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A beautifully illustrated showcase of the rich and varied ceramic tradition of Iran Featuring a broad selection of objects from one of the most distinguished collections of Iranian art, this volume brings together over 1,000 years of Persian Islamic pottery. With more than 500 illustrations, authoritative technical treatises, and insightful commentary, Ceramics of Iran assembles a collection of rarely seen treasures from the Persian world and presents a collective history of its renowned ceramic tradition. Included among its comprehensive catalogue entries are numerous translations of the object’s inscriptions, providing readers with a richer and more detailed understanding of the cultural heritage from which these items are derived. In addition, the book contains new research and material from previously unknown sites. Featuring all new photography of nearly 250 objects, Ceramics of Iran brings the extraordinary contributions of Persian art into a wider historical context, along with a wealth of images to demonstrate the full scope of its intricate beauty.
This volume contains four essays on inscriptions and/or pseudo inscriptions made with letters of the Arabic alphabet or with characters deriving from the latter, used in artifacts produced in the West (and especially Italy) during the medieval and Renaissance period. Maria Vittoria Fontana is Full Professor of Islamic Archaeology and History of Art at the Department of Science of Antiquities of Sapienza University in Rome; previously, she held the same role at “L’Orientale” University of Naples. She has carried out excavations in Iran, Jordan and Yemen. The last excavation was at Istakhr and the final report was published in the volume Istakhr (Iran) 2011-2016: Historical and Archaeological Essays (Quaderni di Vicino Oriente XIII), Rome: Sapienza 2018. She is also the author of numerous scientific articles and monographs on both archaeological and iconographic subjects, the latter concerning Islamic productions as well as Western ones that have come into contact with Islam.
This is the first thorough investigation of the Brummer brothers’ remarkable career as dealers in antiques, curiosities and modernism in Paris and New York over six decades (1906-1964). A dozen specialists aggregate their expertise to explore extant dealer records and museum archives, parse the wide-ranging Brummer stock, and assess how objects were sourced, marketed, labelled, restored, and displayed. The research provides insights into emerging collecting fields as they crystallised, at the crossroads between market and museum. It questions the trope of the tastemaker; the translocation of material culture, and the dealers’ prolific relationships with illustrious collectors, curators, scholars, artists, and fellow dealers.
Over the last two decades, the study of graffiti has emerged as a bustling field, invigorated by increased appreciation for their historical, linguistic, sociological, and anthropological value and propelled by ambitious documentation projects. The growing understanding of graffiti as a perennial, universal phenomenon is spurring holistic consideration of this mode of graphic expression across time and space. Graffiti Scratched, Scrawled, Sprayed: Towards a Cross-Cultural Understanding complements recent efforts to showcase the diversity in creation, reception, and curation of graffiti around the globe, throughout history and up to the present day. reflecting on methodology, concepts, and terminology as well as spatial, social, and historical contexts of graffiti, the book's fourteen chapters cover ancient Egypt, Rome, Northern Arabia, Persia, India, and the Maya; medieval Eastern Mediterranean, Turfan, and Dunhuang; and contemporary Tanzania, Brazil, China, and Germany. As a whole, the collection provides a comprehensive toolkit for newcomers to the field of graffiti studies and appeals to specialists interested in viewing these materials in a cross-cultural perspective.
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.
Rising from humble origins as Turkish tribesmen, the powerful and culturally prolific Seljuqs—an empire whose reach extended from Central Asia to the eastern Mediterranean—dominated the Islamic world from the eleventh to the fourteenth century. Court and Cosmos: The Great Age of the Seljuqs examines the roots and impact of this formidable dynasty, featuring some 250 objects as evidence of the artistic and cultural flowering that occurred under Seljuq rule. Beginning with an historical overview of the empire, from its early advances into Iran and northern Iraq to the spread of its dominion into Anatolia and northern Syria, Court and Cosmos illuminates the splendor of Seljuq court life. This aura of luxury extended to a sophisticated new elite, as both sultans and city dwellers acquired dazzling glazed ceramics and metalwork lavishly inlaid with silver, copper, and gold. Advances in science and technology found parallels in a flourishing interest in the arts of the book, underscoring the importance the Seljuqs placed on the scholarly and literary life. At the same time, the unrest that accompanied warfare between the Seljuqs and their enemies as well as natural disasters and unexplainable celestial phenomena led people to seek solace in magic and astrology, which found expression in objects adorned with zodiacal and talismanic imagery. These popular beliefs existed alongside devout adherence to Islam, as exemplified by exquisitely calligraphed Qur’ans and an array of building inscriptions and tombstones bearing verses from the holy book. The great age of the Seljuqs was one that celebrated magnificence, be it of this world or in the celestial realm. By revealing the full breadth of their artistic achievement, Court and Cosmos provides an invaluable record of the Seljuqs’ contribution to the cultural heritage of the Islamic world.
Brill’s Companion to War in the Ancient Iranian Empires examines military structures and methods from the Elamite period through the Achaemenid, Seleucid, Arsacid, and Sasanian empires. War played a critical role in Iranian state formation and dynastic transitions, imperial ideologies and administration, and relations with neighbouring states and peoples from Central Asia to the Mediterranean. Twenty chapters by leading experts offer fresh approaches to the study of ancient Iranian armies, strategy, diplomacy, and battlefield methods, and contextualise famous conflicts with Greek and Roman opponents.
This interrogates the racist construction of Aria and Aryanism in an Iranian context, arguing that these concepts gave the Indo-European speaking Persian ethnic group an advantage over Iran's non-Persian nationalities and communities.
Artists have long been stimulated and motivated by the work of those who came before them—sometimes, centuries before them. Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of works from The Met collection appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia.