Tag: Art History

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Testing the Canon of Ancient Near Eastern Art and Archaeology

Gansell, Amy & Ann Shafer (eds.). 2020. Testing the canon of ancient near eastern art and archaeology. Oxford: Oxford University Press.

Testing the Canon of Ancient Near Eastern Art and Archaeology invites readers to reconsider the contents and agendas of the art historical and world-culture canons by looking at one of their most historically enduring components: the art and archaeology of the ancient Near East. Ann Shafer, Amy Rebecca Gansell, and other top researchers in the field examine and critique the formation and historical transformation of the ancient Near Eastern canon of art, architecture, and material culture. Contributors flesh out the current boundaries of regional and typological sub-canons, analyze the technologies of canon production (such as museum practices and classroom pedagogies), and voice first-hand heritage perspectives. Each chapter, thereby, critically engages with the historiography behind our approach to the Near East and proposes alternative constructs. Collectively, the essays confront and critique the ancient Near Eastern canon’s present configuration and re-imagine its future role in the canon of world art as a whole.

This expansive collection of essays covers the Near East’s many regions, eras, and types of visual and archaeological materials, offering specific and actionable proposals for its study. Testing the Canon of Ancient Near Eastern Art and Archaeology stands as a vital benchmark and offers a collective path forward for the study and appreciation of Near Eastern cultural heritage. This book acts as a model for similar inquiries across global art historical and archaeological fields and disciplines.

Testing the Canon of Ancient Near Eastern Art and Archaeology – Amy Gansell; Ann Shafer – Oxford University Press
We had previously announced one article in this volume and are now adding an entry for the volume, as it relates to our discipline in more than one way.
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Articles

Religious Imagery in pre-Islamic Iran and Central Asia

Shenkar, Michael. 2019. Religious imagery and image-making in pre-Islamic Iran and Central Asia. In Christiane Gruber (ed.), The image debate: Figural representation in Islam and across the world. London: Gingko.

The Image Debate: Figural Representation in Islam and Across the World is a collection of thirteen essays which examine the controversy surrounding the use of images in Islamic and other religious cultures and seek to redress some of the misunderstandings that have arisen. Written by leading academics from the United States, Australia, Turkey, Israel and the United Kingdom, the book opens with an introduction by the editor Christiane Gruber, who sets the subject in context with a detailed examination of the debates over idols and the production of figural images in Islamic traditions. Twelve further articles are divided into three sections: the first deals with pre-modern Islamic practices and anxieties with image-making; the second addresses similar issues in Judaism, in Christianity during the Byzantine period, in pre-Islamic Iran and Central Asia, and in Hindu and Buddhist contexts in South Asia; and the third brings the reader back to Islamic lands with five articles examining traditions of figural representation in the modern and contemporary periods.

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Articles Books

Canon of Ancient Iranian Art

Colburn, Henry. 2020. The canon of ancient Iranian art: From grand narratives to local perspectives. In Amy Gansell and Ann Shafer (eds.), Testing the canon of ancient Near Eastern art and archaeology. Oxford: Oxford University Press.

The canon of ancient Iranian art coalesced during the heyday of archaeological research in Iran during the 1950s and 1960s. Scholars sought to reconcile both excavated material from a series of type sites and unexcavated objects, with a sequence of historical and cultural phases from Proto-Elamite to Sasanian. Consequently, the canon has some notable weaknesses. First, the term “Iranian” can refer to geography or people, either of which excludes important material. Second, the periodization of the canon relies on Mesopotamian and Mediterranean history, which is not always a good fit for Iran. Third, the use of style to assign material to these periods relies on the problematic assumption that multiple artistic styles cannot coexist at the same time and place. This chapter argues that it is useful to adopt an approach that focuses instead on individual sites or micro-regions, thus better reflecting the richness and diversity of ancient Iranian art.

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The Art of Elam

Álvarez-Mon, Javier. 2020. The Art of Elam CA. 4200–525 BC. London & New York: Routledge.

Not unlike a gallery of historical paintings, this comprehensive treatment of the rich heritage of ancient Iran　showcases a visual trail of the evolution of human society, with all its leaps and turns, from its origins in the earliest villages of southwest Iran at around 4200 BC to the rise of the Achaemenid Persian empire in CA. 525 BC. Richly illustrated with 1,450 photographs, 190 line drawings, and digital reconstructions of hundreds of artefacts—some of which have never before been published—The Art of Elam goes beyond formal and thematic boundaries to emphasize the religious, political, and social contexts in which art was created and functioned. Such a magisterial study of Elamite art has never been written, making The Art of Elam CA. 4200-525 BC a ground-breaking publication essential to all students of ancient art and to our current understanding of the civilizations of the ancient Near East.

Continue reading “The Art of Elam”
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Journal

Iranian Studies (vol. 52, issue 5-6)

Issue 5-6 of Vol. 52 (2019) of the journal Iranian Studies with special interest to the Persian poet Saʿdi has now been published.

Continue reading “Iranian Studies (vol. 52, issue 5-6)”
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Books

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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Books

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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Books

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.

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Sasanian Elements in Byzantine, Caucasian and Islamic Art and Culture

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.

Detail of decorative screen of the funerary couch of An Jia, Detail of decorative screen of the funerary couch of An Jia showing the portrait of a couple on the left side panel. © Burlington Magazine

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.