Two New courses for Fall 2018

Kaveh Farrokh is offering two new courses for the of Fall 2018 at the Paris-based Methodologica Universitas at the Départment de Méthodologie des Sciences Historiques.  See also the Institution’s Encyclopedic project:

Analytica Iranica: The Multidisciplinary Journal of Iranian Studies … Kaveh Farrokh is one of the Academic Advisors of this Encyclopedia project …

The first of these is the first course offered on the military history of ancient Iran or Persia:

Course HIS/CP/202: The Military History of Ancient Iran: 559 BCE-651 CE [Fall 2018, Methodologica Universitas, Départment de Méthodologie des Sciences Historiques]Click here for Registration Information

The course description for the above is as follows (HIS/SP/202):

This course examines Iran’s pre-Islamic military history with respect to political relations, wars, battles with Greece, Rome, Central Asia. These topics are examined in the Achaemenid (559-333 BCE), Parthian (250 BCE-224 CE) and Sassanian (224-651 CE) epochs. Methodology of the course utilizes scientific methodology in archival analysis (primary and secondary sources), numismatics (study of coins), archaeological analysis (analysis of equipment and technology), and statistical methodology (e.g. compiling data for analysis, factor analysis, etc.). The strengths and weaknesses (military, political and social) of each dynasty is examined up to the downfall of ancient Iran to the Arab conquests of Iran (637-651 CE). Detailed analysis is made of developments from the early Achaemenid era to the end of the Sassanian era with respect to equipment, technology, military architecture, military doctrine, and martial culture. Influences upon and from Greece, Rome, Central Asia and Eastern Europe are also examined. The course concludes with a survey of post-Islamic sources reporting of the extensive military literature pertaining to Sassanian weapons and tactics (battlefield tactics, siege craft, etc.) and its influence upon Islamic warfare.

Kaveh Farrokh meeting the late Professor Ehsan Yarshater (1920-2018) during the Honoring ceremony for the late Professor Emeritus Richard Nelson Frye (1920-2014) in the Greater San Francisco area in 2008.

The second is a comprehensive course on the History of ancient Iran or Persia, which will incorporate modern research and academic methodologies incorporating anthropology, archaeology, the study of sources, numismatics, etc:

Course HIS/CP/203: The History of Ancient Iran: 559 BCE-651 CE [Fall 2018, Methodologica Universitas, Départment de Méthodologie des Sciences Historiques]Click here for Registration Information

Three Books published in 2017-2018 on the military history of Ancient Iran or Persia (from left to right): The Armies of Ancient Persia: the Sassanians (2017; see book review by the Military History Journal in 2018); A Synopsis of Sassanian Military Organization and Combat Units (Kaveh Farrokh, Katarzyna Maksymiuk & Gholamreza Karamian, 2018); and The Siege of Amida (Kaveh Farrokh, Katarzyna Maksymiuk & Javier Sánchez-Gracia, 2018).

The course description for the above is as follows (HIS/CP/203):

Course begins with the pre Indo-European era of ancient Iran and the rise of proto-Iranian peoples and arrivals onto the Iranian plateau. Recent archaeological works and research of pre Indo-European Iran, such as the Burnt City and Elam are surveyed. This is followed by detailed historical surveys of the three epochs of ancient Iran: Achaemenids (559-333 BCE), Parthians (250 BCE-224 CE) and Sassanians (224-651 CE). Course material is integrated with methodology utilizing scientific methodology in archival analysis (primary and secondary sources), numismatics (study of coins), archaeological analysis (analysis of equipment and technology), and statistical methodology (e.g. compiling data for analysis, factor analysis, etc.). The political relations and cultural exchanges of the Achaemenid, Parthian and Sassanian dynasties with the Greco-Roman, Central Asian, Indian subcontinent, Caucasian, European and Chinese realms are examined. Each epoch is also examined with respect to developments in legal systems, societal development and the role of women, the arts, architecture, learning, medicine, technology, theology and religious philosophy, communications, shipping, commerce and the Silk Route.

[Above] Kaveh Farrokh’s second textShadows in the Desert: Ancient Persia at War-Персы: Армия великих царей-سایه‌های صحرا-” cited by the BBC-Persian service as theBest History Book of 2007(November 5, 2008), as well as the by Kayhan News Service of London (November 12, 2008). The text was nominated by the Independent Book Publishers’ Association (Benjamin Franklin Award) among the top finalists for the Best textbooks of 2008. The book has been recognized by world-class scholars such as the late Professor Emeritus Richard Nelson Frye (1920-2014), Harvard University, Dr. Geoffrey Greatrex, Department of Classics and Religious Studies, University of Ottawa, Dr. Lloyd Llewellyn-Jones, School of HistoryUniversity of Edinburgh and Dr. Patrick Hunt. The book was reviewed in the world-class academic (peer-reviewed by top Iranian Studies scholars) Iranshenasi journal in 2010: Shadows in the Desert: Ancient Persia at War, by Dr. Kaveh Farrokh. Iranshenasi, Volume XXII, No.1, Spring 2010, pp.1-5 (see document in pdf). [Below] Translations of Shadows in the Desert [A] Persian translation by Taghe Bostan Publishers (2009) [B] Persian translation by Qoqnoos Publishers (2009) [C] the original textbook (2008) and [D] Russian translation by EXMO Publishers.

Book Binding in Persia

The article below “Bookbinding” written by Duncan Haldane was originally published in the Encyclopedia Iranica on December 15, 1989 and last Updated on December 15, 1989. This article is also available in print (Vol. IV, Fasc. 4, pp. 363-365). Kindly note that the images and accompanying descriptions below do not appear in the original Encyclopedia Iranica posting.

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Bookbinding (tajlīd, ṣaḥḥāfī) in Iran at first followed the pattern of previous Near Eastern book covers, but subsequently Persian craftsmen developed new types reflecting the luxury and refinement of courtly life. The edges of traditional bookbindings from the Islamic world are even with the text block, and the spine is always flat, without raised bands. A flap (lesān) attached to the rear cover folds over the text block to protect its edge and is tucked under the front cover. In Iran the leather most commonly used was goatskin, which had traditionally been tanned by means of immersion in a solution of ground-up plant materials. One of several technical innovations credited to Persian craftsmen, however, is mineral tanning, which involved soaking the skins in a solution of potash alum at a temperature between 20Xᵛ and 30Xᵛ C. Leather pro­duced by this method is very soft and white. Designs were applied by means of blind tooling, in which simple tools were used to mark on slightly dampened leather.

Very few Persian bookbindings survive from the 8th/14th century or earlier. Among them is the binding of the Manāfeʿ al-ḥayawān (M. 500) in the Pierpont Morgan Library in New York, which was produced at Marāḡa at the end of the 7th/13th century (Ettinghausen); a fragmentary book cover said to have been found in the congregational mosque at Nāʾīn may also be of the 7th/13th century (Gratzl, 1938, p. 1976, pl. 951A). At this early stage in Persian bookbinding, the arts of the book were at their peak in Egypt and the Arabic-speaking world, and their influence was much in evidence in Persia. It was not long, however, before Persian binders began to develop their own individual styles. At the beginning of the 15th century, when artistic leadership of the Islamic world moved eastward to Persia, new methods were introduced. At Herat in about 1420 Prince Bāysonḡor Mīrzā, minister at the court of his father, Šāhroḵ Mīrzā (807-50/1405-47), and a great bibliophile, founded an academy and library that were to have a significant impact on subsequent Persian bookbinding. At the academy, which lasted for just over one hundred years, craftsmen were trained in all the arts of the book. During this period there was considerable interchange among the major Persian cultural centers. For instance, at Herat a calligrapher called Jaʿfar Tabrīzī prepared reports for Bāysonḡor, in one of which (now in the Topkapı Sarayı in Istanbul), there are four references to the art of bookbinding (Aslanapa, 1979, p. 59). Some extraordinary technical advances were made during the Timurid period. More sophisticated stamping and elaborate forms of tooling with gold began to supersede blind tooling.

The Khamsa or Quintet of Nizami (Ilyas Abu Muhammad Nizam al-Din of Ganja, lived c. 1141–1217) currently housed at the Metropolitan Museum of Art (Source: Fateme Toorani in Pinterest). This was most likely bound in Shiraz, Iran sometime in 1509-1510.

There is a Persian binding dated 838/1434-35, now in the Chester Beatty Library, Dublin (CBL 5282), which has been estimated to have required 550,000 blind stamps and 43,000 gold stamps and to have taken about two years to complete (estimates first published by Martin, p. 29, and subsequently repeated many times, e.g., Gratzl, 1938, p. 1978; see pls. 954, 955A). Undoubtedly the number of stamps has been greatly overestimated, but there is no denying the extraordinary degree of workmanship, and technical skill involved in the manufacture of this binding. Another major development was a cut­work technique (monabbatkārī, as it was called by Dūst-­Moḥammad, who wrote in 951/1544), in which intricate filigree patterns were cut out of leather. There is no technical evidence for how craftsmen were able to cut and paste such finely wrought patterns. The major characteristics of later Persian bookbinding became established during the Timurid period. The front and back covers were normally decorated with matching designs, but the interior faces were usually more elaborately decorated than the exterior faces. In the Timurid period the normal pattern for both faces was a central scalloped medallion in the center, echoed by four medallion segments in the corners. The medallions were frequently cut out of the leather and filled in either with paper or with leather filigree patterns. Although stamps of ovoid shape (toronja “citrus-shaped”) had been known before, they became especially popular among Timurid craftsmen, who developed them considerably. In addition to this basic style of binding, which endured throughout the Safavid period and even lingered on into the Qajar period, bookbinders at Herat introduced figural decoration as well. These designs usually consist of landscapes containing real and mythical animals, often of Far Eastern inspiration, reflecting the strong artistic connections that existed between China and theTimurid capital.

Book binding from 16th century CE Iran (Source: Jacques Safavi in Pinterest and Fateme Toorani in Pinterest).

With the establishment of the Safavid dynasty in the 10th/16th century, there was a cultural and political shift from Herat in the east of Tabrīz in the northwest and Shiraz in the south. One of the major changes in bookbinding technique involved the widespread application of a method of embossing that had been introduced at the end of the Timurid period. Whole designs were engraved on single metal plates, which were then pressed onto the leather; symmetrical designs, which were most often floral, were engraved on dies half the size of the binding surface. They were then impressed twice to form the complete design, often leaving a noticeable join across the middle of the cover. This kind of embossing was often combined with gilding; the dampened leather was covered with gold leaf before the hot metal plate was hammered or screwed down, thus simultaneously impressing and gilding the design. These embossed designs, which could be repeated on a large number of book covers, mark something of a decline in the craft of bookbinding. Hand craftsmanship became a rarity. In addition, instead of cutting filigree designs out of leather, craftsmen began to use paper, which was both cheaper and easier to handle, pasting it onto painted paper or sometimes silk or other material.

Persian book binding from Isfahan from the 17th century (Source: Jacques Safavi in Pinterest and Fateme Toorani in Pinterest).

In the 11th/17th century the art of binding in Persia declined still further, both technically and in design. Sometimes designs were painted directly onto the leather, rather than stamped, and fine filigree additions became rarer. Despite the general decline in Safavid book art, however, one major technique already known under the late Timurids (Aslanapa, pp. 63-64) was perfected by the craftsmen of the period. The earliest bindings of this sort were of leather, heavily chalked and primed for illumination; designs were then painted on and finished with several coats of protective varnish. As the paint flaked off the leather rather easily, papier-mâché boards became the material most commonly used. The surface was fixed with gypsum or chalk and polished, then given a layer of colorless varnish before the design was painted in water-based paints. When dry the painting was covered with several coats of transpar­ent varnish to fix and protect the design. Opinions have differed as to whether these final coats were in fact varnish or lacquer of the kind known to have been used by the Chinese. The technique attained great popularity in the 10th/16th and 11/17th centuries in centers like Tabrīz and Isfahan (the Safavid capital after 1006/1598) and continued to play a significant part in the cultural life of the Qajar period. It was emulated by Ottoman and Indian craftsmen as well. It is not known whether this so-called “lacquer work” had been introduced by Chinese craftsmen or by Persian visitors to China who had returned with knowledge of it; it is clear from such bindings, however, that illuminators and miniature painters played as important a part as the binders. By the 11th/17th century, binding designs had become rather stiff and wooden compositions. During the Qajar period, particularly the reign of Fatḥ-ʿAlī Shah (1212-50/1797-1834), European influences and somewhat harsher colors came to predominate. Although some very fine bindings continued to be produced, they do not compare in quality with those of the 9th/15th and 10th/16th centuries.

Persian lacquered book binding from 1878 (Source: Jacques Safavi in Pinterest and Fateme Toorani in Pinterest).

As a general rule Persian bookbinders worked anony­mously. In the Timurid period, however, the names of several binders are documented in Dūst-Moḥammad’sḤālāt-e honarvarān, a Persian account of calligraphers and book craftsmen of the 9th/15th and 10th/16th centuries (“Dūst Muhammad’s Account,” p. 185). This work includes a reference to Ostād Qewām-al-Dīn Tabrīzī, to whom the invention of cut-pattern, or filigree, work is ascribed. In a discussion of Shah Ṭahmāsb’s royal library, Dūst-Moḥammad refers to two 10th/16th-century binders, Kamāl-al-Dīn ʿAbd-al-Wahhāb (Ḵᵛāja Kākā) and Moḥsen. References to other names can be found in the work by C. Huart.

Bibliography

O. Aslanapa, “The Art of Bookbinding,” in B. Gray, ed., The Arts of the Book in Central Asia, Paris and London, 1979, pp. 58-91.

G. Bosch and J. Carswell, Islamic Bindings and Book­making, Chicago, 1981.

“Dūst Muhammad’s Account of Past and Present Painters,” in L. Binyon, J. V. S. Wilkinson, and B. Gray, Persian Miniature Painting, Oxford, 1933, repr. New York, 1971, pp. 183-91.

R. Ettinghausen, “The Covers of the Morgan Manafi Manuscript and Other Early Persian Book Bind­ings,” in Studies in Art and Literature for Belle da Costa Greene, ed. D. Miner, Princeton, 1954, pp. 459-­73.

F. R. Martin, A History of Oriental Carpets Before 1800 I, Vienna, 1906.

E. Gratzl, “Book Covers,” in Survey of Persian Art, pp. 1975-94.

Idem, Islamische Bucheinbände des 14 bis 19 Jahrhunderts, Leipzig, 1924.

D. Haldane, Islamic Bookbinding, London, 1983.

T. Harrison, “A Persian Binding of the Fifteenth Century,” The Burlington Magazine 34, 1924, pp. 31-32.

C. Huart, Les calligraphes et les miniaturistes de l’Orient musulman, Paris, 1908.

A. Sakisian, “La reliure persane au XVe siècle sous les Timourides,” Revue de l’art ancien et moderne 66, 1934, pp. 145-68.

F. Sarre, Islamische Bucheinbände, Berlin, 1923.

W. Watson, ed., Lacquerwork in Asia and Beyond, Colloquies on Art and Archaeology in Asia 11, London, 1982.

Rare Iranian Manuscript registered in UNESCO Memory of the World

The report below was originally provided by the Tehran Times on October 31, 2017. Kindly note that the article has been edited in Kavehfarrokh.com and that two images and accompanying captions inserted in the article below are not in the original Tehran Times report.

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The book is preserved at the library of Tehran’s Golestan Palace Museum, Farhad Nazari, an official of Iran’s Culture Heritage, Tourism and Handicrafts Organization, told the Persian service of ISNA on Tuesday. As noted by Nazari:

Numerous versions of the book are kept at various libraries around the world…”

Nazari added that the book kept at the Golestan Palace Museum is one of the most splendid versions that represents artistic and cultural values.

The Jami’ al-Tawarikh (“World History”), a rare illustrated medieval folio by Rashid al-Din Fadl allah Hamedani (1247-1318) from Iran has been registered on UNESCO’s Memory of the World Register list (Source: Tehran Times).

Rashid al-Din was a physician and historian to the court of Ghazan Khan (1271-1304), an Ilkhanid ruler who commissioned him to write the Jami al-Tawarikh. However, it was completed during the reign of Oljaitu who ruled from 1307 to 1316.

The Jami’ al-Tawarikh covers the history of the Mongols, the Chinese, Franks and Indians.

The Jami’ al-Tawarikh is an important historical source on the history of Gheghiz Khan and the Mongol conquests – above is Kaveh Farrokh’s article “armies of the Mongols” published in the July 2017 issue of the Military History journal.

The book is the tenth item that has been inscribed UNESCO’s Memory of the World Register list.

The Kulliyat-i Sadi, Persian poet Sadi’s Bustan (The Orchard) and Gulistan (The Rose Garden), and the Kitab al-Masalik wal-Mamalik (The Book of Itineraries and Kingdoms) by Abu Is’haq Ibrahim ibn Muhammad Istakhri both were inscribed on the list in one file in 2015.

A rare copy of the Bustan or Bostan on display by the Bulgarian National Library Sts. Cyril and Methodius in Sofia, Bulgaria at the “Days of Iranian Culture in Bulgaria – 2012/2013” exhibit on 10 January 2013 (Courtesy of Yuri Stoyanov). The event had also been organized with the help of prominent Iranologist Professor Yuri Stoyanov (member of the Department of the Near and Middle East, Faculty of Languages and Cultures in the School of Oriental and African Studies (SOAS) in the University of London).

Earlier in 2013, a collection of selected maps of Iran from the Qajar era (1779-1926), was added to the list.

At-Tafhim” written by Abu Rayhan Biruni (973-1048 CE) and “Khamseh” composed by Nezami Ganjavi (c. 1141-1209 CE) were other Iranian books registered on the list in 2011.

A collection of Iran’s administrative documents dating back to the Safavid era was added to UNESCO’s Memory of the World Register list in 2009.

In addition, the Shahnameh of Baysunqur, one of three ancient copies of Ferdowsi’s epic masterpiece, and the Endowment Deed of Rab-e Rashidi are two other Iranian works that were registered on the list in 2007.

University of Cambridge: The 11th Islamic Manuscript Conference (2016)

The following academic event news has been forwarded by Armin Yavari to Kavehfarrokh.com

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CALL FOR PAPERS | THE ISLAMIC MANUSCRIPT ASSOCIATION
SUFISM AND ISLAMIC MANUSCRIPT CULTURE – THE ELEVENTH ISLAMIC MANUSCRIPT CONFERENCE

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Hosted by the University of Cambridge, UK, 13–15 September 2016

***CFP Deadline: 23 November 2015***

Sufis have written litanies, panegyrics, didactic works in verse and prose, hagiographies, discourses, exegetical works, and metaphysical treatises made into manuscripts both humble and lavish. Sufi lodges have housed libraries and manuscript ateliers, and Sufi networks have disseminated manuscripts across the Muslim World. This conference seeks to present current international research trends on the relationship between Sufism and Islamic manuscript culture and generate discussion and study in this field. Possible topics for papers include but are not limited to:

Apotropaic uses of Sufi and non-Sufi manuscripts by Sufis
The arts of the book and Sufi artists and patrons
Bibliophilia and bibliophobia in Sufism
Cataloguing manuscripts on Sufism
Collection care programmes for collections of Sufi manuscripts
Conservation treatments on Sufi manuscripts
Diagrams and illustrations in manuscripts on Sufism
Digital humanities and the study of manuscripts on Sufism
The effects of recent conflicts in the Muslim World on collections of Sufi manuscripts
The history of Sufi libraries
Paratexts in manuscripts on Sufism
Preparing printed and digital editions of manuscripts on Sufism
The production of manuscripts by Sufi lodge ateliers
Publication programmes or series of editions or facsimiles of manuscripts on Sufism
Dissemination of texts and manuscripts through Sufi networks
The use of manuscripts in Sufi rituals

SUBMISSIONS
This call for papers is open to members and non-members of the Association. The languages of the Conference will be Arabic and English, and submissions will be accepted in both languages. The duration of each conference paper will be 20 minutes, followed by ten minutes of questions and answers. The Association will pay for round-trip economy-class travel to Cambridge, accommodation, and meals for individuals whose papers are accepted. All abstracts will be peer-reviewed.

The deadline for submission of abstracts is 10.00 GMT on Monday, 23 November 2015. For further guidance, see our website.

MORE INFORMATION
The Islamic Manuscript Association is an international non-profit organisation dedicated to protecting Islamic manuscript collections and supporting those who work with them. Our conferences have been held at the University of Cambridge every summer since 2005 and themes have included topics as diverse as ‘Manuscripts and Conflict’ (2014), ‘The Science of Manuscripts’ (2012), ‘Central Asian Islamic Manuscripts’ (2010), ‘West African Islamic Manuscripts’ (2008), and ‘Conservation, Cataloguing, Accessibility, Copyright and Digitisation’ (2005).

For the call for papers in full, see our website: http://www.islamicmanuscript.org/biennialconference/2016conference.aspx

SPONSORS
We gratefully acknowledge the support of the Thesaurus Islamicus Foundation and the HRH Prince Alwaleed Bin Talal Centre of Islamic Studies at the University of Cambridge.

——
Armin Yavari
Assistant Director
The Islamic Manuscript Association
℅ 33 Trumpington Street
Cambridge CB2 1QY
United Kingdom
T: +44 (0)1223 303 177
F: +44 (0)1223 302 218
E: armin@islamicmanuscript.org
W: www.islamicmanuscript.org

Persian in Use: An Elementary Textbook of Language and Culture

Dr. Anousha Sedighi (Associate Professor of Persian and the coordinator of the Persian program at Portland State University) has recently published a book entitled:

Persian in Use: An Elementary Textbook of Language and Culture. Leiden University Press & University of Chicago Press (2015); LUP Textbooks, ISBN 9789087282172 | Page extent 400 | Format Paperback, Full color | Price $85 (€ 69.50); To order, please email Leiden University Press at: orders@lup.nl

Persian in use-Full cover-PrintThe textbook “Persian in Use” is a blind peer-reviewed elementary Persian language and culture textbook designed for first-year Persian language students at college level. The textbook is accompanied by an interactive companion website (click here…). Kindly also visit the Facebook page for Persian in Use (click here…).

Persian in Use offers a thematically organized and integrative approach to help students achieve proficiency in Persian language and culture. The book is organized around high-frequency topics and provides a clear set of communication goals for each lesson. Authentic materials include samples of literary texts, poems, plays, film scripts, and even pop songs.

Dr Anousha SedighiDr. Anousha Sedighi is Associate Professor of Persian and the coordinator of the Persian program at Portland State University. She has been teaching elementary Persian for more than a decade and serves as the current president of the American Association of Teachers of Persian. To read more, click here…