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This book is the result of more than a decade of intensive research in the field of Iranian arms and armor, illustrating for the first time selected arrays from 10 Iranian museums. The topic is introduced with a general overview of Iranian history with particular emphasis on military history. Drawing from more than 500 sources, this study also includes an overview of the development of historical copper, bronze, iron, and steel weapons such as swords, bows, maces, axes, shields, armor, and more. In-depth information regarding the classification of the various artifacts is also presented, and different signatures on swords and other weapons are illustrated within the treatise, exploring each item in its cultural setting. A chapter dedicated to the martial arts and warrior training in ancient Iran, traces of which are still evident in the modern culture, is also featured.
Although by its title, this book seems to be about a specialized topic, the spread of Mithraic societies and its avatars, in time and geographical expanse, much enhances its relevancy. From Roman legionaries to chivalry orders, from dervish circles to guild organizations, and from Freemasons to French revolutionaries, the hierarchy of Mithraic societies, their initiation rites, and their oaths of secrecy, provided a model for brotherhood organization that was efficient, but also flexible; they could adapt their philosophy to the prevailing politico-religion conditions of the day, because they did not worship any particular god, but could also be comrades in arms with nascent religious movements, such as with Christianity. Mithra was the initial guarantor of their oath, and if need be it could be replaced by Jesus, Allah or any other divinity. Their "religion" was their brotherhood, and as such they usually provided a counter-balance to the power elite, and had the potential to become politically active.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
The Resplendent image of the medieval knight is concentrated in the symbolism of his sword. The straight, two-edged, cross-hilted knightly sword of the European middle ages was an object of vital importance, a lethal weapon on the battlefield and a badge of chivalry in that complex social code. Ewart Oakeshott draws on his extensive research and expert eye (and hand, for he has a special sense for the feel of a sword) to develop a typology for and recount the history of the sword, from the knightly successors of the Viking weapon to the emergence of the Renaissance sword - that is, roughly from 1050 to 1550. Within this time-span, two distinct groups of swords successively evolved. Problems of dating are acute, and evidence is adduced from literature and art as well as from archaeology, for a sword (or some parts of a sword) could have been in use several generations after it first saw battle. To deal with such overlap, Ewart Oakeshott develops, refines and illustrates a detailed typology of swords which takes in entire swords, pommel-forms, cross-guards, and the grip and scabbard.
This volume of al-Tabari’s History provides the most complete and detailed historical source for the Persian empire of the Saμsaμnids, whose four centuries of rule were one of the most glorious periods in Persia’s long history.
As one of the finest holdings of Indian art in the West, the Kronos Collections are particularly distinguished for paintings made between the sixteenth and early nineteenth centuries for the Indian royal courts in Rajasthan and the Punjab Hills. These outstanding works, many of which are published and illustrated here for the first time, are characterized by their brilliant colors and vivid, powerful depictions of scenes from Hindu epics, mystical legends, and courtly life. They also present a new way of seeking the divine through a form of personal devotion—known as bhakti—that had permeated India’s Hindu community. While explaining the gods, demons, lovers, fantastical creatures, and mystical symbols that are central to literature and worship, this publication celebrates the diverse styles and traditions of Indian painting. Divine Pleasures features an informative entry for each work and two essays by scholar Terence McInerney that together outline the history of Indian painting and the Rajput courts, providing fresh insights and interpretations. Also included are a personal essay by expert and collector Steven M. Kossak and an examination of Hindu epic and myth in Mughal painting, which lays important foundations for Rajput painting, by curator Navina Najat Haidar. Through their research and observations, the authors deepen our understanding and underscore the significance of Indian painting. Divine Pleasures presents a nuanced view of a way of life intimately tied to the seasons, the arts, and the divine.
"In The Aura of Kings, Abolala Soudavar traces the symbolism of the farr - or Divine Glory - to its early origins and demonstrates its continuity across Iranian history. This important and very readable study sheds new light on the formulation and development of the symbolism of kingship in Iran and her geo-cultural neighbors, and contributes toward a better understanding of the Iranian worldview in general, and the propagation of the aura as a visual symbol of farr in particular."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved