Bibliographia Iranica

A predominantly bibliographic blog for Iranian Studies

Tag: Art History

  • Displaying Royal Tribute Animals in Ancient Persia and the Near East

    Persepolis: The Audience Hall of Darius and Xerxes

    Llewellyn-Jones, Lloyd. 2017. Keeping and Displaying Royal Tribute Animals in Ancient Persia and the Near East. In Thorsten Fögen & Edmund Thomas (eds.), Interactions between Animals and Humans in Graeco-Roman Antiquity. Berlin, Boston: De Gruyter.

    The Achaemenid dynasty (559-331 B.C.) ruled the biggest empire the ancient world had ever seen. Commanding lands from India to Ethiopia and Libya to Afghanistan, the Great Kings of Persia demanded loyalty and tribute from the conquered peoples who made up their vast realm, and the walls of their ceremonial capital at Persepolis in the heart of Iran abound with images of foreign delegations carrying tribute to their monarch. Amidst the gold, silver, textiles and precious stones brought to the ruler is a rich abundance of exotic wildlife: Asiatic lions, Bactrian camels, zebu, wild asses, and Arabian horses. Textual evidence alerts us to the presence of parrots, peacocks, and wild jungle fowl at the Iranian court as well as the probability that the Achaemenid Persians were familiar with rhinoceroses, tigers, and even okapi. The exotic fauna were living offerings from the four quarters of the empire, breathing symbols of the Great King’s power and his control of his vast dominions. By examining a variety of Near Eastern and Greek sources, this paper explores the rich variety of exotic species imported into Persia to satisfy the monarch’s pleasure and his public image; it explores evidence for royal menageries in the Near East, as well as offering some cross-temporal comparisons with the Chinese Ming Dynasty, in order to question how the ancient Iranians interacted with exotic animals and to question how they were displayed and treated by their human captors and owners.
    Lloyd Llewellyn-Jones is a professor in Ancient History at the School of History, Archaeology and Religion, Cardiff University.

  • The Garden of Pasargadae

    Grob, Helge Bert. 2017. Die Gartenlandschaft von Pasargadai und ihre Wasseranlagen Topographischer Befund, Rekonstruktion und achaimenidischer Kontext. (Oriens et Occidens 28). Stuttgart: Franz-Steiner-Verlag.

    After defeating the Medes and Lydern in the middle of the 6th century BC, Cyrus the Great, layed the foundations for the rise of the Achaemenids to the “world power”. His first large building and garden project is the Pasargadae residence – a world heritage site of the UNESCO. Against this background, the question arises not only about the underlying design, but also about a possible role model for later stablishements.

    Helge Bert Grob, for the first time, subjected the available plans as well as travel and research reports to a systematic, critical evaluation of the Pasargadae residence and its garden. Basied on partially unpublished sources, together with the archaeological findings, topographical maps as well as aerial and satellite images, as the basis of this new study, the focus of this volume lies on the water structures – basins, canals and watercourses as well as on the analysis of the development of the garden design in Ancient Iran. By comparison with Susa, Persepolis, Babylon and other important sites, Pasargadae is placed and examined in its achaimenid context.

  • Some stamp seals of Achaemenid date

    Collon, Dominique & John Curtis. 2017. “Some stamp seals of Achaemenid date“, In Y. Heffron, A. Stone and M. Worthington (eds), At the Dawn of History: Ancient Near Eastern Studies in Honour of J.N. Postgate, 765-780. Winona Lake, Indiana: Eisenbrauns.

    This paper discusses a collection of 17 distinctive bronze stamp seals. They are all plaques or tablets of bronze, more or less flat on both surfaces, and square or rectangular in shape. More than half of them have a distinctive ladder-pattern border around the decorated face of the seal. The designs are usually highly stylized but sometimes more naturalistic. These seals may be compared with a stone seal from Nimrud and a silver ring from Kamid el-Loz. They apparently date from the Achaemenid period, 5th-4th century BC, and probably derive mostly from the western part of the Persian empire.

  • Achaemenid Visual Representations of Royal Figures

    Erica Ehrenberg, “Achaemenid Visual Representations of Royal Figures,” Encyclopædia Iranica, online edition, 2017, available at http://www.iranicaonline.org/articles/achaemenid-visual-reps (accessed on 16 May 2017).

    Visual representations of Achaemenid kings, while indebted to established Mesopotamian iconographic conventions, betray distinct understandings of sovereignty. Royal reliefs, glyptic and molded bricks are highly modeled, a trait that has been attributed to the influence of Greek carvers but could readily have been a further development of Late Babylonian stylistic precedent.

     

  • Picturing Pasargadae: Visual Representation and the Ambiguities of Heritage in Iran

    Mozaffari, Ali. 2017. “Picturing Pasargadae: Visual Representation and the Ambiguities of Heritage in Iran“, Iranian Studies 50(4), 601-634.

    This paper probes the relationship between visual representations and visitation practices at Pasargadae, a UNESCO World Heritage site in southern Iran. Presenting a systematic analysis of publicly available online images of Pasargadae, the paper examines the complex relationship between the place and its visual representations. Through analysis, the paper elaborates on a sense of intimacy that, while grounding Pasargadae, is also a potential common ground in pre-Islamic heritage in which the Iranian state and society could at once meet and contest versions of identity. Examining this relationship facilitates reflections into both heritage and the peculiarities of its visual representation in the Iranian context.

  • A Compendium of Zoroastrian Life & Culture

    Cama, Shernaz (ed.). 2016. Threads of continuity: Zoroastrian life & culture. New Delhi: Parzor Foundation.
    Threads of Continuity Focuses on the philosophy and cultur of the ancient Zoroastrian faith from its origins i Central Asia, tracing a geographical and chronological continum till the present. This philosophy became a part of the lived heritage of the Zoroastrian community — both in India and Iran.
    Of dpecial interest are the cross-cultural influences of the comunity in India. To highlight these, Gujarat and the Deccan will be examined in detail for the first time.
    A part of this compendium also studies the contribution of the community to the making of modern India. The programme envisaged, attempts to explain the Zoroastrian philodophy of a sacred thread linking all creation.
     Table of Contents:

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  • Persianisms: The Achaemenid Court in Greek Art

    Llewellyn-Jones, Lloyd. 2017. Persianisms: The Achaemenid court in Greek art,380–330 BCE. Iranian Studies 50(1). 1–22.

    The Persians held sway over the Greek imagination for more than 200 years. The image of Persia shifted in that time from xenophobic hostility, caused through fear of the encroaching presence of the Persian empire, through to curious acceptance of its dominance. Much study has been given to the formative decades of the construction of the Persian “Other” in Greek art, but the fourth-century image of Persia has remained relatively unexplored. This paper demonstrates how Greek artists of the period 380–330 BCE fixated on the life and accomplishments of the court of the Achaemenid Great Kings and argues that instead of offering an orientalist clichéd view of Persian life, it attempted to understand and disseminate bone fide Iranian images of court society.

  • Problems of Chronology in Gandharan Art

    Problems of Chronology in Gandharan Art


    The first Gandhara Connections workshop, Oxford, 23-24 March 2017.

    The Gandhara Connections project identifies chronology and dating as one of the key problems outstanding in the study of Gandharan art. Chronology is not only fundamental for establishing the nature of Gandharan art’s connections with the traditions of Greece and Rome, but also for any other systematic attempt to put it in context or explain its development.

    For more details about the workshop, see the draft programme.

  • Signaling Theory and Dress in Period IVb at Hasanlu Iran

    Cifarelli, Megan. 2017. Costly choices: Signaling theory and dress in period IVb at Hasanlu Iran. Cifarelli, Megan & Laura Gawlinski (eds.), What shall I say of clothes? Theoretical and methodological approaches. Boston: The Archaeological Institute of America.

    A growing body of work on dress in antiquity has probed more deeply the embodied experience of wearers, the relational aspect of the way dress communicates, and the role of dress as an active element in, rather than a passive reflection of, the construction of identity. It remains challenging, though, to interpret material evidence that shows abrupt changes in
    dress practice. This article explores the potential of costly signaling theory, borrowed from evolutionary archaeology, for interpreting the gendered, militaristic dress-related artifacts introduced in the burials of the early first millennium B.C.E. at Hasanlu, Iran, a period of external threatand internal upheaval. Rather than characterizing these changes as simply evidence of “militarization” in a time of crisis, this article argues that a seemingly unwearable type of dress item participated in an effective, mutually beneficial form of communication by which men and women negotiated identity and power at the site.

  • The Diez Albums | Brill

    Gonnella, Julia, Friederike Weis & Christoph Rauch (eds.). 2016. The Diez albums: Contexts and contents (Islamic Manuscripts and Books 11). Brill.

    The five Diez albums in Berlin are an important source for the study of Ilkhanid, Jalayirid, and Timurid art. The 21 essays of this book contribute to deepening our understanding of the development of Persianate art and its perception in later times. Gonnella, Weis and Rauch unite in this volume 21 essays that analyse their relation to their “parent” albums at the Topkapı Palace or examine specific works by reflecting upon their role in the larger history of book art in Iran. Other essays cover aspects such as the European and Chinese influence on Persianate art, aspects related to material and social culture, and the Ottoman interest in Persianate albums. This book marks an important contribution to the understanding of the development of illustrative imagery in the Persianate world and its later perception.

    Source: The Diez Albums | Brill