Academic literature on the topic 'Iranian Lithography'

Iranian kings, or those who reigned in lands under Persian linguistic and cultural domination, followed the idea of a Just Ruler: a pious king who looked after his subjects’ divinity and spirituality in parallel to their earthly lives and needs. The Just Ruler extended righteousness and peace among his people while patronizing the construction of palaces, gardens, and new towns. The idea of a Just Ruler may be found in Sassanid monumental rock reliefs and written texts and then enriched and elaborated upon in the Islamic era by philosophers, poets, authors, and artists. This issue of Manazir Journal focuses on how art and architecture served the representation of the Just Ruler in Persianate societies from Central Asia to Eastern Anatolia from the 14th to the 19th centuries. Illustrated books, architecture, and photography show how different kings and rulers referred to the Persian ideas of the Just Ruler by patronizing new constructions, richly illuminated books, and in the modern era, employing mediums such as photography and lithography for nationalizing the king’s image.

Abstract The visual culture of the Iranian Twelver Shiʿa is documented in a variety of media, ranging from manuscripts and lithographed books via tilework and wallpaintings to lacquerwork, reverse images on glass, and the canvasses of popular storytellers. Indispensably connected to a narrative level, it focuses on the creed’s pivotal trauma, the violent death of the Prophet Muḥammad’s grandson Ḥusayn and his followers during the battle of Karbala. Iranian Shiʿi visual culture was particularly rich in the Qajar period, when the ritual performances of the “Persian passion play,” the taʿziyya, coincided with the introduction of printing to Iran, fostering a growing prominence of Shiʿi themes on both narrative and visual levels. The pervasive visual representation of salient scenes embodying the emotional narratives of Shiʿism’s historical experience contributed to the generation of popular piety that in turn made a notable contribution to the firm establishment of the Twelver Shiʿi creed in Iran.

The article is devoted to the outstanding 20th-century researcher of Iran — V.A. Ivanov (or Wladimir Ivanow, as he often styled himself), whose scholarly studies combined two spheres: Persian/Iranian dialectology and Ismailism, while he himself stood at the origins of research in both these spheres. The author tried to consider Ivanov’s studies in both these areas altogether for a full-scale assessment of his great personality as a scholar, as well as of his contribution to world Oriental studies. The article, published in two parts, includes V.A. Ivanov’s biography, sections concerning his works on linguistics/ethnography and Ismailism, as well as data on the significant replenishment by Ivanov of the IOM, RAS, collection of manuscripts and lithographs. Among the sources used for the article are V.A. Ivanov’s own memoirs and IOM, RAS, archival materials.

Abstract This article examines a copy of Farhād Mīrzā’s Jām-i Jam (the World-Revealing Goblet) published in 1856 in Tehran and kept at Columbia University Library offsite storage. It demonstrates the dual importance of this book in geographic knowledge production and as part of the library of Saʿīd Nafīsī, one of the most prominent Iranian scholars of Persian literature. Methodologically, the paper offers various ways to study a single lithograph to decipher larger historical processes in histories of education, translation, and print. First, it analyzes the paratext to expose scholarly and political networks in order to examine the genealogy of geographic knowledge production in mid-nineteenth century Qajar Iran. Second, it studies the content and translation practices employed by Farhād Mīrzā to offer novel strategies for analyzing dissemination and reception of new ways of production and categorization of geographic knowledge as well as methods utilized in composition of pedagogical geography books. Finally, it discusses how cataloging practices affect current scholarship and lead to rendering certain texts “hidden.” It therefore illustrates how the study of Farhād Mīrzā’s Jām-i Jam, a book aspiring to reveal the world, can expose much about scholarly practices not only in the past but also the present.

Purpose The purpose of this paper is Identifying the degree of compatibility of the current situation of the Persian bibliographic records (PBRs) with FRBR, as well as identifying the possible approaches and strategies for appropriate application of the model to Persian. The required data were gathered via two checklists were devised for the purpose of this research and each of which was dedicated to “Shahname” and “Nahjolbalaghe”. Also, to determine the characteristics of a suitable functional requirements for bibliographic records (FRBR) model for Iran, 18 implementation projects round the world were surveyed and analysed. Results of the study show that some FRBR requirements were readily available in Persian bibliographic records (PBRs), but in some cases, there are some deficiencies due to some likely reasons, such as lack of commitment to the Anglo-American Cataloguing Rules 2, specifications of the library software structure and neglecting bibliographic and family relations in catalogues. Design/methodology/approach The main goal of this research was to identify the degree of compatibility of the current situation of the PBRs with FRBR, as well as identifying the possible approaches and strategies for appropriate application of the model to Persian records. Research publication was 3,502 records in the National Bibliography of Iran for “Shahname” and “Nahjolbalaghe” of which 365 records were selected using systematic sampling method. Resources types included in the study were books, audio-visual resources, geographical resources, theses, lithographic books, manuscripts and journals. Findings Results of the study also showed that the appropriate method for implementing FRBR in Iran is the comparative model. According to this model, the current records are saved while they are compared to FRBR model, as a result of which, anomalies are identified and resolved. In another part of this research, 16 important challenges that could exist in implementing the model in Iran were identified and introduced. Also, eight characteristics of a suitable implementation model in Iran are introduced. Originality/value FRBR, is a conceptual entity-relationship model, released by IFLA and aimed to determine a minimum level of catalogue functions based on user’s needs. This model consists of four main parts: entities, attributes, relations and user tasks. This research has studied the feasibility of implementing application of the model to Iranian library records. Any research before the present paper (based on PhD thesis) has not been conducted yet in Iran.

The image of Persian Prince Khosrow Mirza, who headed the Apology Delegation to Russia, entered the Russian artistic culture of the 19th and 20th centuries. His name was mentioned by Alexander Pushkin in A Journey to Arzrum, by Nikolai Gogol in the Petersburg stories The Nose and The Portrait. Yury Tynyanov in his novel The Death of Vazir-Mukhtar (1928) elaborated in detail characteristics of the Persian prince. In Dmitri Shostakovich’s Opera The Nose, a musical and dramatic picture was built around the image of Khosrow Mirza. Although this image is inextricably linked to the memory of the death of Alexander Griboyedov, it formed a special set of motifs “colored” by the prince’s individual and personal features. The consideration of Khosrow Mirza’s image in Gogol’s stories casts doubt on the hypothesis proposed by Natalia Seregina about the connection of this image with the satirical element of the comedy The Inspector General. The image of Khosrow Mirza turns out to be the generator of the formation of the Persian text of Gogol’s Petersburg Tales. The analysis of the draft versions of the story The Portrait allows us to argue that, at the very beginning, a special semantic node is formed, which involves the generals who participated in the wars with Turkey and Iran, and the Tehran ambassador. Thus, an orientation is created for the development of an oriental theme, which was subsequently realized in the image of the terrible portrait and the demonic lender. The study of the semantic layers associated with Khosrow Mirza makes it possible to discover the connections between the Persian images of Gogol and the adventure novel The Adventures of Haji Baba from Isfahan by James Justinian Morier. Pictures of Persian life appear in the images of the Isfahan hereditary barber and local beauties, in the motif of money, cut-off noses, a head baked in bread, and are reflected in the stories Nevsky Prospect, The Nose, The Portrait. Another perspective of analysis opens up when understanding the special mission of Khosrow Mirza, aimed at the dialogue of cultures. The prince’s desire is noted to present in Russia the works of the great Persian poets Saadi and Ferdowsi, to implement the rhetoric of dialogue in an apology to Griboyedov’s mother and in a speech addressed to the Russian emperor. The introduction to scholarly discourse of translations of the book Ruzname-ye Safari Petersbourg [The Travel Notes of Khosrow Mirza] by Mirza Mustafa Afshar provides an insight into the Persian perception of the journey to Russia. The episodes of the arrival of the Iranian embassy in the royal palace, the description of the Tauride Palace, the process of making lithographs are considered. The authors conclude that the Persian embassy in St. Petersburg in 1829, caused by the tragic events, nevertheless significantly contributed to the strengthening of Iran’s authority and the formation of its unique cultural image in the minds of the Russian public. Much credit for establishing the dialogical character of relations belongs to the head of the Persian mission, Prince Khosrow Mirza. The authors declare no conflicts of interests.

Video installation; printmaking (photo-plate lithography on rice paper), chine-coll. As an Iranian woman artist who immigrated to Canada two years ago, my research creation examines ways of visualizing the notion of simultaneity in the lives of today’s migrants, in the sense of living between several cultures and multiple states of mind. In my work, I intend to show the shifts and reconstructions that take place in one’s identity as the result of immigration and living in a different culture, with the lens of simultaneity in identity, place, and language.

Abstract The collections of the Royal Asiatic Society hold an illustrated pilgrimage scroll apparently dating from the first half of the nineteenth century. The scroll's hand painted images relate to the journey that a pious Shiʿi Muslim would have undertaken after the performance of the pilgrimage to Mecca. Its visual narrative continues, first to Medina and then to the Shiʿi sanctuaries in present-day Iraq, concluding in the Iranian city of Mashhad at the sanctuary of the eighth imam of the Twelver-Shiʿi creed, imam Riḍā (d. 818). The scroll was likely prepared in the early nineteenth century and acquired by the Royal Asiatic Society from its unknown previous owner sometime after 1857. In terms of chronology the pilgrimage scroll fits neatly into the period between the Niebuhr scroll, bought in Karbala in 1765, and a lithographed item most likely dating from the latter half of the nineteenth century, both of which depict a corresponding journey. The present essay's initial survey of the scroll's visual dimension, by Ulrich Marzolph, adds hitherto unknown details to the history of similar objects. The concluding report, by Mathilde Renauld, sheds light on the scroll's material condition and the difficulties encountered during the object's conservation and their solution.