Sarvistan A Study In Early Iranian Architecture

Here is the basic study, with measured drawings, photographs, and written description, of a major monument in Iran, the ruins of Sarvistan, which has been much discussed but up to now has been poorly documented and is thus little known. The author examined the ruins of all buildings which had been attributed over the years to the Sasanians, Iran's last pre-Islamic dynasty (A.D. 226-651), concentrating on the impressive remains of a building near the town of Sarvistan, 100 km southeast of Shiraz. Sarvistan, considered a key monument of Persian architecture since its "discovery" in the 19th century, occupies a prominent place in the history of medieval architecture of both East and West.

Historiography is the study of the methodology of writing history, the development of the discipline of history, and the changing interpretations of historical events in the works of individual historians. Exploring the historiography of Persian art and architecture requires a closer look at a diverse range of sources, including chronicles, historical accounts, travelogues, and material evidence coming from archaeological excavations. The Historiography of Persian Architecture highlights the political, cultural, and intellectual contexts that lie behind the written history of Persian architecture in the twentieth century, presenting a series of investigations on issues related to historiography. This book addresses the challenges, complexities, and contradictions regarding historical and geographical diversity of Persian architecture, including issues lacking in the 20th century historiography of Iran and neighbouring countries. This book not only illustrates different trends in Persian architecture but also clarifies changing notions of research in this field. Aiming to introduce new tools of analysis, the book offers fresh insights into the discipline, supported by historical documents, archaeological data, treatises, and visual materials. It brings together well-established and emerging scholars from a broad range of academic spheres, in order to question and challenge pre-existing historiographical frameworks, particularly through specific case studies. Overall, it provides a valuable contribution to the study of Persian architecture, simultaneously revisiting past literature and advancing new approaches. This book would be of interest to students and scholars of Middle East and Iranian Studies, as well as Architectural History, including Islamic architecture and historiography.

Since the Shah went into exile and the Islamic Republic was established in 1979 in the wake of the Iranian Revolution, the very idea of monarchy in Iran has been contentious. Yet, as Persian Kingship and Architecture argues, the institution of kingship has historically played a pivotal role in articulating the abstract notion of 'Iran' since antiquity. These ideas surrounding kingship and nation have, in turn, served as a unifying cultural force despite shifting political and religious allegiances. Through analyses of palaces, mausolea, art, architectural decoration and urban design the authors show how architecture was appropriated by different rulers as an integral part of their strategies of legitimising power. They refer to a variety of examples, from the monuments of Persepolis under the Achamenids, the Sassanian palaces at Kish, the Safavid public squares of Isfahan, the Qajar palaces at Shiraz and to the modernisation and urban agendas of the Pahlavis. Drawing on archaeology, ancient, medieval, early and modern architectural history, both Islamic and secular, this book is indispensable for all those interested in Iranian studies and visual culture.

Early Islamic Art, 650-1100 is the first in a set of four volumes of studies by Oleg Grabar. Between them they bring together more than eighty articles, studies and essays, work spanning half a century. Each volume takes a particular section of the topic, the three subsequent volumes being entitled: Islamic Visual Culture, 1100-1800; Islamic Art and Beyond; and Jerusalem. Reflecting the many incidents of a long academic life, they illustrate one scholar's attempt at making order and sense of 1400 years of artistic growth. They deal with architecture, painting, objects, iconography, theories of art, aesthetics and ornament, and they seek to integrate our knowledge of Islamic art with Islamic culture and history as well as with the global concerns of the History of Art. In addition to the articles selected, each volume contains an introduction which describes, often in highly personal ways, the context in which Grabar's scholarship developed and the people who directed and mentored his efforts. The present volume concentrates primarily on documents provided by archaeology understood in its widest sense, and including the study of texts with reference to monuments or to the contexts of these monuments. The articles included represent major contributions to the understanding of the formative centuries of Islamic art, focusing on the Umayyad (661-750) and Fatimid (969-1171) dynasties in Greater Syria and in Egypt, and on the Mediterranean or Iranian antecedents of early Islamic art. Historical, cultural, and religious themes, including the role of court ceremonies, the growth of cities, and the importance of the Qur'an, are introduced to help explain how a new art was formed in the central lands of the Near East and how its language can be retrieved from visual or written sources.

They discuss, for example, how the universal caliphs of the first six centuries gave way to regional rulers and how, in this new world order, Iranian forms, techniques, and motifs played a dominant role in the artistic life of most of the Muslim world; the one exception was the Maghrib, an area protected from the full brunt of the Mongol invasions, where traditional models continued to inspire artists and patrons. By the sixteenth century, say the authors, the eastern Mediterranean under the Ottomans and the area of northern India under the Mughals had become more powerful, and the Iranian models of early Ottoman and Mughal art gradually gave way to distinct regional and imperial styles.

This volume is a collection of papers on the various aspects of Sasanian world which were delivered at the University of Oxford in 2014.

Earthquakes and Coseismic Surface Faulting on the Iranian Plateau is a comprehensive and well-illustrated multi-disciplinary research work that analyzes the human and physical aspects of the active faults and large-magnitude earthquakes since ancient times on the Iranian Plateau. The long-term historical, archaeological, and sociological record of earthquakes discussed here gives insight into earthquake magnitudes, recurrences, fault segmentation, clustering, and patterns of coseismic ruptures from prehistoric times to the present. The first part of the book examines oral traditions and literature of the region concerned with earthquakes, particularly in folklore, epic literature, and theology. The second part assesses dynamic phenomena associated with earthquakes, including active tectonics, archaeoseismicity, and coseismic surface faulting throughout the twentieth century. This work is a valuable technical survey and an essential reference for understanding seismic hazard analysis and earthquake risk minimization in earthquake-prone developing and developed countries throughout the world. Provides a reference for seismic hazard evaluation and analysis Covers data dealing with crustal deformations caused by earthquake faulting and folding since historic times Presents unique and complete data for use in empirical relation analyses in all regions

How did Iran remain distinctively Iranian in the centuries which followed the Arab Conquest? How did it retain its cultural distinctiveness after the displacement of Zoroastrianism - state religion of the Persian empire - by Islam? This latest volume in "The Idea of Iran" series traces that critical moment in Iranian history which followed the transformation of ancient traditions during the country's conversion and initial Islamic period. Distinguished contributors (who include the late Oleg Grabar, Roy Mottahedeh, Alan Williams and Said Amir Arjomand) discuss, from a variety of literary, artistic, religious and cultural perspectives, the years around the end of the first millennium CE, when the political strength of the 'Abbasid Caliphate was on the wane, and when the eastern lands of the Islamic empire began to be take on a fresh 'Persianate' or 'Perso-Islamic' character. One of the paradoxes of this era is that the establishment throughout the eastern Islamic territories of new Turkish dynasties coincided with the genesis and spread, into Central and South Asia, of vibrant new Persian language and literatures. Exploring the nature of this paradox, separate chapters engage with ideas of kingship, authority and identity and their fascinating expression through the written word, architecture and the visual arts.