2500-Year Old Achaemenid Persian Palace Found In Turkey

The article “2500-Year Old Achaemenid Persian Palace Possibly Found In Turkey” was originally posted on the Turkish Daily Sabah News Agency on September 6, 2018. The report published below is a subsequent version by Dattatreya Mandal on the Realm of History website on September 10, 2018.

Kindly note that the head of the excavations alluded to in the article is Dr. Şevket Dönmez who is an  Archaeology Professor at Istanbul University.

Professor Şevket Dönmez of Istanbul University in a news conference (November 6, 2017) attended by Turkish academics and reporters (Source: Ana Haber). Dönmez was presenting his 2017 findings of Zoroastrian religious and cultural artifacts at Oluz Höyük in Asmaya province, Turkey. Note the Zoroastrian artifacts also on display at the lower right side of the photo … for more click here

Dr. Dönmez’s discovery of the ancient Persian Oluz Höyük settlement in Toklucak village, Amasya province, Turkey in 2017 was reported in Kavehfarrokh.com (click this line for more information) and was also also published in the Winter 2017 edition of the FEZANA (Publication of the Federation of Zoroastrian Associations of North America) journal.

 = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

In one of our articles about the Achaemenid Persians, we talked about how their ancient empire (circa 6th century BC) stretched from Anatolia and Egypt across western Asia to the borders of northern India and Central Asia. And pertaining to their imperial presence in Anatolia, researchers from the Istanbul University Archaeology Department have excavated remains of a (probably) Persian palace at the Oluz Mound in the Göynücek district of Amasya province, northern Turkey. The site in itself boasts an expansive urbanized area of 920 ft x 850 ft and has been under excavation since its discovery in the years between 1997 and 99.

Turkish archaeologists and officials at the site of the excavated Achaemenid palace at the Oluz Mound in  northern Turkey’s Amasya province (Source: Daily Sabah).

According to Dr. Şevket Dönmez, the leader of the current excavation project, the site, during circa 450 BC, was probably governed by a branch of Achaemenid Persians. However, the incredible discovery of the palace itself, along with other significant structures, was made in this very year:

“New units of this city have been revealed. We now know about a path, a mansion and a fire temple. All these are firsts in world history. A reception chamber with columns and a throne chamber have also started to emerge for the first time this year. We are in the beginning phase of the excavation work for these chambers. This current phase and discoveries are very exciting. These belong to a very significant period of the Anatolian Iron Age, Anatolian Old Age, and Persian archaeology.”

Turkish archaeologists engaged in the excavation of Achaemenid columns in the Persian palace (Source: Daily Sabah).

Dr. Dönmez further added how the site also harks back to older Iron Age cultures, like the powerful Hittites, thus alluding to its enigmatic status in the ancient world as a place of sacredness:

“They are very important discoveries which will add to their identity and uniqueness. We have found six column bases so far. A clear plan has not yet been revealed, but hopefully we will find it in one or two years of excavation works. We found a bull figurine belonging to the Hittite period this year during excavations. There is a very big Hittite city under the Persian city. We think that it is Shanovhitta. It shows us that this is a traditional sacred city and every new civilization built a temple here. We did not know that we would find such a Persian city. Neither such a temple nor such a reception chamber…we did not expect any of this.”

One of the Turkish archaeologists engaged in the excavation of the structures of the Achaemenid palace at the Oluz Mound (Source: Daily Sabah).

As further averred by Dr. Dönmez:

However, we came across an entirely different situation. The entire world has started to watch Oluz Mound on the basis of Mid-Anatolian and Anatolian archaeology. I believe that it has started to become a significant center in updating and changing Anatolia’s religious history after Göbeklitepe.”

Article on Sassanian Archery in RAMA Journal

The prestigious and academically peer-reviewed military journal, RAMA (Revista de Artes Marciales Asiáticas) has published the following article by Kaveh Farrokh, Manouchehr M. Khorasani and Bede Dwyer (click link below to download from Academia.edu):

Farrokh, K., Khorasani, M. M., & Dwyer, B. (2018). Depictions of archery in Sassanian silver plates and their relationship to warfare, RAMA (Revista de Artes Marciales Asiáticas). Volumen 13 (2), Julio-Diciembre, pp. 82-113.

This article provides a detailed and academic examination of the key facets of Sassanian foot and mounted archery The abstract of the article is as follows:

“This article provides an examination of archery techniques, such as drawing techniques of the bowstring, the method of grasping the bow grip and placing the arrow, and their relationship to warfare as depicted on 22 Sassanian and early post-Sassanian silver plates. These plates provide useful information on Sassanian archery equipment and techniques. These plates can be categorized into the following categories: (a) foot archery, (b) horse archery, c) dromedary archery and (d) elephant archery. All plates examined in this study depicting these categories are in a hunting milieu. The largest proportion of plates pertain to horse archery which in turn can be classified into four combat subsets: forward-facing horse archery, the backward-firing Parthian shot, horse archery with stirrups, and horse archery while appearing to ride backwards.”

The study of Sassanian archery has become one of the primary domains of Sassanian military studies. The RAMA publication has focused on a detailed analysis of Sassanian metalwork plates depicting archery:

As noted in page 86, the skill of the ancient archers has been noted by Classical sources:

“Archery was a highly valued combat arm in the armies of ancient Iran with its seminal role praised in adeptness in the Tir-Yasht (Khordeh Avesta, 1936) and Menog e Xrad (1913). Ancient Iranian adeptness in archery skills has been cited by Classical sources such as Herodotus (1972, I, p. 136), Strabo (1960) and Procopius of Caesarea (1914, I, p. 18). As noted by Ammianus Marcellinus (1996, XV, I, p. 13), Iranian archery was an “… art that nation has always been most skillful from the cradle” “.

 

Article on Persian Heritage journal publishes article on links between Germania and ancient Iranian Peoples

The Persian Heritage has published the following article by Kaveh Farrokh which can be downloaded in full, from Academia.edu:

Farrokh, K. (2018). Germania, Vikings, Saxons and Ancient Iran. Persian Heritage, 90, pp.28-30.

Below is a select excerpts from the above article:

“Professor Christopher I. Beckwith (Professor of Central Eurasian Studies at Indiana University): “The first-century AD Germania by the Roman historian Tacitus gives the earliest detailed description of the Germanic peoples…The account of Tacitus and other early records reveal very clearly that the early Germanic peoples, including the ancestors of the Franks, belonged to the Central Eurasian Culture complex which they had maintained since Proto-Indo-European times, just as the Alans and other Central Asian Iranians had done. This signifies in turn that ancient Germania was culturally a part of Central Eurasia and had been so ever since the Germanic migration there more than a millennium earlier” (Empires of the Silk Route, Princeton University Press, 2009, pages 80-81).”

The Iranian Kandys cape and its legacy in Europe (click to enlarge). (A) Medo-Persian nobleman from Persepolis wearing the Iranian Kandys cape of the nobility 2500 years past (B) figure of Paul dressed in North Iranian/Germanic dress from a 5th century ivory plaque depicting the life of Saint-Paul (C) reconstruction by Daniel Peterson (The Roman Legions, published by Windrow & Greene in 1992, p.84) of a 4th-5th century Germanic warrior wearing Iranian style dress and the Kandys. The Iranian Persepolis styles of arts and architecture continued to exert a profound influence far beyond its borders for centuries after its destruction by Alexander (Pictures used in Kaveh Farrokh’s lectures at the University of British Columbia’s Continuing Studies Division and Stanford University’s WAIS 2006 Critical World Problems Conference Presentations on July 30-31, 2006).

As noted further in the article (geopolitically rationalized) terms such as “Middle East”, “Islamic Civilization”, etc. have served to distort historical connections between not just Germanic and Iranian peoples but the broader links between Europa and Iranian peoples across the millennia (download the 2017 article Farrokh and Vasseqhi in the Persian Heritage journal). As noted Dr Sheda Vasseghi a document written by a well-informed CIA official (whose name has now been redacted from the original document):

“… the CIA tends to be “alert and responsive to official changes in the names of individual political entities.”  However, when it comes to geographic terms, the CIA adheres “to usages that are imprecise, egocentric, and anachronistic“. … According to the CIA Memo, terms such as “the Middle East” are, and always were, imprecise and egocentric given they reflect “the world as viewed from London and western Europe.”  The [CIA] author is alarmed at how widespread the usage of these imprecise terms among the intellectual circles were, including as part of titles for respected publications such as The Middle East Journal.”

To read more of the above article click here … As noted by Dr. Vasseghi in the abstract of her 2017 Dissertation (for more click here…):

“Western Civilization history marginalizes, misrepresents, misappropriates, and/or omits Iran’s positioning. Further, the mainstream approach to teaching Western Civilization history includes the Judeo-Christian-Greco-Roman narrative.”

A depiction of Geoffrey of Monmouth’s Historia Regum Britanniae and Sir Thomas Mallory’s Le Morte d”Arthur. Note the windsock carried by the horseman (Farrokh, Shadows in the Desert: Ancient Persia at War, 2007, pp.171) – this item was bought from the wider Iranian realm (Persia, Sarmatians, etc) into Europe by the Iranian-speaking Alans. The inset depicts a reconstruction of a 3rd century CE Partho-Sassanian banner by Peter Wilcox (1986).

As noted further in the Persian Heritage journal (links also inserted in below paragraph for further reference):

“The links between Europa and the ancient Iranians have been extensive in history. It was during the Partho-Sassanian era where Europe experienced direct interactions with Iran, a process in place since the Achaemenids (see for example Farrokh, K. An Overview of the Artistic, Architectural, Engineering and Culinary exchanges between Ancient Iran and the Greco-Roman World. AGON: Rivista Internazionale di Studi Culturali, Linguistici e Letterari, No.7, pp.64-124, 2016) [Download in full from Academia.edu]. It was also during the reign of the Parthian and Sassanian dynasties in Persia when several waves of Iranian speakers migrated into Europe. These are known variously in history as Sarmatians, Alans, Roxolani, Yas, etc. Put simply, the influence of ancient Iranian civilization came through two general channels: the Partho-Sassanian empires and fellow Iranian peoples who lived in Eurasia and Eastern Europe at the time. Many of these tribes were to successfully migrate into Central, Northern and Western Europe.”

The Oseberg longship at the Viking Ship Museum in Oslo (Picture source: Heritage Trust). Viking ships like these sailed to northern Persia in search of trade.

Another quote from the article is as follows (links also inserted in below paragraph for further reference):

“Contacts between the Germanic peoples and the Iranian world were especially among the North Germanic Nordic peoples and their Viking successors in the post-Islamic era of Persia. The famous Viking Ulfbehrt sword has in fact a Persian connection. Fredrik Charpentier Ljungqvist of Stockholm University has researched the Volga trade route of the Vikings and their ships between Lake Malaren in Sweden to the ports of Northern Iran between the early 800s to mid-1000s where: “…it is very likely that the steel that you find in the Ulfberht swords originated from Iran…I would guess that they bought it [Persian steel] from friendly trading connections in Iran paid with furs and other Nordic commodities and took it back on the small ships that they used on the rivers” [see full article here …]. While Sassanian Persia had fallen to the Arabo-Muslim invasions of the 7th century CE, Northern Persia remained defiant with its metallurgical technology continued persisting after the fall of the Sassanians, a factor that benefited Viking traders who sailed with ships to Northern Iran along the Volga trade route. The Vikings however, were already well already in contact with Iran during the Sassanian era.”

Viking Helmet (Right; Picture Source: English Monarchs) and reconstruction of earlier Sassanian helmet at Taghe Bostan, Kermanshah, Iran (Left; Picture Source: Close up of Angus Mcbride painting of Sassanian knight at Taghe Bostan, Wilcox, P. (1999). Rome’s Enemies: Parthians and Sasanid Persians. Osprey Publishing, p.47, Plate H1).

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.

=========================================================

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.