"Visual Arts Research Institute, Edinburgh." Chiefly consists of the proceedings of a conference held in Edinburgh on 12-13 March 2001. Includes bibliographical references and index.
Contents:
New perspectives in Shahnama iconography / Robert Hillenbrand -- Shahnama as text and Shahnama as image: a brief overview of recent studies, 1975-2000 / Marianna Shreve Simpson -- The Great Mongol Shahnama in the Qajar period / Jonathan M. Bloom -- Rewriting the history of the Great Mongol Shahnama / Sheila S. Blair -- The St. Petersburg illustrated Shahnama of 733 Hijra (1333 AD) and the Injuid school of painting / Adel T. Adamova -- Firdausi and more: a Timurid anthology of epic tales / Elaine Wright -- The Kevorkian-Kraus-Khalili Shahnama. The history, codicology and illustrations of a sixteenth-century Shirazi manuscript / Tim Stanley. Characters out of context: the case of a bowl in the Victoria and Albert Museum / Sylvia Auld -- Bahram Gur woven with gold: a silk fragment in the Diocesan Museum of St. Afra in Augsburg and the modes of rendition of a popular theme / Avinoam Shalem -- Faint echoes of past splendour -- a group of brass plaques from 19th-century Qajar Iran / Ulrike al-Khamis and Godfrey Evans -- Bandar-i Tahiri -- a late outpost of the Shahnama / Jennifer M. Scarce -- Evidence for grid layout in Persian manuscripts / M. Amin Mahdavi.
Summary:
"Shahnama: The Visual Language of the Persian Book of Kings presents the first comprehensive examination of the interplay between text and image in the celebrated Persian national epic, the Shahnama, written by the poet Firdausi of Tus. The Shahnama is one of the longest poems ever composed and recounts the history of Iran from the dawn of time to the Muslim Arab conquests of the seventh century A.D. There is no Persian text, in prose or poetry, which has been so frequently and lavishly illustrated." "Offering insights through a range of varied art-historical approaches to the Shahnama, the essays in this volume reveal how the subtle alterations in text and image serve to document changes in taste and style and can be understood as reflections of the changing role of the national epic in the imagination of Iranians and the equally changing messages - often political in nature - which the familiar stories were made to convey over the centuries."--Jacket.
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