The Versified Ardā Vīrāf Nāme of Anoshirvan Marzban Kermani

زبان‌شناخت

Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been translated into different languages, one of these translations, included in Darab Hormazyar's Persian Rivayats, is a Zoroastrian Persian version composed by Anoshirvan Marzban Kermani in seventeenth century A. D. There are other Persian versions of it in verse and prose, including Ardā Vīrāf Nāme versified by Zartusht Bahram Pjjdu, which according to Anoshirvan was not complete and parts of which he has left unsaid; Therefore, in order to complete the text, Anushirvan himself versified it with the same rhythm of Zartusht’s. There are subjects in Anoshirvans’ Ardā Vīrāf Nāme that are not found in any other versions. He has paid more attention to topics such as myths and mythical characters than the Pahlavi and Persian versions. Anoshirvans’ Ardā Vīrāf Nāme is very important as one of the examples of Zoroastrian Persian poetry, whose content, literary and linguistic features have been studied in this research.

Abstract: The oldest known copy of the Shāhnāmé, the Shāhnāmé of 614 AH / 1217 BC, 675 AH/1276-1277BC, in London, and Florence , are not illustrated. More than a dozen well-known illustrated versions of Shāhnāmé appeared in the first half of the eighth century AH, (fourteenth century). These are clearly production of various art centers. St. Petersburg Shāhnāmé (733AD/1333 BC) is one the most important of Shiraz group. The second Shāhnāmé was provided for the library's of Hāji Qavāmoddin Hasan, the Persian minister of Fars. This manuscript became a key for identifying painting school of Injuid in Shiraz by resercheres. Three other small ones known as small Shāhnāmé (now dispersed), Simpsons knows, about the year 730 AH / 1330 BC, belonging to Bagdad. Simpson knows the oldest version of the illustrated Shāhnāmé, although not all researchers agree. Images in this versions show dramatic differences in style between the two groups of Shiraz and Esfahan. It seems, time interval between Isfahan's manuscripts and the small Shāhnāmé manuscripts are prior to manuscript of 733 AH / 1333 BC. The Great Ilkhanid Shāhnāmé which its date designated back to 714 till 735 HD, in Tabriz and its Ilkhanid Supporter is accepted by everyone, Represents capital schools in Tabriz.

Journal of Art Historiography: A Historiography of Persian Art, 2023

Translated by András Barati Although the translations of important scholarship on art history across the different European languages are increasingly common, the same cannot be said about the invaluable articles and books published in non-European languages. In the case of Persian art, the results of research conducted by scholars writing in Persian, Arabic or Turkish, are often inaccessible for many Western scholars. Accordingly, the aim of the translation of Aʽẓam Naẓarkarde's 1 work is twofold. 2 Firstly, the paper highlights the potentials of a heavily underused source for art history by introducing several official documents. For the most part, Persian archival sources are employed by students of administrative, social, and economic history of a particular time period, therefore, it has been largely neglected by both Iranian and Western art historians. As Naẓarkarde shows, these sources can expand the scope of art historiography by uncovering previously overlooked or marginalized artists. The Âstân-e Qods-e Rażavi, located in the city of Mashhad, in the northeastern region of Iran, is a shrine complex built around the tomb of Imam Reza (d. 818), the eighth Shia Imam, and considered a major pilgrimage site for Shia Muslims. The complex includes several other mosques, museums, libraries, and religious schools. As one of the most important and largest religious complexes in Iran, the holy shrine of Imam Reza has always attracted the attention of artists and their patrons in the different eras. The art of painting and artistic decorations flourished in many parts of the courtyards, prayer halls, and other buildings of the Rażavi shrine. Through the example of eighteenth-century documents kept in the archive of the Âstân-e Qods-e Rażavi, Naẓarkarde reveals the name of a frequently engaged artist, Esmâʽil Big Naqqâsh, and presents the services rendered by this outstanding painter to some extent, illustrating the possibilities of these resources for the study of Persian art history. Secondly, the reader gains precious insight into the art historical writing and thought within Iran. The translation may shed light on the applied theoretical framework and methodology currently observed by Iranian scholars, as well as on their approach to the study of art history. 1 The transliteration adopted in this paper follows the vocalisation of Modern Persian. 2 Aʽẓam Naẓarkarde is an Iranian document expert affiliated with the Organisation of Libraries, Museums, and Documentation Centre of the Âstân-e Qods-e Rażavi. This institution is responsible for managing and preserving a vast collection of historical, cultural, and religious artifacts. It also oversees the Central Library, which houses one of the largest collections of Islamic manuscripts in the world.

Iranian Studies 45, no. 2 (2012): 203–16.

The episode under discussion in this article comes from the Middle Persian text Kārnāmag ī Ardašīr ī Pābagān. It does not appear in any published edition of the Shāhnāmeh, nor does it seem to be recorded in any manuscript consulted for these editions. The episode is versified and illustrated in a nineteenth-century manuscript preserved in the Government Museum in Alwar, India. If it is an early interpolation, why is it not found in major Shāhnāmeh manuscripts? And if it is a late interpolation, how did it find its way into an Indian manuscript at such a late date? The article proposes a provenance for the manuscript and draws attention to the possible role of the Zoroastrian community in India in the transmission of Ferdowsi’s opus.

Pahlavi "shoeless" Pahlavi āwām "hardship" Pahlavi āwās- āwād (hawās-) "to dry (sth.)" Pahlavi grāy "heavier" Pahlavi nisēy "dead fetus" Pahlavi particle -ib

The superintendent is a dog ($adr ad-dīn sag), the revenue collector is a camel (Jalāl ad-dīn Istarjānī Qurbān), the tax collector is a cow (Muhammad Kala gāw), and the qādī is a donkey (Abū Sa`īd khar).

SCIENZE, FILOSOFIA E LETTERATURA NEL MONDO IRANICO Da Gundishapur ai nostri giorni Omaggio a Carlo Saccone per i suoi 70 anni, 2024

Depictions of Central Asian deities related to local forms of Zoroastrianism sometimes appear as standing pairs or as seated on thrones with zoomorphic protomes. Their attributes and the frequent presence of symbolic miniature animals held in their hands on a tray seem to be reflective of codified religious iconographies reproduced more or less faithfully at all the archaeological sites examined herein. It is not always easy to propose firm identifications for the deities in these pairs. In this study, hypothetical identifications are given for two divine pairs that are particularly widespread in pre-Islamic Sogdian art. These identifications are made on the basis of astrological-astronomical arguments, and this method may unravel the mysteries surrounding these images.