Tilework illustration of the Qajar period has received comparatively little scholarly consideration. This applies specifically to Shiraz, where the art was abundantly practiced. My book, the first of its kind, presents a detailed analytical study of Qajar tile painting in Shiraz. The material has been collected during two extensive fieldwork trips. Having collected more than 5,000 photos, I have chosen 42 historical buildings in Shiraz with tile work decoration for a detailed analysis, supplying minute descriptions for each and every image together with a solid documentation of the tiles’ respective location in the buildings. My study identifies, classifies and analyzes the depicted themes and the craftsmanship behind it. Particular attention has been devoted to a detailed discussion of the prominent themes, their argument and motivation, as well as to popular artists of the period. In addition to the study, my work contains ample visual documentation.
In a recent review of a book entitled Critical Approaches to Ancient Near Eastern Art, Daniel T. Potts raises the question of whether, regardless of the fact that one can speak of a discipline of Ancient Near Eastern Art History, one should. He explains that he is not concerned with denying the necessity of studying art or imagery as a part of Ancient Near Eastern History, but that it is insufficient for ‘a deep understanding of the ancient Near East’. This worry picks up an ongoing tension between ‘ancient historians’ and ‘art historians’ (or archaeologists who work with imagery) that seemingly survives the pictorial turn and the use of ‘visual culture’ as a term emphasizing the whole visual sphere as historical source material, and revolves around the extent to which the ‘larger historical picture’ is sufficiently seen as an end goal. As Potts notes, dress and ornamentation, the ‘wigs, powder, perfume and silk’ of the French Revolution period, for example, can be considered epiphenomena. On the other hand, ‘Warfare, fiercely contested battles for hegemony and struggles over access to irrigation water and arable land all formed part of the crucible in which Early Dynastic society and its hyper-competitive city state system were forged.’ Serious stuff, not to mention masculine, giving one pause to consider in the context of this book how the fate and trajectory of ‘art history’ within various sub-disciplines might depend on historically gendered scholarship cultures….
The Monumental Reliefs of the Elamite Highlands documents and analyzes for the first time a corpus of eighteen monumental highland reliefs from the Elamite civilization in ancient Iran, which—hitherto preserved by their remote location and anonymous existence—have recently become imperiled by an influx of tourists and the development of the surrounding landscapes. With this book, Javier Álvarez-Mon aims to safeguard this important part of Iran’s cultural heritage. The eighteen reliefs presented in this volume are spread across the valley of Izeh/Malamir (Xong-e Azdhar, Shah Savar, Shekaft-e Salman, and Kul-e Farah), the Ghale Tol plain (Qal-e Tul), the Mamasani Fahliyan river region (Kurangun), and the Marvdasht plain (Naqsh-e Rustam). In his analysis of these reliefs, Álvarez-Mon draws from the complementary disciplines of art history and archaeology, giving equal weight to the archaeological context of these artifacts and traditional methods of artistic analysis in order to determine the nature and significance of each artifact’s form and theme. At the same time, the book’s dual emphases on ritual-religious and aesthetic-ecological phenomena respond to the contemporary challenges of the dissociation of human existence from nature and the commodification of the environment on an unsustainable scale, presenting the preservation of this remarkable corpus of monumental art as a matter of urgency.
Richly illustrated with hundreds of color photographs and line drawings, The Monumental Reliefs of the Elamite Highlands is sure to become an invaluable reference to scholars who study the Elamite and other ancient civilizations.
Einer in der Forschung weit verbreiteten Meinung zufolge existierte im Alten Iran keine zoroastrische Kunst. In Sprache der Bilder nun untersucht Shervin Farridnejad Darstellungen altiranischer anthropomorpher Gottheiten und deren Erscheinung im zoroastrischen Pantheon mit der methodischen Herangehensweise einer exegetischen Ikonographie.
Farridnejad zeichnet die Darstellungsweise und Entwicklung der zoroastrischen Götterbilder nach und analysiert den Ursprung ihrer Ikonographie innerhalb der iranischen religiösen Bildsprache, insbesondere im Wechselspiel mit den in der schriftlich überlieferten Tradition bewahrten religiösen Ideen. Der Autor widmet sich in seiner umfassenden und reich bebilderten Studie den teilweise komplex aufgebauten Götterbildern, die als vielschichtige Bedeutungsträger im religiösen Leben der alten Zoroastrier eine große Rolle spielten. Darüber hinaus ermittelt er allgemeine formale Strukturen, beleuchtet ihre Genese und erforscht den „Sitz im Leben“ der Götterbilder, indem er vor allem die literarische Überlieferung des zoroastrischen Corpus im Avestischen und Mittelpersischen berücksichtigt. Farridnejad bietet so erstmals einen umfassenden, methodisch fundierten Überblick über die zoroastrische Bildersprache im Kontext von Religion und Kultur des vorislamischen Iran.
How did the Persian King of Kings Get His Wine? the upper Tigris in antiquity (c.700 BCE to 636 CE) explores the upper valley of the Tigris during antiquity. The area is little known to scholarship, and study is currently handicapped by the security situation in southeast Turkey and by the completion during 2018 of the Ilısu dam. The reservoir being created will drown a large part of the valley and will destroy many archaeological sites, some of which have not been investigated. The course of the upper Tigris discussed here is the section from Mosul up to its source north of Diyarbakır; the monograph describes the history of the river valley from the end of the Late Assyrian empire through to the Arab conquests, thus including the conflicts between Rome and Persia. It considers the transport network by river and road and provides an assessment of the damage to cultural heritage caused both by the Saddam dam (also known as the Eski Mosul dam) in Iraq and by the Ilısu dam in south-east Turkey. A catalogue describes the sites important during the long period under review in and around the valley. During the period reviewed this area was strategically important for Assyria’s relations with its northern neighbours, for the Hellenistic world’s relations with Persia and for Roman relations with first the kingdom of Parthia and then with Sassanian Persia.
The recent volume Friedhelm Pedde & Nathanael Shelley (eds.), Assyromania and More. In Memory of Samuel M. Paley(Marru. Studien Zur Vorderasiatischen Archäologie 4), . Münster: Zaphon. contains two chapters of hight interest for Iranian and Achaemenid Studies:
The Iranian Expanse explores how kings in the ancient Iranian world utilized the built and natural environment–everything from royal cities and paradise gardens, to hunting enclosures and fire temples–to form and contest Iranian cultural memory, royal identity, and sacred cosmologies over a thousand years of history. Although scholars have often noted startling continuities between the traditions of the Achaemenids and the art and architecture of medieval or Early Modern Islam, the tumultuous millennium between Alexander and Islam has routinely been downplayed or omitted. The Iranian Expanse delves into this fascinating period, examining royal culture and identity as something built and shaped by strategic changes to architectonic and urban spaces and the landscape of Western Asia. Canepa shows how the Seleucids, Arsacids, and Sasanians played a transformative role in developing a new Iranian royal culture that deeply influenced not only early Islam, but also the wider Persianate world of the Il-Khans, Safavids, Timurids, and Mughals
Gyselen, Rika. 2017. Sasanian seals: Owners and reusers. In Ben van den Bercken & Vivian Baan (eds.), Engraved gems: From antiquity to the present (Papers on Archaeology of the Leiden Museum of Antiquities 14), 85–92. Leiden: Sidestone Press.
The majority of Sasanian seals are anonymous and anepigraphic. Some are engraved with an inscription, sometimes a personal name or the name of an institution. This information allows seal owners to be identified. It can be provided by:
A. Sigillographic data, that is, data intrinsic to the seal itself. This can be epigraphic and/or iconographic.
B. Textual data in a document with a sealed clay bulla still attached.
Seals were sometimes reused by subsequent owners; on some seals this reuse can be traced.
Inner and Central Asian Art and Archaeology is a new series launched providing a major forum for discussion and publication of current international research projects and fieldwork concerning the art and archaeology of Central and Inner Asia. Uniquely the series covers the vast regions flanking the ancient Silk Roads from the Iranian world to western China and from the Russian steppes to north-western India. The series mainly focuses on the pre-Islamic period of art and archaeology of Inner Asia. Related scholarly articles on language and history are also published.