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This book focuses on the conservation and preservation of Persian architectural heritage, including the philosophy of conservation, practical experiences, and risk. Containing the results of research completed over the last several decades into a culture that has contributed much to human civilisation, the book will be useful not just as a scholarly reference for researchers and students, but also as a practical tool for practicing engineers.
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 Aiming to introduce new tools of analysis, the book offers fresh insights into the discipline, supported by historical documents, archaeological data, treatises, and visual materials.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.
From monumental architecture to miniature paintings, sumptuous carpets, and ceramics: the decorative profusion of the arts of Persia captured in glorious detail through hundreds of color photographs
One of the most heated scholarly controversies of the early twentieth century, the Orient-or-Rome debate turned on whether art historians should trace the origin of all Western—and especially Gothic—architecture to Roman ingenuity or to the Indo-Germanic Geist. Focusing on the discourses around this debate, Talinn Grigor considers the Persian Revival movement in light of imperial strategies of power and identity in British India and in Qajar-Pahlavi Iran. The Persian Revival examines Europe’s discovery of ancient Iran, first in literature and then in art history. Tracing Western visual discourse about ancient Iran from 1699 on, Grigor parses the invention and use of a revivalist architectural style from the Afsharid and Zand successors to the Safavid throne and the rise of the Parsi industrialists as cosmopolitan subjects of British India. Drawing on a wide range of Persian revival narratives bound to architectural history, Grigor foregrounds the complexities and magnitude of artistic appropriations of Western art history in order to grapple with colonial ambivalence and imperial aspirations. She argues that while Western imperialism was instrumental in shaping high art as mercantile-bourgeois ethos, it was also a project that destabilized the hegemony of a Eurocentric historiography of taste. An important reconsideration of the Persian Revival, this book will be of vital interest to art and architectural historians and intellectual historians, particularly those working in the areas of international modernism, Iranian studies, 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.
Contains all the major articles on Persian art and architecture published by O'Kane between 1976 and 1994
The Iranian Expanse explores how kings in Persia and the ancient Iranian world utilized the built and natural environment to form and contest Iranian cultural memory, royal identity, and sacred cosmologies. Investigating over a thousand years of history, from the Achaemenid period to the arrival of Islam, The Iranian Expanse argues that Iranian identities were built and shaped not by royal discourse alone, but by strategic changes to Western Asia’s cities, sanctuaries, palaces, and landscapes. The Iranian Expanse critically examines the construction of a new Iranian royal identity and empire, which subsumed and subordinated all previous traditions, including those of Mesopotamia, Egypt, and Anatolia. It then delves into the startling innovations that emerged after Alexander under the Seleucids, Arsacids, Kushans, Sasanians, and the Perso-Macedonian dynasties of Anatolia and the Caucasus, a previously understudied and misunderstood period. Matthew P. Canepa elucidates the many ruptures and renovations that produced a new royal culture that deeply influenced not only early Islam, but also the wider Persianate world of the Il-Khans, Safavids, Timurids, Ottomans, and Mughals.
Architectures of Transversality investigates the relationship between modernity, space, power, and culture in Iran. Focusing on Paul Klee’s Persian-inspired miniature series and Louis Kahn’s unbuilt blueprint for a democratic public space in Tehran, it traces the architectonics of the present as a way of moving beyond universalist and nationalist accounts of modernism. Transversality is a form of spatial production and practice that addresses the three important questions of the self, objects, and power. Using Deleuzian and Heideggerian theory, the book introduces the practices of Klee and Kahn as transversal spatial responses to the dialectical tension between existential and political territories and, in doing so, situates the history of the silent, unrepresented and the unbuilt – constructed from the works of Klee and Kahn – as a possible solution to the crisis of modernity and identity-based politics in Iran.
Like its companion volume about Indian architecture (see NA1501), this volume presents the meticulous work of Herdeg and his students this time illustrating and explicating the great monuments of Islamic architecture in Iran and Tukestan. With some 150 measured drawings and analytical diagrams and 1
Europeans are in denial. Against a backdrop of Islamophobia, they are increasingly distancing themselves from their cultural debt to the Muslim world. But while the legacy of Islam and the Middle East is in danger of being airbrushed out of Western history, its traces can still be detected in some of Europe's most recognisable monuments, from Notre-Dame to St Paul's Cathedral. In this comprehensively illustrated book, Diana Darke sets out to redress the balance, revealing the Arab and Islamic roots of Europe's architectural heritage. She tracks the transmission of key innovations from the great capitals of Islam's early empires, Damascus and Baghdad, via Muslim Spain and Sicily into Europe. Medieval crusaders, pilgrims and merchants from Europe later encountered Arab Muslim culture in journeys to the Holy Land. In more recent centuries, that same route through modern-day Turkey connected Ottoman culture with the West, leading Sir Christopher Wren himself to believe that Gothic architecture should more rightly be called 'the Saracen style', because of its Islamic origins. Recovering this overlooked story within the West's long history of borrowing from the Islamic world, Darke sheds new light on Europe's buildings and offers rich insights into the possibilities of cultural exchange.