N ENTRIES: CAPTIONS OF ILLUSTRATIONS
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Figure 1. ʿAliqoli Khan Nabil-Al-Dawla. |
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Figure 1. Portrait of Nāder Shah; oil on canvas, 162 x 102 cm; Persia, second quarter of the 18th century. By courtesy of the Board of Trustees of the Victoria & Albert Museum, London, no. I.M. 20-1919. |
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Figure 1. Photograph of Nader Naderpour. |
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NADERPOUR, NADER |
Figure 2. Sorma-ye ḵoršid (The healing kohl of the sun), Tehran, 1960. |
NADERPOUR, NADER |
Figure 3. Ṣobḥ-e doruḡin (False dawn), Paris, 1982. |
NADERPOUR, NADER |
Figure 4. Ḵun o ḵākestar (Blood and ash), 1989. |
NADERPOUR, NADER |
Figure 5. Zamin-o zamān (Earth and time), Los Angeles, 1996. |
NADERPOUR, NADER |
Figure 6. Conference on Naderpour’s Poetry, Washington, D.C., 1996. |
NADERPOUR, NADER |
Figure 7. Majmuʿa-ye ašʿār-e Nāder Nāderpur, 2 vols., Los Angeles, 2003. |
Figure 1. Drawing of a naḵl (by Goga Chelkowski) from the Yazd area ready to be carried in procession. Parts and ornamentation: 1. Four legs (pāya, one shown), making a stand; 2. Poles for the bearers, forming a base for the naḵl. They represent the bier of Ḥosayn; 3. Mirrors (āʾina); 4. Representation of a cypress tree (sarv); 5. Šadda (see text), a standard from which hang: 6. Colorful fabrics; 7. Ensigns of Ḥosayn. |
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NAḴL |
Figure 2. The naḵl carriers awaiting the order to lift the naḵl. (Photograph by K. Bayegan, Mehriz, 1977) |
NAḴL |
Figure 3. The naḵl carriers awaiting the order to lift the naḵl. (Photograph by J. Ghazbanpour, Mehriz, 1997) |
NAḴL |
Figure 4. The famous naḵl of Yazd, called the Amir Čaqmāq naḵl, resting unclad in front of the Takiya Amir Čaqmāq. (Photograph by Tara Bahrampour, 1997) |
NAḴL |
Figure 5. Amir Čaqmāq naḵl in front of the Takiya Amir Čaqmāq. (Photograph by Tara Bahrampour) |
NAḴL |
Figure 6. An unclad naḵl in front of the Takiya of Taft. (Photograph by Tara Bahrampour) |
NAḴL |
Figure 7. A modern covering of the naḵl features paintings of various Shiʿite personalities. (Photographer unknown) |
NAḴL |
Figure 8. The naḵl at Mehriz seen from the front, covered with mirrors. (Photograph by Judith L. Goldstein) |
NAḴL |
Figure 9. Naḵl in Mehriz, 1974. A view from the rear of the naḵl shows golden thread on a black canvas in the shape of the mausoleum of Ḥosayn at Karbalāʾ. (Photograph by Judith L. Goldstein) |
NAḴL |
Figure 10. The lifting of the naḵl. Mehriz, 1977. (Photograph by K. Bayegan) |
NAḴL |
Figure 11. Naḵl-gardāni, Mehriz, 1977. (Photograph by K. Bayegan) |
Figure 1. A fictional portrait of Nali. |
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Figure 1. Naqš-e Rostam, Kaʿba-ye Zardošt from the north. Courtesy of the Deutsches Archäologisches Institut. |
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NAQŠ-E ROSTAM |
Figure 2. Naqš-e Rostam, tomb of Darius I (Tomb I). Courtesy of the Deutsches Archäologisches Institut. |
NAQŠ-E ROSTAM |
Figure 3. Naqš-e Rostam, tomb of Xerxes (Tomb II), upper register with the throne bench (gathu). Courtesy of the Deutsches Archäologisches Institut. |
NAQŠ-E ROSTAM |
Figure 4. Naqš-e Rostam, Tomb I, upper register, Darius I. Courtesy of the Deutsches Archäologisches Institut. |
NAQŠ-E ROSTAM |
Figure 5. Naqš-e Rostam, Tomb II, upper register, Xerxes. Courtesy of the Deutsches Archäologisches Institut. |
NAQŠ-E ROSTAM |
Figure 6. Naqš-e Rostam, Tomb of Darius I, the upper right corner of the throne bench (gathu), where the Gandharan, the Indian, and the haoma-venerating Scythian support the throne, and on the right frieze is a mourner. Courtesy of the Deutsches Archäologisches Institut. |
Figure 1. Painting in MS Or. 2839, reproduced in Dawud and Coomaraswamy, 1912, preceding sec. V, pp. 47 ff. : "Akbar summons the maiden to comfort her.” |
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NAWʿI |
Figure 2. Painting in MS Or. 2839, reproduced in Dawud and Coomaraswamy, 1912, preceding sec. VII, pp. 57 ff.: "Prince Dāniyāl approaches the fire and would urge the maiden to come out from it.′” Color reproduction and bibliography at the Wellcome Trust, http://catalogue.wellcome.ac.uk/record=b1160066. |
Figure 1. Ezzat-Allāh Negahbān, at Haft-Tappeh, 1972. (Image courtesy of Miriam Negahban) |
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Figure 1. Gyula Nemeth. |
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Figure 1. East Terrace: statues of the gods. (Photograph by the author) |
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NEMRUD DAĞI |
Figure 2. West Terrace: Zeus extending his hand (the gesture of dexiosis ). (Photograph by the author) |
NEMRUD DAĞI |
Figure 3. West Terrace: ancestral stele of the satrap Orontes/Aroandes. (Photograph by the author) |
Figure 1. Map of Nisa. Courtesy of the author. |
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Figure 1. Map of Nishapur, showing the approximate locations of the Metropolitan Museum excavations within the outline of the medieval city. (© Metropolitan Museum of Art, used by permission). |
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Figure 1. Map of Mesopotamia, detail of map of the Parthian empire at its greatest extent, in George Rawlinson, The Seven Great Monarchies Of The Ancient Eastern World, Vol 6.: Parthia, New York, 1885. |
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Figure 1. Portrait of Theodor Nöldeke. |
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Figure 1. Survey of the distribution and location of summer and winter pastures. Source: Scholz, Schweizer, et al. |
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NOMADISM |
Figure 2. Summer and winter pastures of nomadic tribes in the mid-1980s. Source: Markaz-e Āmār-e Irān. |
NOMADISM |
Figure 3. Subsistence patterns of migrating populations in the Neolithic and post-Neolithic Zagros. Source: Pullar. |
NOMADISM |
Figure 4. Highland/lowland interactions, indicating migrational patterns and pastoral movements of tribes. Source and design: E. Ehlers. |
NOMADISM |
Figure 5. Integrative developments of agriculture and mountain nomadism. After Schweizer. |
NOMADISM |
Figure 6. Stages and characteristics of the nomadic sedentarization process. Design: E. Ehlers. |
NOMADISM |
Figure 7. Spatial and temporal patterns of Afghan tribal migrations. Source: Scholz, Schweizer, et al. |
(Cross-Reference)
Originally Published: January 1, 2000
Last Updated: August 26, 2015