Bibliographia Iranica

A predominantly bibliographic blog for Iranian Studies

Tag: Art History

  • The Iranian expanse

    Canepa, Matthew. 2018. The Iranian expanse: Transforming royal identity through architecture, landscape, and the built environment, 550 BCE-642 CE.  Oakland, California: University of California Press.

    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

  • Sasanian seals: Owners and Reusers

    Seal of Weh-dēn-Šābuhr Ērānanbaragbed (Gyselen 2017)

    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.

  • How Objects Tell Stories

    Linduff, Katheryn & Karen Rubinson (eds.). 2018. How objects tell stories. Essays in honor of Emma C. Bunker (Inner and Central Asian Art and Archaeology 1). Turnhout: Brepols Publishers.

    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.

    Table of Contents

    INTRODUCTION

    • Katheryn M. LINDUFF and Karen S. RUBINSON, “How Objects Tell Stories: Essays in Honor of Emma C. Bunker”

    I. OBJECTS AND CULTURAL INTERSECTION

    • Trudy S. KAWAMI, “A Steppe Warrior in Achaemenid Employ? Grave 4.28 at Choga  Mish, Khuzistan, Iran”
    • Annette L. JULIANO, “Restructuring Reality: Zoomorphs, from Fantastic to Hybrid”
    • Catrin KOST, “Changed Strategies of Interaction: Exchange Relations on China’s Northern Frontier in Light of the Finds from Xinzhuangtou”
    • Judith A. LERNER, “All That Glitters…Foreign Jewelry in Chinese Tombs: from Han into Tang”
    • Katheryn M. LINDUFF, “Guardians of the Brave/Keepers of the Empire: Horses in the Han imaginary”
    • Jessica RAWSON, “Gold, an Exotic Material in Early China”
    • Karen S. RUBINSON, “The Authority of Horse-Rider Iconography: Imagery as the Power of the Past (The Eurasian Steppe and Yunnan in the late Millennium BCE)”

    II: OBJECTS, TECHNOLOGY AND CROSS-CULTURAL EXCHANGE

    • CHIOU-PENG TzeHuey, “Early Copper-base Metals in Western Yunnan”
    • HAN Rubin and WANG Dong-Ning,  “Study of Tin-enriched Ancient Bronzes from the Northern Grassland of China”
    • Sergey MINIAEV,  “Xiongnu Bronze Metallurgy in the Trans-Baikal Area”
    • Vincent C. PIGOTT, “The Bactria-Margiana Archaeological Complex (BMAC), the Seima-Turbino Horizon and a Possible Eastward Transmission of Tin-Bronze Technology in Later Third and Early Second Millennium BCE Inner Asia”

    Source: How Objects Tell Stories

  • Problems of Chronology in Gandhāran Art

    Rienjang, Wannaporn & Peter Stewart (eds.). 2018. Problems of chronology in Gandhāran art. Oxford: Archaeopress Publishing.

    Since the beginning of Gandhāran studies in the nineteenth century, chronology has been one of the most significant challenges to the understanding of Gandhāran art. Many other ancient societies, including those of Greece and Rome, have left a wealth of textual sources which have put their fundamental chronological frameworks beyond doubt. In the absence of such sources on a similar scale, even the historical eras cited on inscribed Gandhāran works of art have been hard to place. Few sculptures have such inscriptions and the majority lack any record of find-spot or even general provenance. Those known to have been found at particular sites were sometimes moved and reused in antiquity. Consequently, the provisional dates assigned to extant Gandhāran sculptures have sometimes differed by centuries, while the narrative of artistic development remains doubtful and inconsistent.

    Building upon the most recent, cross-disciplinary research, debate and excavation, this volume reinforces a new consensus about the chronology of Gandhāra, bringing the history of Gandhāran art into sharper focus than ever. By considering this tradition in its wider context, alongside contemporary Indian art and subsequent developments in Central Asia, the authors also open up fresh questions and problems which a new phase of research will need to address.

    This volume, being the proceedings of the first international workshop of the Gandhāra Connections Project, which took place 23rd-24th March, 2017, at the University of Oxford, is available as an open access eBook and in print.

  • Iranica Antiqua, Volume 52

    The table of contents of the latest issue (52) of the journal Iranica Antiqua:

  • Persian Art

    Carey, Moya. 2018. Persian art: Collecting the arts of Iran in the nineteenth century. London: V&A Publishing.

    Today the Victoria and Albert Museum holds extensive and renowned collections of Iranian art, spanning at least twelve centuries of Iran’s sophisticated cultural history. These objects range from archaeological finds to architectural salvage, from domestic furnishings and drinking vessels to design archives. Most of this diverse material was purchased in the late nineteenth century, over a few decades – roughly between 1873 and 1893 – during a specific period of contact between Victorian Britain and Qajar Iran.

    This book investigates that period through four case studies, showing how architects, diplomats, dealers, collectors and craftsmen engaged with Iran’s complex visual traditions, ancient and modern.

    Moya Carey is the Iran Heritage Foundation Curator for the Iranian Collections at the Victoria and Albert Museum, London.

  • Safavid Occidentalism and Persian Painting

    Habibi, Negar. 2018. ʻAli Qoli Jebādār et l’occidentalisme safavide: une étude sur les peintures dites farangi sāzi, leurs milieux et commanditaires sous Shāh Soleimān (1666-94). (Studies in Persian Cultural History 13). Leiden: Brill.
    In ʿAli Qoli Jebādār et l’Occidentalism safavide Negar Habibi provides a fresh account of the life and works of ʿAli Qoli Jebādār, a leading painter of the late Safavid period. By collecting several of the artist’s paintings and signatures Habibi brings to light the diversity of ʿAli Qoli Jebādār’s most important works. In addition, the volume offers us new insights into both the artistic and socio-political evolution of Iranian society in the last days of pre-modern Iran. By carefully consulting the historical sources, Negar Habibi demonstrates the possibility of a female and eunuch patronage in the seventeenth-century paintings known as farangi sāzi, while suggesting the use of the term “Occidentalism” for those Safavid paintings that show some exotic and alien details of the Western world.

    (more…)

  • Shamans of Ancient Iranian Nomads

    Yatsenko, Sergey. 2017. Shamans of Ancient Iranian Nomads: Artifacts and Iconography. In Gheorghiu Dragoş, Emilia Pásztor, Herman Bender, George Nash (eds.), Archaeological Approaches to Shamanism: Mind-Body, Nature, and Culture. 243-262. Cambridge Scholars publishing.

    The interpretation of depictions in petroglyphs belonging to the Bronze Age in South Siberia as shamanic ones is debatable. Obviously, cultic attributes belonging to men were not removed from barrows 2 and 5 in Pazyryk. Their series can be compared with complexes (known to ethnologists) belonging to shamans of Iranian peoples. Such elements of practicing sequential shamanic rituals as divination, use of musical instruments, entering into a trance state, summoning patron spirits and their “feeding”, exorcism of evil spirits can be reconstructed.

  • The Elamite Royal Orchestra from Madaktu (653 BC)

    Alvarez-Mon, Javier. 2017. The Elamite Royal Orchestra from Madaktu (653 BC). Elamica 7: 1-34.

    Contents: §1. Prelude; §2. The Royal Elamite Orchestra from Madaktu; §2.1. Instruments: horizontal harps, angular harps, double pipes, a drum, hand clapping and singing; §2.2. People: Musicians and Singers; §3. Allegro ma non troppo: Madaktu 653 BC, the Royal Orchestra in Historical Context. §4. From Madaktu to Assyria: Cacophonies at the Heartland of the Empire; §4.1. The Assyrian Royal Orchestras from Nineveh (Room S1); §4.2. Foreign Orchestras in Assyria; §5. Requiem 612 BC: Royal Orchestras and the Fall of Nineveh.

  • Persepolis West (Fars, Iran)

    Askari Chaverdi, Alireza & Pierfrancesco Callieri. 2017. Persepolis West (Fars, Iran): Report on the field work carried out by the Iranian-Italian Joint Archaeological Mission in 2008–2009 (British Archaeological Reports International Series 2870). BAR Publishing.

    This book represents the final report on the field work carried out in 2008 and 2009 by the Iranian-Italian Joint Archaeological Mission at the archaeological site of Persepolis West, where parts of the town adjacent to the well-known Achaemenid monumental terrace of Persepolis have been located. The eleven trial trenches excavated in areas indicated by the results of Iranian and Iranian-French geophysical surveys represent the first stratigraphic excavations ever carried out on this site, the dating of which is supported by a rich series of radiocarbon datings. Illustration of the excavations is preceded by an accurate geophysical study of the topographical context and accompanied by a detailed and richly illustrated analysis of pottery and other finds: the safe stratigraphic context makes these finds a particularly important source of evidence for our knowledge of the ceramics of Fars during the historic pre-Islamic age. The excavations largely confirm the location of the built-up area of Parsa indicated by geophysical surveys.