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.
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.
This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.
Proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019. Like the previous volumes, this book is open access and available from the publisher’s website linked above.
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.
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.
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.
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.
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.
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.
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.
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.
