2019. The reshaping of Persian art: Art histories of Islamic Iran and Centra Asia (Acta et Studia XV). Piliscsaba: The Avicenna Institute of Middle Eastern Studies.
How to order:
Avicenna Institute of Middle Eastern Studies
Contact: Oroszi Gyöngyi
Tel.: + 36 (06) 26 375 329 / 414
E-mail: oroszi@avicenna-kkki.hu
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The Geography of Gandhāran Art
Rienjang, Wannaporn & Peter Stewart (eds.). 2019. The geography of Gandhāran art. Oxford: Archaeopress.
Gandhāran art is usually regarded as a single phenomenon – a unified regional artistic tradition or ‘school’. Indeed it has distinctive visual characteristics, materials, and functions, and is characterized by its extensive borrowings from the Graeco-Roman world. Yet this tradition is also highly varied. Even the superficial homogeneity of Gandhāran sculpture, which constitutes the bulk of documented artistic material from this region in the early centuries AD, belies a considerable range of styles, technical approaches, iconographic choices, and levels of artistic skill.
Proceedings of the Second International Workshop of the Gandhāra Connections Project, University of Oxford, 22nd-23rd March, 2018. This volume is open access and available from the publisher’s website linked above.
Tanabe, Katsumi. 2018. Not the Queen Šābuhrduxtag but the goddess Anāhitā: Identification of the female figure in the investiture scene of Narseh at Naqsh-i Rustam. Japan Society for Hellnistic-Islam Archaeological Studies 25. 9–26.
The rock-cut relief depicting the investiture scene of the Sasanian King of Kings, Narseh (293-302) at Naqsh-i Rustam in southern Iran has been investigated by many scholars since the beginning of the twentieth century CE . As regards the iconography of this relief, one of a few problems that have not yet gained scholarly consensus is the identification of the female figure depicted on the viewer’s rightmost side of the relief.
Currently there are two major hypotheses as regards the identification. One of them is to identify the female figure as the Zoroastrian goddess of water, Anāhitā (Arədvī Sūrā Anāhitā). The other is to identify it as the queen of Narseh, Šābuhrduxtag (Shāpuhrdukhtak).