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Mah Tir, Mah Bahman & Asfandarmad 1 Mah Asfandarmad 1369
Mah Tir, Mah Bahman & Asfandarmad 1 Mah Asfandarmad 1369, Fravardin & l FEZAN A IN S I D E T HJ S I S S U E Federation of Zoroastrian • Summer 2000, Tabestal1 1369 YZ • Associations of North America http://www.fezana.org PRESIDENT: Framroze K. Patel 3 Editorial - Pallan R. Ichaporia 9 South Circle, Woodbridge, NJ 07095 (732) 634-8585, (732) 636-5957 (F) 4 From the President - Framroze K. Patel president@ fezana. org 5 FEZANA Update 6 On the North American Scene FEZ ANA 10 Coming Events (World Congress 2000) Jr ([]) UJIR<J~ AIL '14 Interfaith PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF '15 Around the World NORTH AMERICA 20 A Millennium Gift - Four New Agiaries in Mumbai CHAIRPERSON: Khorshed Jungalwala Rohinton M. Rivetna 53 Firecut Lane, Sudbury, MA 01776 Cover Story: (978) 443-6858, (978) 440-8370 (F) 22 kayj@ ziplink.net Honoring our Past: History of Iran, from Legendary Times EDITOR-IN-CHIEF: Roshan Rivetna 5750 S. Jackson St. Hinsdale, IL 60521 through the Sasanian Empire (630) 325-5383, (630) 734-1579 (F) Guest Editor Pallan R. Ichaporia ri vetna@ lucent. com 23 A Place in World History MILESTONES/ ANNOUNCEMENTS Roshan Rivetna with Pallan R. Ichaporia Mahrukh Motafram 33 Legendary History of the Peshdadians - Pallan R. Ichaporia 2390 Chanticleer, Brookfield, WI 53045 (414) 821-5296, [email protected] 35 Jamshid, History or Myth? - Pen1in J. Mist1y EDITORS 37 The Kayanian Dynasty - Pallan R. Ichaporia Adel Engineer, Dolly Malva, Jamshed Udvadia 40 The Persian Empire of the Achaemenians Pallan R. Ichaporia YOUTHFULLY SPEAKING: Nenshad Bardoliwalla 47 The Parthian Empire - Rashna P. -
Persian Heri Tage
Persian Heri tage Persian Heritage Vol. 24, No. 93 Spring 2019 www.persian-heritage.com Persian Heritage, Inc. FROM THE EDITOR’S DESK 6 110 Passaic Avenue The First Annual Iranian Film Festival New York 7 Passaic, NJ 07055 E-mail: [email protected] LETTERS TO THE EDITOR 8 Telephone: (973) 471-4283 Fax: 973 471 8534 NEWS Gold for Iran’s Para Shooter, Sareh Javanmardi 10 EDITOR Resket Tower in Sari, Iran 11 SHAHROKH AHKAMI EDITORIAL BOARD COMMENTARY Dr. Mehdi Abusaidi, Shirin Ahkami Raiszadeh, Dr. Mahvash Alavi Naini, Who Owns Iran’s Oil? 12 Mohammad Bagher Alavi, Dr. Talat Bassari, Mohammad H. Hakami, (Khosrow B. Semnani) Ardeshir Lotfalian, K. B. Navi, Dr. Kamshad Raiszadeh, Farhang A. Sadeghpour, Mohammad K. Sadigh, THE ARTS & CULTURE M. A. Dowlatshahi. REVIEWS 15 MANAGING EDITOR Professor Dariush Borbor’s Works 16 HALLEH NIA (Kaveh Farrokh) ADVERTISING Uncle’s Complaint: Tale of Rejuvenation 17 HALLEH NIA (Iraj Bashiri) * The contents of the articles and ad ver tisements in this journal, with the ex ception The Sakas (Michael McClain) 20 of the edi torial, are the sole works of each The Patriots Who Triggered Demise of the Empire 23 in di vidual writers and contributors. This maga zine does not have any confirmed knowledge (M. Reza Vaghefi) as to the truth and ve racity of these articles. all contributors agree to hold harmless and An Interview with J. Golestan-Parast and R. Blake 25 indemnify Persian Heri tage (Mirass-e Iran), Persian Heritage Inc., its editors, staff, board (Brian Appleton) of directors, and all those in di viduals di rectly Reza Abdoh 29 associated with the publishing of this maga zine. -
The Depiction of the Arsacid Dynasty in Medieval Armenian Historiography 207
Azat Bozoyan The Depiction of the ArsacidDynasty in Medieval Armenian Historiography Introduction The Arsacid, or Parthian, dynasty was foundedinthe 250s bce,detaching large ter- ritories from the Seleucid Kingdom which had been formed after the conquests of Alexander the Great.This dynasty ruled Persia for about half amillennium, until 226 ce,when Ardashir the Sasanian removed them from power.Under the Arsacid dynasty,Persia became Rome’smain rival in the East.Arsacid kingsset up theirrel- ativesinpositions of power in neighbouringstates, thus making them allies. After the fall of the Artaxiad dynasty in Armenia in 66 ce,Vologases IofParthia, in agree- ment with the RomanEmpire and the Armenian royal court,proclaimed his brother Tiridates king of Armenia. His dynasty ruled Armenia until 428 ce.Armenian histor- iographical sources, beginning in the fifth century,always reserved aspecial place for that dynasty. MovsēsXorenacʽi(Moses of Xoren), the ‘Father of Armenian historiography,’ at- tributed the origin of the Arsacids to the Artaxiad kingswho had ruled Armenia be- forehand. EarlyArmenian historiographic sources provide us with anumber of tes- timoniesregarding various representativesofthe Arsacid dynasty and their role in the spread of Christianity in Armenia. In Armenian, as well as in some Syriac histor- ical works,the origin of the Arsacids is related to King AbgarVof Edessa, known as the first king to officiallyadopt Christianity.Armenian and Byzantine historiograph- ical sources associate the adoption of Christianity as the state religion in Armenia with the Arsacid King Tiridates III. Gregory the Illuminator,who playedamajor role in the adoption of Christianity as Armenia’sstate religion and who even became widelyknown as the founder of the Armenian Church, belongstoanother branch of the samefamily. -
Composition and Continuity in Sasanian Rock Reliefs
0320-07_Iran_Antiq_43_12_Thompson 09-01-2008 15:04 Pagina 299 Iranica Antiqua, vol. XLIII, 2008 doi: 10.2143/IA.43.0.2024052 COMPOSITION AND CONTINUITY IN SASANIAN ROCK RELIEFS BY Emma THOMPSON (University of Sydney, Australia) Abstract: The cliffs of Iran are adorned with rock reliefs from every period of its long history. During the years that the Sasanian dynasty ruled Iran, artists added to this collection considerably. These monuments are individual capsules of infor- mation on the general political, religious, historical and artistic milieu of the time. This paper presents a method for furthering our understanding of the Sasanian period through an analysis of the composition of each Sasanian relief. The analy- sis is based on the hypothesis that composition will serve as an indicator of artis- tic continuity and change and encode an artistic signature of sorts indicating the artists’ background and training. The initial results suggest that the reliefs of the early Sasanian period reflect the work of artists from at least two schools of art. Keywords: Sasanian, rock reliefs, composition. The kings of the Sasanian dynasty ruled Iran for over four hundred years. During the first eighty-five years of the dynasty (AD 224-309) there were seven changes of crown, many military gains and losses and thirty rock carvings were commissioned to commemorate these events. Most of these were carved in Fars, the homeland of the dynasty: eight were carved in the company of the Achaemenid tombs at Naqsh-i Rustam; six line the way to Shapur’s city at Bishapur; four were carved in the open air grotto at Naqsh- i Radjab; two were carved near Ardashir’s first city at Firuzabad and the rest were carved as single reliefs at various locations across the province of Fars: Barm-i Dilak, Sar Mashhad, Sarab-i Bahram, Guyum, Rayy, Darab- gird, and Tang-i Qandil. -
The Reliefs of Naqš-E Rostam and a Reflection on a Forgotten Relief, Iran
HISTORIA I ŚWIAT, nr 6 (2017) ISSN 2299 - 2464 Morteza KHANIPOOR (University of Tehran, Iran) Hosseinali KAVOSH (University of Zabol, Iran) Reza NASERI (University of Zabol, Iran) The reliefs of Naqš-e Rostam and a reflection on a forgotten relief, Iran Keywords: Naqš-e Rostam, Elamite, Sasanian, Relief Introduction Like other cultural materials, reliefs play their own roles in order to investigate ancient times of Iran as they could offer various religious, political, economic, artistic, cultural and trading information. Ancient artist tried to show beliefs of his community by carving religious representations on the rock. Thus, reliefs are known as useful resource to identify ancient religions and cults. As the results of several visits to Naqš-e Rostam by the author, however, a human relief was paid attention as it is never mentioned in Persian archaeological resources. The relief is highly similar to known Elamite reliefs in Fars and Eastern Khuzistan (Izeh). This paper attempts to compare the relief with many Elamite and Sasanian works and, therefore, the previous attributed date is revisited. Fig.1. Map showing archeological sites, including Naqš-e Rostam, on the Marvdasht Plain (after Schmidt, 1939: VIII ) PhD. student in Archaeology; [email protected] Assistant Professor, Faculty of Arts and Architecture; [email protected] Assistant Professor, Department of Archaeology; [email protected] Page | 55 Naqš-e Rostam To the south of Iran and north of Persian Gulf, there was a state known as Pars in ancient times. This state was being occupied by different peoples such as Elamite through time resulted in remaining numerous cultural materials at different areas including Marvdasht plain1 confirming its particular significance. -
Persian Royal Ancestry
GRANHOLM GENEALOGY PERSIAN ROYAL ANCESTRY Achaemenid Dynasty from Greek mythical Perses, (705-550 BC) یشنماخه یهاشنهاش (Achaemenid Empire, (550-329 BC نايناساس (Sassanid Empire (224-c. 670 INTRODUCTION Persia, of which a large part was called Iran since 1935, has a well recorded history of our early royal ancestry. Two eras covered are here in two parts; the Achaemenid and Sassanian Empires, the first and last of the Pre-Islamic Persian dynasties. This ancestry begins with a connection of the Persian kings to the Greek mythology according to Plato. I have included these kind of connections between myth and history, the reader may decide if and where such a connection really takes place. Plato 428/427 BC – 348/347 BC), was a Classical Greek philosopher, mathematician, student of Socrates, writer of philosophical dialogues, and founder of the Academy in Athens, the first institution of higher learning in the Western world. King or Shah Cyrus the Great established the first dynasty of Persia about 550 BC. A special list, “Byzantine Emperors” is inserted (at page 27) after the first part showing the lineage from early Egyptian rulers to Cyrus the Great and to the last king of that dynasty, Artaxerxes II, whose daughter Rodogune became a Queen of Armenia. Their descendants tie into our lineage listed in my books about our lineage from our Byzantine, Russia and Poland. The second begins with King Ardashir I, the 59th great grandfather, reigned during 226-241 and ens with the last one, King Yazdagird III, the 43rd great grandfather, reigned during 632 – 651. He married Maria, a Byzantine Princess, which ties into our Byzantine Ancestry. -
Christian Historical Imagination in Late Antique Iraq
OXFORD EARLY CHRISTIAN STUDIES General Editors Gillian Clark Andrew Louth THE OXFORD EARLY CHRISTIAN STUDIES series includes scholarly volumes on the thought and history of the early Christian centuries. Covering a wide range of Greek, Latin, and Oriental sources, the books are of interest to theologians, ancient historians, and specialists in the classical and Jewish worlds. Titles in the series include: Basil of Caesarea, Gregory of Nyssa, and the Transformation of Divine Simplicity Andrew Radde-Gallwitz (2009) The Asceticism of Isaac of Nineveh Patrik Hagman (2010) Palladius of Helenopolis The Origenist Advocate Demetrios S. Katos (2011) Origen and Scripture The Contours of the Exegetical Life Peter Martens (2012) Activity and Participation in Late Antique and Early Christian Thought Torstein Theodor Tollefsen (2012) Irenaeus of Lyons and the Theology of the Holy Spirit Anthony Briggman (2012) Apophasis and Pseudonymity in Dionysius the Areopagite “No Longer I” Charles M. Stang (2012) Memory in Augustine’s Theological Anthropology Paige E. Hochschild (2012) Orosius and the Rhetoric of History Peter Van Nuffelen (2012) Drama of the Divine Economy Creator and Creation in Early Christian Theology and Piety Paul M. Blowers (2012) Embodiment and Virtue in Gregory of Nyssa Hans Boersma (2013) The Chronicle of Seert Christian Historical Imagination in Late Antique Iraq PHILIP WOOD 1 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries # Philip Wood 2013 The moral rights of the author have been asserted First Edition published in 2013 Impression: 1 All rights reserved. -
Investigate Lyrical Themes in Iranian Inscription Carpets in Qajar Era
The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition INVESTIGATE LYRICAL THEMES IN IRANIAN INSCRIPTION CARPETS IN QAJAR ERA Lale Ahani Tabriz Islamic Art University, Iran [email protected] Azade Yaghobzadeh Tabriz Islamic Art University, Iran [email protected] Ali Vandshoari Tabriz Islamic Art University, Iran [email protected] ABSTRACT Qajar era is included a big part of the history of Iranian art. In the era, it was prepared an appropriate context for the growth of a variety of arts, including art - carpet industry. Artists relying on the precious heritages that had from Iranian art history, especially the Safavid period and by influencing situation of their time were awarded to the creation of new works. In this era, art -carpet industry were significantly changed as a part of the culture and art of the society that has deep and undeniable continuity with different historical and cultural developments of society; as it has been witnessed major changes in the field of design and pattern, dimension and size, supporting and monitoring and managerial factors. This article while introducing inscription in Qajar carpets, introduces and investigates a batch of inscription carpets with lyrical literature themes. In this regard, the relationship between the themes of inscriptions with design, the source of inspiration and the importance of subject depicted is the research problem and responding and rooting mentioned cases is the objectives of this article. During the studies conducted, the inscriptions due to the importance and special place in that historical juncture are a reflection of the political, social and cultural situation of aforementioned period in Iran. -
Title: Location: Date: Artist: Period/Style: Patron
TITLE:Buddha LOCATION:Bamiyan, Afghanistan DATE: C. 400-800 C.E. ARTIST: PERIOD/STYLE: Gandharan PATRON: MATERIAL/TECHNIQUE:Cut sandstone with plaster and polychrome paint. FORM: Details such as facial features and hands were modeled using mud mixed with straw and then coated with stucco and painted bright colors. Stucco is a kind of plaster that is sometimes put on the exterior of houses as a protective coating against the elements. The stucco wore off long ago, but we do know that the larger Buddha figure was painted a deep red and the smaller Buddha was multi-colored with both jewels and copper. The legs were carved in the round which allowed for circumambulation. FUNCTION: The Silk Road comprosed an overland network of trade routes linking China and Central Asia with India and ultimately the Medi- terranean Sea. The Bamiyan Valley’s fertile fields attracted merchants and Buddhist missionaries. Thus between 500 and 750, the region served as both a commercial hub and an important Buddhist spiritual center. CONTENT: The Bamiyan Buddhas served as centerpieces of a flourishing Buddhist community. Both statues manifested the power and piety of their royal benefactors. Visible for miles, they provided pilgrims and merchants with a dramatic reminder to follow Buddhist practices, The two timeless images also marked a momentous development in Buddhist art. The gigantic Bamiyan statues represented Buddha as more than a gifted teacher; he was now presented as a guiding, enduring, and universal spiritual presence. CONTEXT: Bamiyan was situated right on the Silk Route as it went through the Hindu Kush mountain region in the Bamiyan valley of Afghanistan. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
Kings, Priests and Gods on Sasanian Investiture Reliefs
Iranica Antiqua, vol. XLVIII, 2013 doi: 10.2143/IA.48.0.2184703 AND MAN CREATED GOD? KINGS, PRIESTS AND GODS ON SASANIAN INVESTITURE RELIEFS BY Bruno OVERLAET 1 (Royal Museums of Art and History, Brussels / Ghent University) Abstract: An inscription on the Naqsh-i Rustam I rock relief identifies the two protagonists in the investiture scene as Ardashir I and Ahura Mazda. All investing authorities on the royal Sasanian reliefs are therefore commonly identified as Ahura Mazda. In view of conflicting historic information and unexplained varia- tions in the iconography of “Ahura Mazda”, a re-interpretation of the investiture reliefs is made. The inscription on Ahura Mazda’s horse at Naqsh-i Rustam appears to have been added at the end of Ardashir’s reign or early in Shapur I’s reign and the earliest reliefs are now considered to depict an investiture by a priest, instead of by Ahura Mazda. Once the inscription had been added to the Naqsh-i Rustam I rock relief, it changed from an investiture by a priest to one by a god, Ahura Mazda. Iconographic details that conflicted with this transformation (such as the barsum, attendant and possibly the “royal” tamga) were left out of the divine image in later representations of the investiture on horseback. The late Sasanian Taq-i Bustan III investiture on foot, up to now considered to be the investiture of Khusrow II by Ahura Mazda and Anahita, is equally interpreted as an investiture by clergy, in this case by representatives of the cults of these two gods, rather than by the gods themselves. -
The Behistun Inscription and the Res Gestae Divi Augusti
Phasis 15-16, 2012-2013 Δημήτριος Μαντζίλας (Θράκη) The Behistun Inscription and the Res Gestae Divi Augusti Intertextuality between Greek and Latin texts is well known and – in recent decades – has been well studied. It seems though that common elements also appear in earlier texts, from other, mostly oriental countries, such as Egypt, Persia or Israel. In this article we intend to demonstrate the case of a Persian and a Latin text, in order to support the hypothesis of a common Indo-European literature (in addition to an Indo-European mythology and language). The Behistun Inscription,1 whose name comes from the anglicized version of Bistun or Bisutun (Bagastana in Old Persian), meaning “the place or land of gods”, is a multi-lingual inscription (being thus an equivalent of the Rosetta stone) written in three different cuneiform script extinct languages: Old Persian, Elamite (Susian), and Babylonian (Accadian).2 A fourth version is an Aramaic translation found on the 1 For the text see Adkins L., Empires of the Plain: Henry Rawlinson and the Lost Languages of Babylon, New York 2003; Rawlinson H. C., Archaeologia, 1853, vol. xxxiv, 74; Campbell Thompson R., The Rock of Behistun, In Sir J. A. Hammerton (ed.), Wonders of the Past, New York 1937, II, 760–767; Cameron G. G., Darius Carved History on Ageless Rock, National Geographic Magazine, 98 (6), December 1950, 825– 844; Rubio G., Writing in Another Tongue: Alloglottography in the Ancient Near East, in: S. Sanders (ed.), Margins of Writing, Origins of Cultures, Chicago 2007², 33–70 (= OIS, 2); Hinz W., Die Behistan-Inschrift des Darius, AMI, 7, 1974, 121-134 (translation).