Studies in Persian Cultural History - Böcker

2017 CESS Book Award WinnerIn Qazaqlïq, or Ambitious Brigandage, and the Formation of the Qazaqs Joo-Yup Lee examines the formation of new group identities, with a focus on the Qazaqs, in post-Mongol Central Eurasia within the context of qazaqlïq, or the qazaq way of life, a custom of political vagabondage widespread among the Turko-Mongolian peoples of Central Asia and the Qipchaq Steppe during the post-Mongol period.Utilizing a broad range of original sources, the book suggests that the Qazaqs, as well as the Shibanid Uzbeks and Ukrainian Cossacks, came into existence as a result of the qazaq, or “ambitious brigand,” activities of their founders, providing a new paradigm for understanding state formation and identity in post-Mongol Central Eurasia.

Nasrin Askari explores the medieval reception of Firdausī’s Shāhnāma, or Book of Kings (completed in 1010 CE) as a mirror for princes. Through her examination of a wide range of medieval sources, Askari demonstrates that Firdausī’s oeuvre was primarily understood as a book of wisdom and advice for kings and courtly elites. In order to illustrate the ways in which the Shāhnāma functions as a mirror for princes, Askari analyses the account about Ardashīr, the founder of the Sasanian dynasty, as an ideal king in the Shāhnāma. Within this context, she explains why the idea of the union of kingship and religion, a major topic in almost all medieval Persian mirrors for princes, has often been attributed to Ardashīr.

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.

Kashefi’s Anvar-e Sohayli (15th c. A.D.) is a Persian rewriting of the timeless and influential Kalila wa-Dimna text, done at the Timurid court. Christine van Ruymbeke offers a first in-depth analysis of the contents and style of this important text and also addresses the Kalila wa-Dimna field across its full rewriting history. This analysis shows how Kashefi’s additions function as an invaluable commentary that opens up our understanding and the appreciation of this seminal text. This studies revisits several received ideas and current misapprehensions about the text and shows why it has been such an international best-seller before being unjustly relegated to children’s literature. In Van Ruymbeke’s words, Kalila wa-Dimna is a grim text, exposing the mechanisms of sophisticated psychological manipulation and exploring universal philosophical themes, known since Antiquity and still relevant today.

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. ʿAli Qoli Jebādār et l’Occidentalisme safavide offre un nouveau récit de la vie et des œuvres de ʿAli Qoli Jebādār. Recueillant plusieurs peintures et signatures de l'artiste, Negar Habibi expose à la discussion de divers titres royaux de l'artiste. ʿAli Qoli Jebādār et l'Occidentalisme safavide approfondit également nos connaissances sur l'évolution artistique et socio-politique de la société iranienne à l’aube du modernisme. En consultant sans cesse les sources historiques, Negar Habibi montre la possibilité du patronage féminin et eunuque dans les peintures connues sous le nom de farangi sāzi au XVIIe siècle, tout en suggérant l'utilisation d'un nouveau titre comme l'Occidentalisme pour ces peintures safavides qui montrent des détails exotiques et étrangers appartenant au monde occidental.

Shahnama Studies III focuses on the hugely successful afterlife of the Shahnama or Book of Kings, completed by the poet Firdausi around 1010 AD. This long epic grew out to be an icon of Persian culture and served as a source of inspiration for art and literature, leaving its traces in manifold ways. The contributors to this volume each treat an aspect of the rich legacy of the Shahnama and offer new insights in Shahnama manuscript studies, the illustration of the Shahnama, the phenomenon of later epics, and the Shahnama in later texts and contexts.

In Mughal Occidentalism, Mika Natif elucidates the meaningful and complex ways in which Mughal artists engaged with European art and techniques from the 1580s-1630s. Using visual and textual sources, this book argues that artists repurposed Christian and Renaissance visual idioms to embody themes from classical Persian literature and represent Mughal policy, ideology and dynastic history. A reevaluation of illustrated manuscripts and album paintings incorporating landscape scenery, portraiture, and European objects demonstrates that the appropriation of European elements was highly motivated by Mughal concerns. This book aims to establish a better understanding of cross-cultural exchange from the Mughal perspective by emphasizing the agency of local artists active in the workshops of Emperors Akbar and Jahangir.

In Lives of the Prophets: The Illustrations to Hafiz-i Abru’s “Assembly of Chronicles” Mohamad Reza Ghiasian analyses two extant copies of the Majmaʿ al-tawarikh produced for the Timurid ruler Shahrukh (r. 1405–1447). The first manuscript is kept in Topkapı Palace and the second is widely dispersed. Codicological analysis of these manuscripts not only allows a better understanding of Hafiz-i Abru’s contributions to rewriting earlier history, but has served to identify the existence of a previously unrecognised copy of the Jamiʿ al-tawarikh produced at Rashid al-Din’s scriptorium. Through a meticulous close reading of both text and image, Mohamad Reza Ghiasian convincingly proves that numerous paintings of the dispersed manuscript were painted over the text before its dispersal in the early twentieth century.

In Central Asia, Muslim shrines have served as community centers for centuries, particularly the large urban shrines that seem, in many cases, to have served as the inspiration as well for a city’s architectural development. In Four Central Asian Shrines: A Socio-Political History of Architecture R. D. McChesney documents the histories of four such long-standing shrines—Gur-i Mir at Samarqand, Khwajah Abu Nasr Parsa Mazar at Balkh, the Noble Rawzah at Mazar-i Sharif, and the Khirqat al-Nabi at Qandahar. In all four cases the creation and evolution of the architecture of these shrines is traced through narratives about their social and political histories and in the past century and a half, through the photographic record.

In Relational Iconography: Representational Culture at the Qaraquyunlu and Aqquyunlu Courts (853 / 1449 CE to 907 / 1501 CE), Georg Leube engages with courtly representation from an iconographical perspective, tracing the intersecting agencies of courtly actors negotiating multiple normativities and traditions. While the courtly culture of the Qaraquyunlu and Aqquyunlu dynasties (15th century C.E.) is commonly interpreted as an intermezzo in Persianate and Islamicate cultural history, it is here framed as an ideal field to explore a relational approach that challenges established dichotomies and ideal types.By reading multiple mediums and discourses into each other, Georg Leube shows how courtly performance is rooted in iconographical repertoires that resonated with different networks and groups inside the 'Turkmen' realms.

The present book offers an elaborate art historical study of the collection of Persian miniatures at the Rijkmuseum in Amsterdam. The collection includes detached folios, which are the most significant in any Dutch collection. The artworks, catalogued thorougly in this book for the first time, range in date from the thirteenth century until the early twentieth century, and cover diverse subject matters.