S ENTRIES: CAPTIONS OF ILLUSTRATIONS
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online entry |
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Figure 1. Abu’l-Ḥasan Ṣabā. |
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ṢABĀ, ABU’l-ḤASAN |
Figure 2. Abu’l-Ḥasan Ṣabā. |
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Figure 1. Transliteration of consonants, nos. 1-17 (SBE I, p. li). |
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SACRED BOOKS OF THE EAST |
Figure 2. Transliteration of consonants, nos. 18-37 (SBE I, p. lii). |
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SACRED BOOKS OF THE EAST |
Figure 3. Transliteration of consonants, nos. 38-59 (SBE I, p. liii). |
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SACRED BOOKS OF THE EAST |
Figure 4. Transliteration of vowels (SBE I, p. liv). |
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Figure 1. Photograph of Bahram Sadeqi. |
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Figure 1. Photograph of Behjat Sadr and her work, 1968. (Mojabi et. al., p. 128). |
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SADR, BEHJAT |
Figure 2. Behjat Sadr and Forough Farrokhzad, Shemiran, 1966. (Mojabi et. al., p. 130). |
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SADR, BEHJAT |
Figure 3. Oil on canvas, 110 × 180 cm, 1956. Tehran Museum of Contemporary Art collection. (Mojabi et. al., p. 105). |
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SADR, BEHJAT |
Figure 4. Oil on aluminum, 70 × 99 cm, 1974. (Mojabi et. al., p. 74). |
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SADR, BEHJAT |
Figure 5. Oil on canvas, 42 × 62 cm, 1975. (Mojabi et. al., p. 84). |
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SADR, BEHJAT |
Figure 6. Photo collage and oil painting on paper, 50 × 60 cm, 1990. (Mojabi et. al., p. 49). |
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Figure 1. Gholam-Hosayn Sa‘edi. |
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SA'EDI, GHOLAM-HOSAYN |
Figure 2. Book cover, Šabnešini-e bāšokuh. |
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SA'EDI, GHOLAM-HOSAYN |
Figure 3. Ahl-e havā, a monograph on the fishing villages of southern Iran by Gholam-Hosayn Sa'edi. |
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SA'EDI, GHOLAM-HOSAYN |
Figure 4. Vāhemahā-ye bi nām o nešān, a short collection by Gholam-Hosayn Sa'edi |
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SA'EDI, GHOLAM-HOSAYN |
Figure 5. Dandil, a short story collection by Sa'edi, in English translation |
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SA'EDI, GHOLAM-HOSAYN |
Figure 6. Tup, a novel by Gholam-Hosayn Sa'edi, in English translation |
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SA'EDI, GHOLAM-HOSAYN |
Figure 7. Parvārbandān, a short story collection by Gholam-Hosayn Sa'edi |
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SA'EDI, GHOLAM-HOSAYN |
Figure 8. Faṣl-e gostāḵi, a film script by Gholam-Hosayn Sa'edi |
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Figure 1a. Drainage systems of Iran (Beaumont, 1973). |
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SAFIDRUD |
Figure 1b. Drainage system of the Qezel Uzan-Šāhrud-Safidrud (Beaumont, 1973). |
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SAFIDRUD |
Figure 2. The Safidrud valley and Central Gilān (Jahrudi, 1975). |
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SAFIDRUD |
Figure 3. Pleistocene and recent deposits of the Safidrud Delta (Annells et al., 1975). |
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Figure 1. Joseph Champion, The Poems of Ferdosi, Calcutta, 1785, title page (orig. h. 32 cm). Courtesy of the Rare Book and Manuscript Library, Columbia University in the City of New York. |
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ŠĀH-NĀMA TRANSLATIONS iii. Into English |
Figure 2. Helen Zimmern, Epic of Kings: Stories Retold from Firdusi, London, 1882, frontispiece The Bowman by Sir Lawrence Alma-Tadema (etching, 30 × 23 cm). Art Institute Chicago, acc. no. 1991.612. Available at artic.edu. |
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Figure 1. “Rostam pulls the Khaqan of Čin from his saddle,” signed by Āqā Loṭf-ʿAli Ṣuratgar, dated 1279/1862-63, from the Šāh-nāma-ye Dāvari, MS pers., Reżā ʿAbbāsi Museum, Tehran. After Ḡazbānpur and Āḡdāšlu, p. 149 (Persian)/80 (Eng.). |
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ŠĀH-NĀMA iv. Illustrations |
Figure 2. “Kay Ḵosrow enthroned,” signed by Ḥosayn-ʿAli (orig. size 23.5 × 33 cm), from the Šāh-nāma-ye Bahādori, lithographed, Tehran, 1904. Courtesy of Ulrich Marzolph. |
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Figure 1. Bunmei Tsuchiya, poet and translator of the Šāh-nāma into Japanese. |
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ŠĀH-NĀMA TRANSLATIONS xv. Into Japanese |
Figure 2. Cover of Perushiya shinwa, Japanese translation of the Šāh-nāma by Bunmei Tsuchiya. |
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ŠĀH-NĀMA TRANSLATIONS xv. Into Japanese |
Figure 3. Cover of the Japanese translation of “Rostam and Sohrāb” by Masaharu Higuchi. |
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Figure 1. Photograph of ʿAbbās Saḥāb. (Courtesy of the author) |
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SAḤĀB, ʿABBĀS |
Figure 2. Photograph of ʿAbbās Saḥāb. (Courtesy of the author) |
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Figure 1. Map of the battle of Salamis (Aegean Sea). |
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SALAMIS |
Figure 2. Map of the battle of Salamis (Psyttaleia). |
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Figure 1. Sojās, Friday Mosque, stucco decoration of qibla wall (2nd half of 12th century). |
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SALJUQS vi. Art and Architecture |
Figure 2. Ḵarraqān, tomb tower (1093-94). |
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SALJUQS vi. Art and Architecture |
Figure 3. Sāva, Friday mosque, minaret (1110-11). |
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SALJUQS vi. Art and Architecture |
Figure 4. Candlestick, dated 561/1166, Linden-Museum, Stuttgart. |
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SALJUQS vi. Art and Architecture |
Figure 5. Mināʾi bowl showing Bahrām Gur and Āzāde, New York, Metropolitan Museum of Art. |
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SALJUQS vi. Art and Architecture |
Figure 6. Robāṭ-e Šaraf, main eyvān with stucco decoration (1154-55). |
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Figure 1. Abbas Ma’rufi. |
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SAMFONI-e MORDAGĀN |
Figure 2. Book cover, Samfoni-e mordagān (Persian). |
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SAMFONI-e MORDAGĀN |
Figure 3. Book cover, Symphony of the Dead (English). |
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SAMFONI-e MORDAGĀN |
Figure 4. Book cover, Symphonie der Toten (German). |
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Figure 1. Photograph of Mahmoud Sanai. (Courtesy of Mina Sanai) |
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SANAI, MAHMOUD |
Figure 2. Photograph of Mahmoud Sanai. (Courtesy of Mina Sanai) |
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Figure 1. Black-bellied sand grouse (Pterocles orientalis. By permission of E. Firouz (The Complete Fauna of Iran, London and New York, 2005, p. 150) |
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Figure 1. Map of the region north of Šāhrud showing the location of Sang-e Chakhmaq (adapted from Masuda, ed., 1977, fig. 1). |
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SANG-E CHAKHMAQ |
Figure 2. Djeitun-style finds from Sang-e Chakhmaq East: (A) ceramic bowl from Level 3 (Furusato, 2005, fig. 12); (B) ceramic beakers from Level 3 (Masuda, ed., 1977, fig. 9); (C) ceramic jars from Levels 4 and 5 (idem, figs. 10, 12); (D) stone figurine (Masuda, 1973, fig. 7.5); (E) bone sickle (Furusato, 2005, fig. 40); (F) stone spindle whorls (nos. 1-3) and a “cosmetic vial” (no. 4) (Masuda, ed., 1977, fig. 17). |
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SANG-E CHAKHMAQ |
Figure 3. Sialk-style finds from Sang-e Chakhmaq East: (A) Sialk II-style sherds excavated by Masuda (no. 1 from Furusato, 2005, fig. 27.2; no. 2 from Masuda, ed., 1977, fig. 10); (B) alabaster vessels from Levels 1-2 (idem, fig. 15); (C) Sialk II-style Black-on-Red sherds collected by Dyson from the surface; (D) copper tacks (Masuda, 1976, figs. 7.11-12); (E) bone sickle from Level 5 (Masuda, ed., 1977, fig. 18); (F) ceramic spindle whorls (idem, fig. 17). |
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SANG-E CHAKHMAQ |
Figure 4. Local-style finds from Sang-e Chakhmaq East: (A) ceramic “husking tray” from Level 3 (Furusato, 2005, fig. 29); (B) ceramic vessels from Levels 1 and 2 (Masuda, ed., 1977, fig. 7); (C) ceramic pot stand from Level 5 (idem, fig. 12); (D) alabaster ram figurine from Level 2 (idem, fig. 20); (E) bone sickles from Level 5 (idem, fig. 18); (F) ceramic house model from Level 3 (idem, fig. 21). |
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SANGLĀḴ, MOḤAMMAD-ʿALI |
Figure 1. Portrait of Sanglāḵ in the 1874 lithograph of Taḏkerat al-ḵaṭṭāṭin, page 26. The surrounding poem celebrates him; e.g., “he is a king in mortal’s garb … the years of his life are up to 100.” (Sāzmān-e Asnād va Ketābḵāna-ye Melli-ye Jomhuri-ye Eslāmi-ye Irān, which gives a tentative birth date of 1184/1770-71; MS available at http://dl.nlai.ir/UI/331a63f0-2d77-4bd7-8c08-69e01136837a/catalogue.aspx) |
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Figure 1. Photograph of a saqqā-ḵāna in Golpāyagān. Courtesy of www.centraldaneshjoo.com. |
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SAQQĀ-ḴĀNA i. History |
Figure 2. Photograph of a saqqā-ḵāna in Tehran. Courtesy of www.aftab.ir. |
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SAQQĀ-ḴĀNA i. History |
Figure 3. Photograph of a modern saqqā-ḵāna in Boroujerd. Courtesy of the author. |
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Figure 1. Charles Hossein Zenderoudi, “K + L + 32 + H + 4,” 1962, Tempera on Paper, 148 × 225 cm. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 2. Parviz Tanavoli, “Hič and Chair II,” 1973, Bronze. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 3. Faramarz Pilaram, “Mosques of Isfahan,” ca. 1962, Tempera and Gold and Silver Paint on Paper. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 4. Mansur Qandriz, “Untitled,” 1963, Oil on Canvas, 80 × 115 cm, Tehran Museum of Contemporary Art. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 5. Massoud Arabshahi, “Untitled,” 1965, Oil on Canvas, 110 × 127.5 cm, Artist’s Private Collection. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 6. Nasser Oveisi, “Five Goblet- Dance,” late 1960s, Oil on Canvas, 100 × 200 cm, Tehran Museum of Contemporary Art. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 7. Sadeq Tabrizi, “The Lovers,” 1960s, Oil on (animal) Skin, Tehran Museum of Contemporary Art. |
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SAQQĀ-ḴĀNA ii. School of art |
Figure 8. Žazeh Tabatabai, “Blue-Eyed King,” 1960, Iron, height 86 cm. (from Iron Sculptures series). |
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Plate I. Sasanian coin examples. (RY = regnal year.) a. Kavāḏ I/2nd reign, AU Dinar, type SNS II/2, no mint, RY 25. State Hermitage Museum, St Petersburg; Schindel, 2004, no. 300. b. Kosrow II/2nd reign, AR Drachm, type SN II/3, mint WYHC, RY 38. Numismatic Central Card File, Institute for Numismatics and Monetary History, University of Vienna. ... |
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Figure 1. a-b. Dura Europos, battle scene, wall painting. After Little, fig. 2, pl. II. |
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SASANIAN WALL PAINTING |
Figure 2. Susa, hunting scene, wall painting. After Ghirshman, 1962, p. 183. |
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SASANIAN WALL PAINTING |
Figure 3. Hajiabad, fragments of wall painting. Courtesy of the author, with the help of drawings by Geert Verhoeven, after Azarnoush, figs. 158-60 and 162, pl. XXXV. |
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SASANIAN WALL PAINTING |
Figure 4. Tepe Hissar, horseman, wall painting. After Schmidt and Kimball, fig. 175. |
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Figure 1. Fragmentary woolen clothes taken from a mummified body recovered at Ḥamzelu village. Archeological Museum of Iran, Tehran. Photo taken by Rudy Favaro in 2005 in the Archaeological Museum of Iran. |
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SASANIAN TEXTILES |
Figure 2. Fragment of a pair of woolen trousers from Antinoe (Egypt). Paris, Musée du Louvre, département des antiquités égyptiennes, Inv. No. E29323 and Lyon, Musée Historique des Tissus, Inv. No. 908.I.117, numéro d’entrée 28928. Drawing after Bénazeth, 1991, fig. 6. |
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SASANIAN TEXTILES |
Figure 3. Fragment of trousers. Lyon, Museée Historique des Tissus. Drawing after F. Demange, ed., Les Perses sassanides: Fastes d’une empire oublié (224-642), Paris, 2006, Cat. No. 113. |
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SASANIAN TEXTILES |
Figure 4. Fragmentary woolen and linen textile from Egypt (?), possibly part of a tapestry. Athens, Benaki Museum, Inv. No. 7001. Sketch after Benaki Museum, Inv. No. 7001. |
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Figure 1. A portrait of Sattār Khan. |
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Figure 1. Charles Schefer, Jerusalem 1845, drawing by C. Doussault. Courtesy of Jean-Louis Schefer. |
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SCHEFER, CHARLES-HENRI-AUGUSTE |
Figure 2. Charles Schefer with Henri Cordier (standing), ca. 1895. Courtesy of Jean-Louis Schefer. |
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Figure 1. Photograph of Bernfried Schlerath. (Courtesy of the author). |
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Figure 1. Title page of J. L. Schlimmer, Terminologie Medico-Pharmaceutique, lithograph (viii + 570 pp. + 38 pp. index, 206 m × 330 mm), Tehran, 1874. (Courtesy of Columbia University Libraries) |
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Figure 1. Cat 7.17 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Ba. Agate with beige and brown bands, blemished; whole. L. 20 × 16. |
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SEALS AND SEALINGS: In the Eastern Iranian Lands |
Figure 2. Cat 7.24 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel, probably trapezoid in section. E6a? Honey-colored chalcedony; whole. L. 9.5 × 8; base: 1. 12 × 11. Male bust in profile to right, the frontal upper body rendered by three roughly circular segments. A narrow beard frames the face and the features are summary. The hairstyle shows a raised band (curls?) on the forehead. |
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SEALS AND SEALINGS: In the Eastern Iranian Lands |
Figure 3. Cat 7.34 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Ba. Cornelian; whole. L. 12 × 10.5. Male bust in profile to right, the frontal upper body rendered by four roughly circular segments. The facial features are detailed and there is a raised band of hair round the head. An earring hangs from a bar, and the tunic has a high neckline. |
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SEALS AND SEALINGS: In the Eastern Iranian Lands |
Figure 4. Cat 7.42 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Ca. Garnet; whole. L. 17 × 13.5. Male bust. |
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SEALS AND SEALINGS: In the Eastern Iranian Lands |
Figure 5. Cat 8.1 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Eb. Amber-coloured chalcedony; rim slightly chipped. Diam. 14. An apparently girdled male figure in profile to left moves, left leg and right arm forward, towards a winged horse in profile to right. The body of the horse is well modelled and its head lowered. Sogdian characters, above prn, below ∫r(y), Farnvare, ’bringing fortune’ (presumably personal name). |
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Figure 1. Silver tetradrachm of Seleucus I. Obv. : Head of the kings, helmeted with bull's skin, ear, and horn. “Once when a wild bull was brought for sacrifice to Alexander and broke loose from his ropes, Seleucus held him alone, with nothing but his hands” (Appian, Syriaca 56 [tr., http://www.livius.org/ap-ark/appian/appian_syriaca_12.html]). Rev.: Victory wreathing a trophy; inscription: BASILEŌS SELEUKOU. (B. V. Head, Historia Numorum. A Manual of Greek Numismatics, Oxford, 1887, p. 638, fig. 336) |
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Figure 1. Silver tetradrachm of Seleucus I. Obv. : Head of the kings, helmeted with bull's skin, ear, and horn. “Once when a wild bull was brought for sacrifice to Alexander and broke loose from his ropes, Seleucus held him alone, with nothing but his hands” (Appian, Syriaca 56 [tr., http://www.livius.org/ap-ark/appian/appian_syriaca_12.html]). Rev.: Victory wreathing a trophy; inscription: BASILEŌS SELEUKOU. (B. V. Head, Historia Numorum. A Manual of Greek Numismatics, Oxford, 1887, p. 638, fig. 336) |
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Figure 1. Antoin Sevruguin. Self-Portrait at Naqsh-i-Rustam, ca. 1900. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection. |
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SEVRUGUIN, ANTOIN |
Figure 2. Antoin Sevruguin. Persepolis, Colossi of the Porch of Xerxes, ca. 1900. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection. |
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SEVRUGUIN, ANTOIN |
Figure 3. Antoin Sevruguin. Dr. Nūr Moḥammad (a Jewish doctor), ca. 1880. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection. |
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SEVRUGUIN, ANTOIN |
Figure 4. Antoin Sevruguin. Interior in Golestān Palace, ca. 1890. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection. |
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SEVRUGUIN, ANTOIN |
Figure 5. Antoin Sevruguin. Barber Dyeing Nāṣer-al-Din Shah’s Mustache, ca. 1890. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection. |
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Figure 1. Photograph of Hasan Shahbaz. (Courtesy of Rahavard) |
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Figure 1. Contour map of Tepe Šarafābād (corrected version of the figure in Schacht, 1975). |
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Figure 1. The Cave of Shapur, Terrace IV. The Great Statue of Shapur I. (Photograph, G. Reza Garosi) |
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SHAPUR I ii. The Great Statue |
Figure 2. Map of the Cave of Shapur. (After Garosi, 2009, pp. 84-85) |
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SHAPUR I ii. The Great Statue |
Figure 3. The Cave of Shapur. Head, Hair, and Body of the Great Statue of Shapur I. (Photograph, G. Reza Garosi) |
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SHAPUR I ii. The Great Statue |
Figure 4. The Cave of Shapur. Crown, Head, and Hair of the Great Statue of Shapur I. (Photograph, G. Reza Garosi) |
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Figure 1. Photograph of Manuchehr Sheybani. |
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SHEYBANI, MANUCHEHR |
Figure 2. Video still image of Manuchehr Sheybani. |
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SHEYBANI, MANUCHEHR |
Figure 3. Painting, from the series “Tribal women of Southern Iran.” |
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SHEYBANI, MANUCHEHR |
Figure 4. Illustration used on the book cover of Ātaškada-ye ḵāmuš. |
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SHEYBANI, MANUCHEHR |
Figure 5. Video still image from a Manuchehr Sheybani television production. |
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SHEYBANI, MANUCHEHR |
Figure 6. Book cover of Sarābhā-ye kaviri. |
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Figure 1. Trinkhaus’s 1976-77 archaeological survey map of the Damghan region, adapted from Dyson Jr. and Thornton, fig. 2. |
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SHIR-E SHIAN |
Figure 2. The only finds from Shir-e Shian drawn and recorded by Schmidt. All drawings to scale, except for the carnelian bead, which is 2:1 relative to the other drawings. Adapted from Dyson Jr. and Thornton, figs. 6-7, 10-12. |
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SHIR-E SHIAN |
Figure 3. A comparison between burial BT4 x-1 from Shir-e Shian (left) and two burials from Tepe Hissar Period IA (right). Adapted from Dyson Jr. and Thornton, fig. 13. |
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Figure 1. Shiraz in 1671; by Andre Daulier, Homāyun, Pl. 100 with pp. 166-67. |
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SHIRAZ i. History to 1940 |
Figure 2. Tang and Allah-o-Akbar Gate in 1888; Curzon II, p. 92. |
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SHIRAZ i. History to 1940 |
Figure 3. Shiraz under Karim Khan: Perry, p. 273, Fig. 3. |
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SHIRAZ i. History to 1940 |
Figure 4. Shiraz in 1930; Afsar. |
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SHIRAZ i. History to 1940 |
Figure 5. Map of modern Shiraz. |
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Figure 1. Firuz Širvānlu, self-portrait, watercolor on paper, 36 × 36 cm, 1973. |
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SHIRVANLU, FIRUZ |
Figure 2. Firuz Širvānlu, collage, lithographed page, ink, gouache, 40 × 34 cm, 1975. |
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Figure 1. Unfinished painting, “Ḵosrow at Širin’s Castle,” ca. 1475-80, Ḵamsa of Neẓāmi, Topkapi Saray Library, Istanbul, H. 762, f. 82b. |
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SIĀH-QALAM |
Figure 2. Encampment, Divān of Solṭān Aḥmad, Baghdad, early 15th century, Washington D.C., Freer Gallery of Art, 32.24 (f. 22b), detail. |
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SIĀH-QALAM |
Figure 3. Demons, detail of album page, c. 1360-75, Topkapi Saray Library, Istanbul, H. 2153, f. 39b. |
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SIĀH-QALAM |
Figure 4. “Nomads,” detail of album page, c. 1360-75, Topkapi Saray Library, Istanbul, H. 2153, f. 55a. |
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SIĀH-QALAM |
Figure 5. Angels in a lotus scroll, detail of album page, ca. 1370-1400, Topkapi Saray Library, Istanbul, H. 2153, f. 94a. |
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Figure 1. Rose water bottle, silver, Early 12th century CE, Iran. (Purchase, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C, F.1950.5). |
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SILVER |
Figure 2. Small bowl, silver inlaid with gold and niello, 1500-1510, Iran. (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C, F.1954.115). |
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Plate I. "The Simorḡ,” Marāḡa, 697 or 699/ca. 1297-1300, illustration from the Manāfeʿ-e ḥayawān. Courtesy of The Pierpont Morgan Library, New York, Ms. M. 500, fol. 55r. |
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Figure 1. An unopened pack of Homa brand cigarettes with health warning. |
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SMOKING IN IRAN |
Figure 2. An unopened pack of Kent Silver4 with health warning; Iranian tax stamp is affixed. |
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Figure 1. Epic painting of a duel in front of a castle, after 700 C.E., Panjikant (Tajikistan), object XXII, room 1. (After Marshak, 2002, p. 152, fig. 103) |
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SOGDIANA vi. Sogdian Art |
Figure 2. Mythological painting of an encounter of the goddess Nana, riding a lion, and the Sun God in a chariot, 750-850 CE, Kalai Kachkacha I (Tajikistan), palace, room 4. Reconstruction by the author. (Courtesy of the author) |
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SOGDIANA vi. Sogdian Art |
Figure 3. Carved panel of deity with peacock framed by an arched niche, wood, ca. 700 CE, Panjikant (Tajikistan), object XXIII, room 57. (Drawing after Belenitskiĭ et al., p. 130, fig. 7) |
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SOGDIANA vi. Sogdian Art |
Figure 4. Sogdian ewer, silver, ca. 700 CE, Mal’tseva near Perm’ (Russia). State Hermitage Museum, St. Petersburg, Inv. No. S-11. (Drawing after Marshak, 1986, fig. 56) |
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SOGDIANA vi. Sogdian Art |
Figure 5. Ossuary, fired clay with stamped decoration, 7th-8th centuries, Molla-Kurgan (Uzbekistan). Museum of History and Culture of the Peoples of Uzbekistan, Tashkent, Inv. No. A-436-1. (Courtesy of the author) |
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Figure 1. M. Shokurov in his forties. (Source: Navisandagoni Tojikiston, Dushanbe, 1971, p. 50). |
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ŠOKUROV, MOḤAMMADJĀN |
Figure 2. M. Shokurov, Dushanbe, 2007. (Courtesy of Habib Borjian). |
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Figure 1. Aerial view of Sorḵa. (Image by Google Earth; courtesy of www.sorkheh.net) |
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SORḴA |
Figure 2. Ḥāj Ḥešmat Lašgar’s house. (Courtesy of Anjoman-e Resālat-e Qalam-e Sorḵa) |
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Figure 1. Bertold Spuler, undated black/white photograph. Private Collection, Germany. |
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SPULER, BERTOLD |
Figure 2. Bertold Spuler, meeting of the Deutsche Morgenländische Gesellschaft, Berlin, 1980. Courtesy of Werner Ende. |
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Figure 1. Photograph of Dr. F. M. Kotwal performing the stūm ceremony at home (at Colaba, Mumbai); the ritual, here in progress, takes about 15 minutes to complete. |
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Figure 1. Map of Suledeh Sub-province in western Māzandarān, detail in Saḥāb Geographic and Drafting Institute, Naqša-ye rāhnemā-ye ostān-e Māzandarān, Tehran, n.d. |
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Figure 1. The main sites (indicated by numerals) worked at Susa by Roman Ghirshman and Marie-Joseph Steve, 1946-68. |
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SUSA i. Excavations |
Figure 2. The main sites (indicated by numerals) worked at Susa under the direction of Jean Perrot, 1968-79. |
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Figure 1. Map of Susa in the Elamite period. |
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Figure 1. Heracles, terracotta, Louvre Museum, no Sb 3610; from the excavations of J. de Morgan. (Photograph in Martinez-Seve, 1995) |
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SUSA iv. Hellenistic and Parthian Periods |
Figure 2. Plan of the Parthian houses excavated by R. Ghirshman in the northern part of the Royal Town. (Martinez-Sève, 2002a, p. 95, fig. 6). |
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Figure 1. Cover of Suvashun (tr. Ghanoonparvar, 1990). |
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Figure 1. Jar, terracotta with applied decoration of a snake, Iran, Shah Tepe, circa 2,400 BCE, Museum of Mediterranean and Near Eastern Antiquities. |
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SWEDEN i. Persian Art Collections |
Figure 2. Bowl, Kāšān 13th century, blue glaze with brownish-black luster decoration, Museum of Mediterranean and Near Eastern Antiquities, NM 66/1947. |
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SWEDEN i. Persian Art Collections |
Figure 3. Bowl, Kāšān 13th century, turquoise glaze with under-glaze black decoration, Museum of Mediterranean and Near Eastern Antiquities, NM 67/1947. |
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SWEDEN i. Persian Art Collections |
Figure 4. Mortar, bronze, Saljuqid period, 12th century, Museum of Mediterranean and Near Eastern Antiquities, NM 94/1935. |
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SWEDEN i. Persian Art Collections |
Figure 5. Miniature painting from the Šāh o gedā by Badr-al-Din Helāli, probably copied and illustrated in Isfahan around 1590, Museum of Mediterranean and Near Eastern Antiquities, NM 239/1918. |
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SWEDEN i. Persian Art Collections |
Figure 6. Miniature painting from the Šāh o gedā by Badr-al-Din Helāli, probably copied and illustrated in Isfahan around 1590, Museum of Mediterranean and Near Eastern Antiquities, NMH 236/1918. |
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Figure 1. Book cover, The Patience Stone, New York, 2009 |
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SYNGUÉ SABUR: PIERRE DE PATIENCE |
Figure 2. Book cover, A Thousand Rooms of Dream and Fear, London, 2006 |
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Figure 1. Table of Syriac characters, by Julius Euting, in Theodor Nöldeke,Compendious Syriac Grammar, tr. James A. Crichton, London, 1904. |
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Figure 1. P. de Lagarde, Persische, armenische und indische Wörter im Syrischen, 1866. |
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Figure 1. Eliae Metropolitae Nisibeni, Opus Chronologicum, Pars prior, ed. E. W. Brooks, CSCO 62, Syr. 3/7, Romae, 1910. |
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SYRIAC LANGUAGE iii. Translators as the Medium for Transmission of Greek Ideas to Sasanian Iran |
Figure 1. Carolus Gottlob Kühn, ed., Medicorum Graecorum Opera Quae Exstant I, Leipzig, 1821. |
(Cross-Reference)
Originally Published: January 1, 2000
Last Updated: January 1, 2000
