Persepolis Free
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Arta 2005.001
ARTA 2005.001 St John Simpson - The British Museum Making their mark: Foreign travellers at Persepolis The ruins at Persepolis continue to fascinate scholars not least through the perspective of the early European travellers’ accounts. Despite being the subject of considerable study, much still remains to be discovered about this early phase of the history of archaeology in Iran. The early published literature has not yet been exhausted; manuscripts, letters, drawings and sculptures continue to emerge from European collections, and a steady trickle of further discoveries can be predicted. One particularly rich avenue lies in further research into the personal histories of individuals who are known to have been resident in or travelling through Iran, particularly during the 18th and 19th centuries. These sources have value not only in what may pertain to the sites or antiquities, but they also add useful insights into the political and socio-economic situation within Iran during this period (Wright 1998; 1999; Simpson in press; forthcoming). The following paper offers some research possibilities by focusing on the evidence of the Achemenet janvier 2005 1 ARTA 2005.001 Fig. 1: Gate of All Nations graffiti left by some of these travellers to the site. Some bio- graphical details have been added where considered appro- priate but many of these individuals deserve a level of detailed research lying beyond the scope of this preliminary survey. Achemenet janvier 2005 2 ARTA 2005.001 The graffiti have attracted the attention of many visitors to the site, partly because of their visibility on the first major building to greet visitors to the site (Fig. -
Achaemenid Empire/ (Persia) BY: HOZAN LATIF RAUF General Architectural Features
Achaemenid Empire/ (Persia) BY: HOZAN LATIF RAUF General Architectural features ▪ The architecture of Persians was more columnar and that led to vastly different massive architectural features from that of the Mesopotamian era. ▪ The use of flat timber roofs rather than vaults led to more slender columns and were rather more beautiful. This also led to rooms being squarer in shape than simple long rectangle. ▪ The roofing system was also very different, wherein the wooden brackets were covered in clay and provided more stability. The use of a double mud wall might have provided room for windows just below ceiling in structures like Palace of Persepolis. VOCABULARY WORDS ▪ The COLUMN is divided into three parts: ▪ The BASE ▪ The SHAFT- FLUTED ▪ The CAPITAL- Double Animal most with bulls Ancient Susa/Shush The city of SUSA was the Persian capital in succession to Babylon, where there is a building with a citadel complex. There was a good skill set of artisans and laborers available which made the palace complex more of a piece of art than just a building structure. Cedar wood was got from Lebanon and teak from the mountain of Zagros. The baked bricks were still made in the Babylonian method. Ancient Susa/Shush Ancient Persepolis PERSEPOLIS ▪ 518 BCE ▪ King Darius utilized influences and materials from all over his empire, which included Babylon, Egypt, Mesopotamian and Greece Architectural Plan of Ancient Persepolis The Great/Apadana Staircase ▪ King Xerxes (486-465 BC) built the Grand Staircase and the Gate of All Nations. ▪ The Grand Staircase is located on the northeast side of the city and these stairs were carved from massive blocks of stone. -
From Small States to Universalism in the Pre-Islamic Near East
REVOLUTIONIZING REVOLUTIONIZING Mark Altaweel and Andrea Squitieri and Andrea Mark Altaweel From Small States to Universalism in the Pre-Islamic Near East This book investigates the long-term continuity of large-scale states and empires, and its effect on the Near East’s social fabric, including the fundamental changes that occurred to major social institutions. Its geographical coverage spans, from east to west, modern- day Libya and Egypt to Central Asia, and from north to south, Anatolia to southern Arabia, incorporating modern-day Oman and Yemen. Its temporal coverage spans from the late eighth century BCE to the seventh century CE during the rise of Islam and collapse of the Sasanian Empire. The authors argue that the persistence of large states and empires starting in the eighth/ seventh centuries BCE, which continued for many centuries, led to new socio-political structures and institutions emerging in the Near East. The primary processes that enabled this emergence were large-scale and long-distance movements, or population migrations. These patterns of social developments are analysed under different aspects: settlement patterns, urban structure, material culture, trade, governance, language spread and religion, all pointing at population movement as the main catalyst for social change. This book’s argument Mark Altaweel is framed within a larger theoretical framework termed as ‘universalism’, a theory that explains WORLD A many of the social transformations that happened to societies in the Near East, starting from Andrea Squitieri the Neo-Assyrian period and continuing for centuries. Among other infl uences, the effects of these transformations are today manifested in modern languages, concepts of government, universal religions and monetized and globalized economies. -
Iran in Depth
IRAN IN DEPTH In conjunction with the Near East Archaeological Foundation, Sydney University APRIL 25 – MAY 17, 2017 TOUR LEADER: BEN CHURCHER Iran in depth Overview The Persian Empire, based within modern Iran’s borders, was a significant Tour dates: April 25 – May 17, 2017 force in the ancient world, when it competed and interacted with both Greece and Rome and was the last step on the Silk Road before it Tour leader: Ben Churcher reached Europe and one of the first steps of Islam outside Arabia. In its heyday, Iran boasted lavish architecture that inspired Tamerlane’s Tour Price: $11,889 per person, twin share Samarqand and the Taj Mahal, and its poets inspired generations of Iranians and foreigners, while its famed gardens were a kind of earthly Single Supplement: $1,785 for sole use of paradise. In recent times Iran has slowly re-established itself as a leading double room nation of the Middle East. Booking deposit: $500 per person Over 23 days we travel through the spring-time mountain and desert landscapes of Iran and visit some of the most remarkable monuments in Recommended airline: Emirates the ancient and Islamic worlds. We explore Achaemenid palaces and royal tombs, mysterious Sassanian fire temples, enchanting mud-brick cities on Maximum places: 20 the desert fringes, and fabled Persian cities with their enchanting gardens, caravanserais, bazaars, and stunning cobalt-blue mosques. Perhaps more Itinerary: Tehran (3 nights), Astara (1 night), importantly, however, we encounter the unsurpassed friendliness and Tabriz (3 nights), Zanjan (2 nights), Shiraz (5 hospitality of the Iranian people which leave most travellers longing to nights), Yazd (3 nights), Isfahan (4 Nights), return. -
Download the 2006 Journal
The Iran Society JOURNAL 2006 CONTENTS Introduction 3 Ta'ziyeh in Iran 4 Alborz Retrospective 11 Architectural conservation in Iran 15 Sadeq Hedayat as a scholar 24 Pascal Coste and Eugene Flandin 29 Abul Ghassem Khan Gharagozlou, Nasser ul-Molk 32 Book Reviews: Eagle's Nest 36 Mirrors of the unseen - Journeys in Iran 38 General Maps of Persia 1477-1925 39 - 2 - INTRODUCTION This has been another busy year for the Society, with a number of well-attended supplementary activities to our usual lecture programme. The Council hopes to build on this over the coming year. In pursuit of the Society’s charitable objects, we are attempting to reach a wider audience than the Society’s present membership. In particular, we are planning a public lecture in memory of Sir Denis Wright, our former president and chairman, who contributed so much to the Society. David Blow, a Council member, is editing a compendium of travellers’ tales on Iran over the ages, which is due to be published by Eland Books next year, and we will continue to arrange tutored visits to UK exhibitions and events connected with Iran. Meanwhile, our Journal continues to go from strength to strength, and we all owe a debt of gratitude to the editor, Antony Wynn, and to Alan Ashmole, who arranges the printing. I am retiring as chairman in October. This is in many ways a sad moment for me, but I am delighted that Hugh Arbuthnott has been elected to succeed me as chairman. As a Persian speaker, who was twice posted to the British Embassy in Tehran and was British Ambassador in three countries, he brings a depth of experience and wisdom which will, I am sure, be of great benefit to the Society. -
''Les Monuments De L'architecture Arabe'
”Les monuments de l’architecture arabe” vus par Pascal Coste Mercedes Volait To cite this version: Mercedes Volait. ”Les monuments de l’architecture arabe” vus par Pascal Coste. Dominique Jacobi. Pascal Coste, toutes les Egypte, Parenthèses/Bibliothèque municipale de Marseille, pp.97-131, 1998. halshs-00957011 HAL Id: halshs-00957011 https://halshs.archives-ouvertes.fr/halshs-00957011 Submitted on 7 Mar 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Mercedes Volait, CNRS "Les monuments de l'architecture arabe" vus par Pascal Coste* (publié in Pascal Coste, toutes les Egypte, sous la direction de Dominique Jacobi, Marseille: Parenthèses/Bibliothèque municipale de Marseille, 1998, p. 97-131) Dans les carnets de dessins que Pascal Coste rapporte en 1827 de ses pérégrinations égyptiennes, "l'architecture arabe" - ainsi qu'il était alors d'usage de la désigner - occupe une place de choix. Certes, cet insatiable curieux et infatigable dessinateur s'est également intéressé à bien d'autres aspects de l'Egypte, qu'il eut l'occasion de parcourir en tous sens au cours de deux longs séjours, le premier effectué d'octobre 1817 à octobre 1822, et le second d'octobre 1823 à novembre 18271: ses albums inédits, qu'il devait léguer à sa ville natale2, sont là pour en témoigner. -
The Journal of the Asian Arts Society of Australia Ancient Iran
VOLUME 19 NO. 3 SEPTEMBER 2010 the journal of the asian arts society of australia TAASA Review ancient iran C o n t E n t s Volume 19 No. 3 September 2010 3 Editorial taasa rEVIEW Tobin Hartnell and Josefa Green THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. ABN 64093697537 • Vol. 19 No. 3, September 2010 ISSN 1037.6674 4 ChEshmEh ali WarE: a PaintEd CEramiC tradition in thE iranian CEntral PlatEau Registered by Australia Post. Publication No. NBQ 4134 Edna Wong EditorIAL • email: [email protected] 7 ElamitE art General editor, Josefa Green Javier Álvarez-Món PubliCations Committee 10 the KazaKly-yatKan Wall Paintings: New PErspectivEs on the Art of the AnCiEnt Iranian World Josefa Green (convenor) • Tina Burge Melanie Eastburn • Sandra Forbes • Ann MacArthur Fiona Kidd Jim Masselos • Ann Proctor • Susan Scollay Sabrina Snow • Christina Sumner 12 PErsepolis in the WEstErn imagination dEsign/layout Tobin Hartnell Ingo Voss, VossDesign Printing 15 love Thy Neighbour: The Intimate Art of DiPlomaCy in PErsepolis Processional SculPturEs John Fisher Printing Stephanie Reed Published by The Asian Arts Society of Australia inc. 18 sasanian roCK rEliEf PanEls PO Box 996 Potts Point NSw 2011 www.taasa.org.au Ali Asadi Enquiries: [email protected] 21 in the PubliC domain: A Persian ShAhnama FoliO from ThE NGV TAASA Review is published quarterly and is distributed to members Susan Scollay of The Asian Arts Society of Australia inc. TAASA Review welcomes submissions of articles, notes and reviews on Asian visual and performing arts. All articles are refereed. Additional copies and 22 silKs of sasanian PErsia subscription to TAASA Review are available on request. -
Leoni E Tori Lions and Bulls
LEONI E TORI / LIONS AND BULLS AND LIONS / TORI E LEONI La mostra è organizzata da Fondazione Aquileia, LEONI E TORI Polo Museale del Friuli Venezia Giulia e Iranian Cultural Heritage, Handicrafts and Tourism Organization DALL’ANTICA PERSIA AD AQUILEIA in collaborazione con a Fondazione Aquileia è stata istituita nel 2008 in seguito all᾿accordo tra il Ministero dei Beni e delle Attività Culturali L LIONS AND BULLS e del Turismo e la Regione Autonoma Friuli Venezia Giulia. Oltre al Ministero e alla Regione, i soci sono la Provincia di Udine, FROM ANCIENT PERSIA IN AQUILEIA il Comune di Aquileia e l᾿Arcidiocesi di Gorizia. La Fondazione si occupa della valorizzazione del sito archeologico grazie al sostegno di di Aquileia, iscritto dal 1998 nella World Heritage List dell᾿UNESCO, R programma e pianifica gli interventi di ricerca e di conservazione nelle aree archeologiche conferitele dal Ministero, con l᾿obiettivo di istituire un parco archeologico integrato con il tessuto urbano attuale. Pantone CMYK RAL Blue 539 80-50-0-80 5003 Red Warm Red 0-100-100-0 2002 Promuove, inoltre, la conoscenza dell᾿antica città con numerose Gray 406 0-6-8-18 7035 iniziative, tra le quali le mostre organizzate in collaborazione con il Museo Archeologico Nazionale, l᾿Archeofest, l᾿Aquileia Film Festival, la rievocazione storica Tempora in Aquileia, conferenze ed altri eventi di carattere culturale. La Fondazione Aquileia ha vinto nel 2015 il premio dell᾿Unione Europea per il Patrimonio Culturale/Europa Nostra Awards nella categoria «Conservazione», e nello stesso anno è stata insignita della Targa dell᾿Eccellenza per la Cultura dalla Camera di Commercio, Industria, Artigianato, Agricoltura di Udine, mentre nel 2016, Sponsor tecnico ha ottenuto, sempre per la valorizzazione dei mosaici dell᾿Aula Meridionale del Battistero, ha ottenuto il Premio speciale della Triennale di Milano per il miglior Progetto di Committenza Pubblica. -
Royal Inscriptions from Persepolis in Electronic Form Matthew W
oi.uchicago.edu THE ORIENTAL INSTITUTE NEWS & NOTES SPRING 1998 ©THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICAGO ACHAEMENID ROYAL INSCRIPTIONS FROM PERSEPOLIS IN ELECTRONIC FORM MATTHEW W. STOLPER. PROFESSOR OF ASSYRIOLOGY GENE GRAGG. PROFESSOR OF NEAR EASTERN LANGUAGES AND DIRECTOR OF THE ORIENTAL INSTITUTE From 550 BC on, Cyrus the Great and his successors, the Persian structed narrative of Darius's triumph over his competitors for kings of the Achaemenid dynasty, conquered and held an em control of the empire, and it was not only addressed to posterity, pire on a scale that was without precedent in earlier Near East but also translated and disseminated to the conquered lands, and ern history, and without parallel until the formation of the an Aramaic version was copied out in Egypt about a century af Roman Empire. At its greatest extent, its corners were in Libya ter the text was composed. But the other inscriptions, for the and Ethiopia, Thrace and Macedonia, Afghanistan and Central most part, present the empire not as an accomplishment, the re Asia, and the Punjab. It incorporated ancient literate societies in sult of royal efforts, but as a divinely sanctioned order. Elam, Mesopotamia, Egypt, and elsewhere. It engaged the The characteristic that best represented this order was its di versity, which was in turn an expression of the empire's size. In I ~ 13DDO!lDC,lDcnIS I nybljc nm,'mms I I w< t?sjtc infocmali oo & SIlUj Sljcs I clIoyriyhl$ & pcn)Jjs.~ioos I ~ I a world where few people had seen maps, where area and dis I webs;l!! nllviegriQnal aid I tance could not be expressed in geometric figures, the most im pressive way of putting them in words was to name the many ACHAEMENID ROYAL INSCRIPTIONS people who served the king, and so some of the inscriptions give lists of subject lands, twenty, or twenty-three, or twenty-eight items long. -
The Achaemenid Heartland: an Archaeological-Historical Perspective 933
CHAPTER FIFTY The Achaemenid Heartland: An Archaeological - Historical Perspective Wouter F.M. Henkelman 1 Geographical, Climatic, and Chronological Setting Though the Achaemenid heartland in a strict sense corresponds roughly to the modern Iranian province of F ā rs (ancient P ā rsa, PersV), its immediate cultural and historical context comprised parts of the provinces of Esfah ā n, Y ā zd, Kerm ā n and B ū š ehr, as well as Kh ū zest ā n, where a Neo - Elamite kingdom existed until c.540 or 520 BC . An Iranian presence was noticeable on Elam ’ s northern and eastern borders from the 7th century BC onward and Elamite culture provided a critical impulse for the early Persians (Henkelman 2008a ). When Darius I (522 – 486 BC ) transformed Susa into a principal Achaemenid residence (c.520 BC ), he confi rmed Elam ’ s special status and de facto made it part of the empire ’ s core. In fact, the bipolarity of lowland Kh ū zest ā n and highland F ā rs had characterized successive Elamite states from the 3rd millennium onward (Amiet 1979 ; Potts 1999 ; Miroschedji 2003 ; for other parts of Achaemenid Iran, see Boucharlat 2005 ). In physical terms, the area comprises the southern Zagros range of northwest– southeast - oriented valleys, ending in larger intermontane plains (the Kū r River basin, including the Marv Da š t with Persepolis); the B ū š ehr province coastal plains (and further east?); and the Kh ū zest ā n alluvial plain. As the ancient coast- line extended further northwestward than it does today, only higher Kh ū zest ā n is relevant here, roughly the area north of Ahw ā z (Gasche 2004, 2005, 2007 ; Heyvaert and Baeteman 2007 ). -
European Artists in Iran During the Qâjâr Period
Mahshid Modares The familiarity of Iranians with European schools of art begins with the political European Artists relationship with Europe in the seventeenth century, and increases in the nineteenth century. in Iran During the In Europe, industrial, social, and cultural changes reformed many political systems in the Qâjâr Period nineteenth century and ended many monarchial, feudal, and hierarchical systems that had existed for centuries. In the transition from monarchy to democracy, according to Stephen Eisenman, in his book Nineteenth Century Art: A Critical History, the bourgeois controlled some parts of Europe for about a century. On the one hand, the working class, farmers, and women followed revolutionary ideas of enlightened individuals in gaining their freedom and equality.1 On the other hand, industrialized nations invaded weak countries in Africa, South America, and the Middle East, maintaining economical and military supremacy during the colonial period of the nineteenth century. Britain, for instance, asserted control over oil and other resources in Iran to assure its routes to India. Countries such as Iran suffered constant interference by Europeans trying to enforce their ascendancy in the name of modernization, two-way friendship, and trade. Having political and economic clout, England, Germany, France, and the United States chased valuable resources and lands. As a part of the plan, European ambassadors, government missions, military men, traders, archeologists, and artists, all of whom traveled to different regions, took back to Europe information on future investments, as well as a large number of ancient and contemporary art pieces and During the Qâjâr epoch Iranian artists exhibited a great treasures, which made many museums and interest in European paintings of the Renaissance and private collections enormously wealthy. -
Downloaded from Brill.Com10/09/2021 01:46:25PM Via Free Access Guise and Disguise Before and During the Tanzimat 187
chapter 5 Guise and Disguise Before and During the Tanzimat In 1911, French war illustrator Georges Bertin Scott objects coming to life in one’s reminiscence of past de Plagnolle (1873–1943) was entrusted by Henri events is a trope that has already been encoun- Moser with producing colour images for a portfo- tered in the words of artist Fortuny (Chapter 1) lio presenting his Middle Eastern arms and armour and that of architect Baudry (Chapter 4). The arte- displayed at Charlottenfels, the “castle,” or rather facts’ physical arrangements were meant to facili- mansion, which he had bought in Neuhausen tate that process. In his reflections on museology, (Switzerland) and where he had installed a fumoir Lockwood de Forest insisted that the “nearer you arabe [Islamic style smoking room]. Scott brings can get the surroundings which belong with the colour and detail to the type of display favoured objects, the more effective they are.” An enthu- by many collectors throughout the nineteenth siastic supporter of the Musée de Cluny in Paris, century. (Fig. 140) Sets of vibrant draperies and de Forest recalled sitting there on an old bench rugs hang in order to orientalise the armoury. The and feeling the “atmosphere of the Middle Ages.”3 room is replete with artefacts. The plate creates an Dress was an integral part of the method deployed image of plentifulness. Daggers are aligned in glass by private and public collectors alike in order to cases or arranged in mural trophies, while sets of reclaim the past into the present. It had the power armour are worn by papier mâché mannequins.