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.
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.
This is the first major work to attempt a comprehensive survey of the Arab-Sasanian silver coinage since Walker’s 1941 Catalogue of the British Museum collection. It includes the latest research on the subject, both historical (chapters 1 to 4) and numismatic (chapter 5 to 15). All the coins (over 1,600), both silver drachms and copperfulus, in the Johnson collection are illustrated on the excellent plates. Where thJohnson collection does not have a specimen of an important coin an example is illustrated from another source, making this a truly important work
The extensive chapters on the persons named on the coins, the mints, and the Pahlavi, Arabic and Sogdian legends, make this an invaluable historical source. Other chapters discuss the copper issues with theirvaried designs, the eras and dates used, metrology, coins struck in the east in Sīstān and further north by the Hephthalites, and counter marks, as well as the designs found on the silver drachms. All Pahlavi and Arabic legends (mints, persons named, religious and other marginal legends, dates) are written out as theyappear on the coins in extensive tables. This makes it possible for a beginner in the series to read thesesometimes difficult legends.
Nasrollahzadeh, Cyrus. 2019. Middle Persian Private Inscriptions in the Sasanian and Post-Sasanian Period: Funerary and Memorial Inscriptions, Vol I: Text & vol. II: picture. Tehran: Institute for Humanities and Cultural Studies.
The present book is a corpus of private inscriptions written in Middle Persian dated to, in words of the author, Sasanian and post-Sasanian periods. The first section of first chapter deals with the funerary in ancient Iran with special interest to the Sasanian period which is followed by an introduction of epitaphs in the second section of this chapter. Memorial inscriptions are presented and interpreted in chapter 2 and finally in chapter 3, the author investigates the private inscriptions from Sasanian period and those of the Iranian Christians.
نصرالهزاده، سیروس. ۱۳۹۸. کتیبههای خصوصی فارسی میانه ساسانی و پساسانی (گورنوشته، یادبودی)، جلد اول: متن، جلد دوم: تصویر. تهران: پژوهشگاه علوم انسانی و مطالعات فرهنگی
Bei den sowjetischen archäologischen Ausgrabungen von Marw kamen zum ersten Mal etliche Bronzemünzen des sasanidischen Königs Pērōz (457–484) zum Vorschein, auf deren Rückseite die Münzstättensigle AMW belegt ist. S. D. Loginov und A. B. Nikitin identifizierten diese Sigle mit der Provinzhauptstadt Āmol in Tabaristān. Die erste sichere Münzen vom Münzamt Āmol in Tabaristān sind jedoch während der ersten Regierung des Kawād I. (488–496) mit der Signatur AM geprägt. Laut historischen Quellen war Tabaristān seit dem Anfang der Sasanidenzeit bis zum Ende der Regierung des Pērōz ein fast unabhängiges Fürstentum unter der lokalen Herrscherfamilie der Gušnaspiden, die von Kawād gestürzt wurde. Die unter Pērōz mit der Münzstättensignatur AMW geprägte Bronzemünzen sind eigentlich bisher nur in Marw gefunden und daher kann man diese Münzstätte nicht in Tabaristān, sondern in einem gleichnamigen Ort in Zentralasien, östlich von Marw, lokalisieren. Aber warum prägte Pērōz Bronzemünzen in diesem Ort und wieso hatte diese Münzstätte nach der Regierung des Pērōz keine Aktivität mehr?
Can elites use cosmological imagery to sanction marital and slavery practices for their political aspirations? Can interactions between Late Antique legal systems be thought beyond “borrowings?” This work studies legal writings from the Zoroastrian, East Syrian, and Islamic traditions arguing that Late Antique matrimonial and slavery practices were significantly informed by cosmological imagery and repeatedly brought in line with the elites’ political aspirations. It suggests that these legal traditions should be thought in a shared epistemic framework to account for the changes and meaningfulness of legal concepts and institutions and cannot simply be reduced to a narrative of borrowings. Instead, this book shows that interactions between Late Antique legal systems were more complex and characterized by patterns of negotiation and competition mirroring the various entanglements of the Late Antique citizen’s life.
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).