Tag: Sasanian

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Constructions of Gender

Towers, Susanna. 2019. Constructions of gender in late antique Manichaean cosmological narrative (Studia Traditionis Theologiae 34).

Manichaeism emerged from Sasanian Persia in the third century CE and flourished in Persia, the Roman Empire, Central Asia and beyond until succumbing to persecution from rival faiths in the eighth to ninth century. Its founder, Mani, claimed to be the final embodiment of a series of prophets sent over time to expound divine wisdom.
This monograph explores the constructions of gender embedded in Mani’s colourful dualist cosmological narrative, in which a series of gendered divinities are in conflict with the demonic beings of the Kingdom of Darkness. The Jewish and Gnostic roots of Mani’s literary constructions of gender are examined in parallel with Sasanian societal expectations. Reconstructions of gender in subsequent Manichaean literature reflect the changing circumstances of the Manichaean community.
As the first major study of gender in Manichaean literature, this monograph draws upon established approaches to the study of gender in late antique religious literature, to present a portrait of a historically maligned and persecuted religious community.

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Religion, Culture, and Politics in Pre-Islamic Iran

Lincoln, Bruce. 2021. Religion, culture, and politics in pre-Islamic Iran: collected essays (Ancient Iran Series 14). Leiden; Boston: Brill.

In Religion, Culture, and Politics in Pre-Islamic Iran, Bruce Lincoln offers a vast overview on different aspects of the Indo-Iranian, Zoroastrian and Pre-Islamic mythologies, religions and cultural issues. The book is organized in four sections according to the body of evidence they engage most directly: Avestan, Old Persian, Pahlavi, and Iranian materials in comparison with other data, including studies of myths, especially those with cosmogonic implications, ritual practices, cosmological constructions of space and time, points of intersection between religion, ethics, law, and politics, ideological aspects of scientific and medical theorizing, social organization and gender relations, and other diverse topics.

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The Last Great War of Antiquity

Howard-Johnston, James. 2021. The last great war of antiquity. Oxford University Press.

The last and longest war of classical antiquity was fought in the early seventh century. It was ideologically charged and fought along the full length of the Persian-Roman frontier, drawing in all the available resources and great powers of the steppe world. The conflict raged on an unprecedented scale, and its end brought the classical phase of history to a close. Despite all this, it has left a conspicuous gap in the history of warfare. This book aims to finally fill that gap.
The war opened in summer 603 when Persian armies launched co-ordinated attacks across the Roman frontier. Twenty-five years later the fighting stopped after the final, forlorn counteroffensive thrusts of the Emperor Heraclius into the Persians’ Mesopotamian heartland. James Howard-Johnston pieces together the scattered and fragmentary evidence of this period to form a coherent story of the dramatic events, as well as an introduction to key players-Turks, Arabs, and Avars, as well as Persians and Romans- and a tour of the vast lands over which the fighting took place. The decisions and actions of individuals-particularly Heraclius, a general of rare talent-and the various immaterial factors affecting morale take centre stage, yet due attention is also given to the underlying structures in both belligerent empires and to the Middle East under Persian occupation in the 620s. The result is a solidly founded, critical history of a conflict of immense significance in the final episode of classical history.

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From Sasanian Persia to the Tarim Basin

Compareti, Matteo. 2021. From Sasanian Persia to the Tarim Basin: Pre-islamic Iranian art and culture along the Silk-Road. WriteUp.

This volume collects a series of articles focusing on various aspects of the art of Persia and Central Asia in the pre-Islamic era that the author has published over the last fifteen years. The period examined goes from the reign of the Sasanian dynasty (224-651) to the arrival of the Arabs in the seventh century, and the consequent (but not immediate) process of Islamization of the entire territory between the eastern borders of the Roman Empire and China. This vast territory – during the period examined in those articles – was mainly inhabited by peoples who spoke Iranian languages such as Persian, Bactrian, Chorasmian, Sogdian and Khotanese.

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Simurgh and Pseudo-Simurgh in Iranian Arts

Compareti, Matteo. 2021. The elusive Persian Phoenix. Simurgh and Pseudo-Simurgh in Iranian arts (Studia Persica 3). Bologna: Paolo Emilio Persiani.

The reign of the Sasanian Dynasty (224–651 AD) received great attention in the works of Muslim authors who usually referred to this period as the “golden age” of pre-Islamic Persia. It is however worth noting that artifacts incontrovertibly attributable to the Sasanians are not very numerous. Among recent finds of dubious origin, some ongoing archeological excavations uncovered Sasanian coins and seals that in some cases showed fabulous creatures composed of parts of different animals. Starting from the ambiguity of these creatures, some scholars proposed to identify them according to ancient Persian mythology and literature. A composite winged creature with a dog’s head, lion’s paws, and a peacock’s tail that is considered to be typically Sasanian, was said to be the “Iranian phoenix” (Avestan saena marega, Middle Persian senmurv, Persian simurgh). As it can be observed on seventh century pre-Islamic Central Asian coins, this composite winged creature was quite explicitly associated with the Iranian concept of glory that was imported into Persia at the end of the Sasanian period from a region between modern Afghanistan and Tajikistan. Slightly later that creature started to appear in western arts too, going from the Byzantine Empire and the Islamic Caliphate to the whole of Europe until the early 13th century. Its exact meaning among Muslims is still a matter of debate although it was definitely considered by Christians as a very appropriate decoration for religious and secular purposes. Eighth-century Sogdian mural paintings from Penjikent and Mongol period Islamic book illustrations seem to support the identifications proposed in this study.

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Persia (552 BCE-758 CE). Primary Sources, Old and New

Gyselen, Rika (ed.). 2020. Persia (552 BCE-758 CE). Primary Sources, Old and New (Res Orientales 28). Bures-sur-Yvette: Groupe pour l’Étude de la Civilisation du Moyen-Orient (GECMO).

The articles in this volume present, comment on and interpret primary sources from different eras: Achaemenid, Sasanian and post-Sasanian. While most of these sources were discovered in the 21st century, a few were already known. Recent Iranian surveys and excavations have uncovered: (1) new Sasanian sites in the region of Sar Mashad in the Pars, (2) Sasanian administrative bullae on Tappe Barnakoon, west of Isfahan, (3) a clay sealing with the impression of a royal seal of Peroz in Taxt-e Soleiman. New data for Sasanian numismatics come from unpublished coins in the Johnson collection. Three documents from the “Tabarestan Archive”, published in recent years, have been re-read and interpreted in the context of Zoroastrian law. Also, sources known from much longer have been the subject of new “readings”. They highlight that the message these inscriptions and royal objects convey is strongly conditioned by the type of ‘public’ to which it is addressed.

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Materials for a History of the Persian Narrative Tradition

Orsatti, Paola. 2019. Materials for a History of the Persian Narrative Tradition. Two Characters: Farhād and Turandot. Venezia: Ca’ Foscari.

This book gathers together two essays. The first deals with the origins of the character of Farhād, the unlucky lover of Shīrīn, who – in the Persian narrative tradition – digs a route through Mount Bīsutūn and accomplishes other admirable works. The essay suggests that Farhād, as we know him from long narrative poems, historical chronicles, and reports by geographers and travelers, is the issue of a conflation between the legendary character of the Master of Mount Bīsutūn and a historical personage, Farrahān, the general-in-chief of the Sasanid king Khusraw II Parvīz’s army (r. 590-628 EC), as this figure was re-elaborated in a number of later legends. 

The second essay identifies a character named ‘Būrān-dukht’ as the prototype from which Turandot, the heroine of the tale well-known in Europe from Puccini’s opera (1926), springs. Two historical personages, both called Būrān or Būrān-dukht, are relevant in this line of development: the first is the daughter of the Sasanid king Khusraw II Parvīz (r. 580-628 CE), who was queen of Persia for a short period (630-631 CE); the other is the daughter of Ḥasan b. Sahl, wife of Caliph al-Maʾmūn (813-833 CE).

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Women and Monarchy in Ancient Iran

Carney, Elizabeth Donnelly & Sabine Müller (eds.). 2021. The Routledge Companion to Women and Monarchy in the Ancient Mediterranean World. London: Routledge/Taylor & Francis Group.

Portrait of Shapur III’s Wife. ca. 383-388 C.E. Onyx. BnF – Bibliothèque nationale de France (20.A.1)

This volume offers the first comprehensive look at the role of women in the monarchies of the ancient Mediterranean. It consistently addresses certain issues across all dynasties: title; role in succession; the situation of mothers, wives, and daughters of kings; regnant and co-regnant women; role in cult and in dynastic image; and examines a sampling of the careers of individual women while placing them within broader contexts. Written by an international group of experts, this collection is based on the assumption that women played a fundamental role in ancient monarchy, that they were part of, not apart from it, and that it is necessary to understand their role to understand ancient monarchies. This is a crucial resource for anyone interested in the role of women in antiquity.

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Memory and Identity in the Syriac Cave of Treasures: Rewriting the Bible in Sasanian Iran

Minov, Sergey. 2021. Memory and Identity in the Syriac Cave of Treasures: Rewriting the Bible in Sasanian Iran (Jerusalem Studies in Religion and Culture, 26). Leiden: Brill.

In Memory and Identity in the Syriac Cave of Treasures: Rewriting the Bible in Sasanian Iran Sergey Minov examines literary and socio-cultural aspects of the Syriac pseudepigraphic composition known as the Cave of Treasures, which offers a peculiar version of the Christian history of salvation. The book fills a lacuna in the history of Syriac Christian literary creativity by contextualising this unique work within the cultural and religious situation of Sasanian Mesopotamia towards the end of Late Antiquity. The author analyses the Cave’s content and message from the perspective of identity theory and memory studies, while discussing its author’s emphatically polemical stand vis-à-vis Judaism, the ambivalent way in which he deals with Iranian culture, and the promotion in this work of a distinctively Syriac-oriented vision of the biblical past.
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The Zoroastrian Vision, Straight in the Eyes

Azarnouche, Samra & Olivia Ramble. 2020. La Vision zoroastrienne, les yeux dans les yeux Commentaire sur la Dēn selon Dēnkard III.225. Revue de l’his toire des reli gions 237(3). 331–395.

Sassanian Seal MOT 6.1, Collection M. I. Mochiri, after Gnoli 1993: 80.

In the Zoroastrian tradition, the Dēn (Avestan daēnā “vision”) is a polysemic notion that denotes either an auroral psychopompic deity, or the religious doctrine, or again the sacred word of the Avesta. Passage 225 of the Dēnkard III, commented here for the first time, combines these different concepts, thereby not only bringing direct proof for the continuity of the word’s original meaning—“vision”—between the Avestan textual layer and the Middle Persian (Pahlavi) exegetic layer, but also testifying to the development of metaphysical speculation (with a neo-platonic backdrop) concerning the transcendental vision acquired by the magi. Material sources (iconographic as well as epigraphic) also contribute to highlighting the notion that the Dēn is the divine entity that one looks at straight in the eyes.