This set of essays highlights the state of the art in the linguistics of Iranian languages. The contributions span the full range of linguistic inquiry, including pragmatics, syntax, semantics, phonology/phonetics, lexicography, historical linguistics and poetics and covering a wide set of Iranian languages including Persian, Balochi, Kurdish and Ossetian. This book will engage both the active scholar in the field as well as linguists from other fields seeking to assess the latest developments in Iranian linguistics.
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.
The Large Farāmarznāme (Farāmarznāme-ye bozorg), a poem from the Persian epic cycle dated to the late eleventh century, is hereby published for the first time in an English translation, in prose. The story tells how Farāmarz, a son of the famous Shāhnāme hero Rostam, conquers several provinces of India, before setting off on an extensive voyage over sea and land, leading his troops through a number of hazardous situations in various fictional countries. As a true epic hero, he displays his prowess in battle and in single combat against men, demons and various ferocious animals, in addition to experiencing a number of marvelous and romantic adventures.
Marjolijn van Zutphen obtained her PhD in 2011 at Leiden University with a dissertation on the Persian epic cycle, a series of poems that were composed in emulation of Ferdowsi’s Shāhnāme. In a joint cooperation with Abolfazl Khatibi she has produced the first critical edition of Farāmarznāme-ye bozorg.
Compared with numerous critical studies in Central Asian history, politics and society published during recent years, modern languages and literary traditions of Central Asia have received less scholarly attention in the West. If we consider specifically the Iranian world, especially in the modern period, it must be admitted that the linguistics and literature of Central Asia, compared to the linguistics and literature of Iran, remain in need of more investigation.
This collection sheds light on various issues of the Iranian linguistic and literary arena “outside of Iran”, offering a variety of twelve original contributions by both leading scholars and new names in the international academic setting. The regions of Afghanistan, Badakhshan, and Transoxania, important centers of Iranian languages and literatures, are here brought back into their broader Iranian context, for the benefit of modern Iranian studies.
Here is the preface of editor (Mohamad Tavakoli-Targhi) for this new series:
With the publication of this issue, Iran Nameh is re-launched as an independent Iranian Studies quarterly. Iran Nameh began publication in fall 1982 under the auspices of the Foundation for Iranian Studies. The Foundation generously supported Iran Nameh until Winter 2016, when funding for the journal was discontinued. Via the urging of our readership and contributors, and despite serious financial difficulties, the editorial office has decided to continue the publication of Iran Nameh as an
independent, reader-supported quarterly of Iranian Studies. As of this issue, Iran Nameh is no longer affiliated with the Foundation for Iranian Studies. To continue publishing Iran Nameh as a leading scholarly journal, I urge our contributors and readers to assist us in expanding the subscription base of the journal, and to become a sustainer of Iran Nameh by their generous support.
Since 1982, Iran Nameh has served as a vital venue for the dissemination of original scholarly research on Iran. This has been particularly important due to the hyperpoliticization and ideologization of publically-available knowledge on Iran. With
the inauguration of the second series, Iran Nameh is redoubling its commitment to the publication of original and well-documented scholarship on all aspects of Iranian Studies both in Persian and English. To facilitate the timely distribution of
such new scholarship, with the inaugural issue of the second series, Iran Nameh has adopted a new “article-based” publishing model. Based on this model, submissions that have been successfully peer-reviewed and copyedited will be made available online before the scheduled time of publication. In addition to this inaugural issue, the peer-reviewed and accepted articles for the forthcoming issues will be made available online immediately after the completion of the copy-editing and layout process. With article-based publishing, Iran Nameh intends to remain up to speed with the changing world of digital publishing. A great benefit of this challenge is the timely dissemination of new research and scholarship to the readers of Iran Nameh. To prosper under this changing print-scape, I urge our contributors to continue to send their very best scholarly research to Iran Nameh. I also call on our large digital readership to renew their subscription to Iran Nameh now. This is of vital importance. We need your support. Iran Nameh cannot continue without it. Your active support is vital during this crucial transition period for Iran Nameh into an
independent reader-supported scholarly journal.
In Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881–1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran.
With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O’Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.
Table of Contents
Yuka Kadoi : “Arthur Upham Pope and A New Survey of Persian Art”
I. POPE, ACKERMAN, AND THEIR PEERS
Robert Hillenbrand: “The Scramble for Persian Art: Pope and His Rivals”
Talinn Grigor : “Gendered Politics of Persian Art: Pope and His Partner”
II. ARTHUR UPHAM POPE: LIFE AND ACHIEVEMENTS
Jonathan M. Bloom : “Arthur Upham Pope: His Life and Times”
Donald Whitcomb : “Archaeology in Iran and the Experience of Arthur Upham Pope”
Bernard O’Kane : “Arthur Upham Pope and the Study of Persian Islamic Architecture”
III. CURATORS, COLLECTORS, AND ART DEALERS: POPE AND PRE-ISLAMIC PERSIAN ART
Lindsay Allen: “‘The Greatest Enterprise’: Arthur Upham Pope, Persepolis and Achaemenid Antiquities”
IV. CURATORS, COLLECTORS, AND ART DEALERS: POPE AND ISLAMIC PERSIAN ART
Yuka Kadoi: “The Rise of Persian Art Connoisseurship: Arthur Upham Pope and Early Twentieth-Century Chicago”
Kimberly Masteller: “Arthur Upham Pope and Collecting Persian Art for Kansas City”
Sumru Belger Krody: “Equivocal Position as Expert or Dealer! The Long and Contentious Relationship of George Hewitt Myers and Arthur Upham Pope”
Laura Weinstein: “My Dear Holmes: Arthur Upham Pope and the Museum of Fine Arts, Boston”
Keelan Overton: “Filming, Photographing and Purveying in ‘the New Iran’: the Legacy of Stephen H. Nyman, ca. 1937–42”
V. ARTHUR UPHAM POPE: HIS LEGACY
Sheila S. Blair: ” Surveying Persian Art in Light of A Survey of Persian Art”
Cornelia Montgomery: “Arthur Upham Pope: A Personal Memoir”
Yuka Kadoi, Ph.D. (2005), University of Edinburgh is a scholar of Islamic art and Persian art historiography. She has written and edited numerous books and articles, including Islamic Chinoiserie (2009); The Shaping of Persian Art (2013); and Jades from Eastern Lands (forthcoming).
“6000 years Iranian architecture”! The history of the architecture of Iran is such a comprehensive topic, that when taking it into regard a certain restriction must be made to examples found within the present-day national borders as well as within the timespan from the 6th century B.C. until 1979. The architectural examples presented here were always contingent on different topographic and climatic conditions in addition to diverse cultural influences. Rockarchitectureand mosques–bazaars, bathsandpalaces, as well as modernpublic buildingsand housing: WolframKleisscharacterizes in this volumethe architectural historyof Iranfrom the 4th millenniumBCto the present day.