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New English Paperback. Pbo. Mint. Large demy 8vo. 524 p. In Turkish. Ghazan Khan and his reforms 1295-1304. Tradition and changing from Mongol Iran. Gazan Han ve reformlari, 1295-1304. Mogol Iranindan gelenek ve degisim.
Iran, Shahid Beheshti University, 2004, 4° (cm. 34 x 25) cartonato con fregi e titoli dorati al piatto anteriore e al dorso, sovraccoperta illustrata a colori, pp. 195 completamente illustrato da piante in nero ed illustrazioni fotografiche a colori (Cyclopaedia of Iranian Islamic Achitecture, Volume Seven; Congregational Mosques, part one). In ottimo stato.
Light blue multicolored octavo; 322 p ; 23 cm. In Persian. || Islam -- Doctrines
Gutes Exemplar; der Umschlag stw. geringfügig berieben. - Auflage : 1000. - Texte in Deutsch und Englisch. - Vorwort von Ian Bennett. - Ein Gabbeh (persisch Gabbe, lurisch und kurdisch gava, bachtiarisch khersak) ist ein traditioneller handgeknüpfter Perserteppich grober Knüpfung. Charakteristisch für ihn ist die Verwendung eines abstrakten Designs, meist großer Farbflächen und ein spielerischer Umgang mit geometrischen Figuren. Die vermutlich aus Lorestan stammenden Teppiche werden heute von Stämmen wie Kaschgai, Luren, Bachtiaren, Kohk?l?yeh va Boyer Ahmadi, Mamassani, Chamse, Afscharen und nomadisierenden Arabern in der südwestlichen Provinz Fars hergestellt. Als Material wird vor allem Schafs- und Ziegenwolle verwendet, die ausschließlich mit natürlichen Farbstoffen gefärbt wird. Charakteristisch ist eine meist ausdrucksvolle, leuchtende Farbwahl. Die Knüpffäden werden aus zwei kräftigen Fäden zusammengedreht und sowohl mit dem persischen Senneh-Knoten als dem türkischen (Ghiordes)-Knoten verarbeitet. Die Knüpfdichte beträgt dabei meist weniger als 70.000 pro m². So entsteht insgesamt ein recht grob geknüpfter, weicher Teppich mit einem hohen Gebrauchswert. Ein Gabbeh diente ursprünglich ausschließlich dem Hausgebrauch. Er war für eine einzelne Person (meist eine Frau) vorgesehen. Seit den 1980er Jahren nahm im Westen das Interesse an dieser Art Teppich enorm zu und entwickelte sich in den 1990ern zu einem regelrechten Boom. Weitere Produktionsländer sind inzwischen Indien, Afghanistan, China und die Türkei. … (wiki) // ... Einige dieser Teppiche weisen detaillierte Inschriften mit Titel und Namen ihrer Auftraggeber auf, und bei fast allen mir bekannten Stücken waren dies die gro-ßen Khans der llkhani- und Hajji-Ilkhani-Familien der herrschenden Duraki-Stämme. Chahar-Mahal-Teppiche wurden bis weit ins 20. Jh. hinein hervorragend gearbeitet unter Verwendung bester Pflanzenfarben. Erstaunlich selten kommen zwischen 1880 und 1930 synthetische Farben vor. Deshalb ist es schon ironisch, wenn einige "Puristen" unter den Sammlern von Stammesteppi-chen ausgerechnet diese Arbeiten aussparen, obgleich sie gleichzeitig bedenkenlos Teppiche der Ghaschghai oder Khamseh erwerben, die ganz offensichtlich ebenfalls von reichen Khans in deren Werkstätten in Schiraz und anderen Orten in Fars in Auftrag gegeben wurden. Keineswegs kann man diese Teppiche mit größerer Berechtigung "Stammesteppiche" nennen, als jene aus Chahar Mahal, aber alte Vorurteile sterben eben langsam. Die Teppiche in diesem Buch geben dessenungeachtet einen beachtlichen Einblick in die Qualität und Vielseitigkeit der Luri- und Bakhtiari-Knüpferei. Die besten von ihnen haben eine vergleichbare farbliche Ausdrucksstärke wie die bedeutendsten Chahar-Mahal-Teppiche und<man beobachtet gleichermaßen das Fehlen synthetischer Farben (bis auf die sparsame Verwendung der ersten Anilinfarben, wie Fuchsin, in wenigen Exemplaren). Anhand der Gabbehs wird uns zu verstehen gegeben, daß es an der Zeit ist, sich ernsthaft mit der Knüpf- und Webkultur der Luren und Bakhtiaren auseinanderzusetzen. Für den Anfang ist man dankbar, so viele hervorragende Beispiele dieser speziellen Facette der Nomadenkunst ansehen zu können. (Vorwort I.B.)
Very Good Turkish, Ottoman (1500-1928) In 1/5 decorative leather bound with moon-star and tughra embossing. Roy. 8vo. (23 x 16 cm)., 288 p. Ozege:-. No bibliographic detail inside the book, and it seems study was not completed. Text is cut in last page, and informed us that study will have been as 4 volumes set in preface (moukaddimah), but the other volumes or/and any bibliographic details not found in any source and bibliographic study. Fîrûznâme.
octavo xviii + 304pp., b/w pls., bibliog., index
Royal octavo. Pp. xi, 220. Bound in the original publisher's decorative cloth. In a very fine, fresh-new condition (ownership signature on title-page; stamp). Excellent copy, practically unused. ~ First edition.
Royal octavo. Pp. xi, 220. Bound in the original publisher's decorative cloth. Excellent ex-lib copy (stamps, labels) in fine condition. ~ First edition.
xix + 361pp. + 2pp. theses, 24cm., text in English, softcover, Doctoral Dissertation (Rijksuniversiteit te Leiden, the Netherlands), stamp at verso of title page, text is clean and bright, good condition, X111781
383pp. Hard Cover in dj 8vo - over 7¾" - 9¾" tall. ISBN:1850437041 In the first half of this book Naraghi, a prominent Iranian sociologist, engagingly recounts his long conversations with the Shah in the weeks before the revolution. Here is the Shah at bay, a man overtaken by events and unbelievably naive about the causes of the popular agitation against him.
117p., illus. Hardcover Very good condition good
New Persian Paperback. Roy. 8vo. (24 x 17 cm). Text in Persian with bilingual title in English and Persian on cover. 120 p. Foundations of historical knowledge.= Mabânî-i 'ilm-i târîkh.
New English Original bdg. HC. Roy. 8vo. (24 x 17 cm). In English. [x], 144 p. Forty poems from the Divan. Translated with introductions and notes by Peter Lamborn Wilson & Gholam Reza Aavani. Edited by Seyyed Hossein Nasr (Series on Ismaili Thought)."The Diwan, or Divan, is a collection of poems written and compiled by Nasir Khusraw (1004-1088 AD). Khusraw composed most of his poems in the Valley of Yumgan, a remote mountainous region in Badakhshan (in present-day Afghanistan). The Divan contains around 11,000 verses of Khusraw's own poetry, reflecting philosophical, religious, and personal themes. The majority of poems contained in the Diwan are odes composed in the traditional Persian qasida (a structured form of poetry with an elaborate metre). The qasida consists of a single rhyme carried throughout the entirety of the poem. In terms of rhythm, each line (bayt) of the qasida consists of two equal parts. The Divan also contains quatrains and shorter poems (as qasidas can be relatively long). Khusraw, in his Divan, employs sophisticated rhetorical and poetic devices characteristic of Persian poetry...". (Source: Wikipedia).
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). Papers in English, Turkish, French, and Arabic. [vii], 398 p. First International Symposium on Islamic studies.= Uluslararasi Birinci Islam Arastirmalari Sempozyumu. Teblig ve müzakereler. 16-18, September, 1985.
8vo, br. ed. Shirin Ebadi, la prima donna musulmana a ricevere il Premio Nobel per la Pace, ha ispirato milioni di persone nel mondo con il suo impegno da avvocato per i diritti umani, difendendo soprattutto le donne e i bambini dal brutale regime iraniano. Per questo il governo ha cercato di ostacolarla in tutti i modi, ha intercettato le sue telefonate, ha messo sotto sorveglianza il suo ufficio, l'ha fatta pedinare, ha minacciato lei e i suoi cari con metodi violenti e indicibili. Oggi Shirin Ebadi ci racconta la sua storia di coraggio e di ribellione contro un potere intenzionato a portarle via lutto - il matrimonio, gli amici, i colleghi, la casa, la carriera, persino il Premio Nobel - ma che non è riuscito a intaccare il suo spirito combattivo e la sua speranza di giustizia e di un futuro migliore: "è per amore dell'Iran e del suo popolo, delle sue potenzialità e della sua grandezza; che ho intrapreso ogni singolo passo di questo viaggio. E so che un giorno gli iraniani troveranno la loro strada per la libertà e la giustizia che meritano." "Finché non saremo liberi" è il racconto incredibile di una donna che non si arrenderà mai, non importa quali rischi dovrà correre: un esempio per tutti, che insegna il coraggio di lottare per le proprie convinzioni.
Large red/green octavo; 798 p : b&w ill ; 25 cm. In Persian. Uncommon. || History of printing. Lithography, Iranian -- Iran -- Tabriz -- Catalogs.
Rodez, Musée Fenailles, 2004. In-12 broché de 63 pages illustrées. Très bon état
New Persian Original bdg. HC. 4to. (29 x 23 cm). Text in Persian and preface in English; bilingual title in English and Persian on the cover. 267, [3] p., color and b/w ills. Fifty years with the legacy of Dr. Mahdi Bayani, (1968-2018).= Panjâh sâl bâ duktur Mahdî Bayânî, (1346-1396). Bayânî, (1906-1968), specialist in Persian manuscripts and calligraphy and pioneer in the field of Persian librarianship. Though born in Hamadan, he was the scion of a long line of divan secretaries and fiscal officers (mostawfi) from Faahan. He was related to Mirza Salman Farahani, secretary and confidant of Abu'l-Qasem Khan Na?er-al-Molk Hamadani, whose title Bayan-al-Sal?ana is apparently the origin of the family name (Bayani, A?wal o atar-e ?osnevisan, 2nd ed., Tehran, 1363 S./1984, introd. by ?. Ma?bubi Ardakani, p. 3). Bayani received his early education and training in calligraphy at the Aqdasiya and Asraf primary schools and, after graduating from the secondary school Dar al-Fonun, enrolled in the Dar al-Moallemin-e Ali (later Danes-sare-ye Ali; higher teachers' college). In 1324 sh./1945, Bayani received a doctorate in Persian literature from the University of Tehran. While serving as chief imperial librarian, Bayani also taught courses on the evolution of Persian scripts and on codicology. He was a long-time member of the Iran-Soviet Cultural Society and edited the journal Payam-e now (q.v.). He also founded a society for the support and publicizing of calligraphers and the calligraphic arts (Anjoman-e ?emayat-e ?a?? o ?a??a?an). His biographical dictionary of Iranian calligraphers, A?wal o atar-e ?osnevisan, is one of the most important research tools in Persian codicology. Bayani's pioneering efforts in the fields of bibliography and manuscript identification, evaluation, and collection have yielded valuable catalogues of major holdings in Iran. (Encyclopediae Iranica).
Special Rug Issue. Features: Navajo Rugs; Classic and Contemporary; Pictorial Rugs from Iran; A decade of Contemporary American Rugs; and more. Quality copy. Prior owner's name on front cover. Magazine
8vo grande, hardcover in dj. pp.4333. Tauris in association with the Iran Heritage Foundation<br><br>Iran's rich cultural heritage has been shaped over many centuries by its rich and eventful history. This impressive book, which assembles contributions by some of the world's most eminent historians, art historians and other scholars of the Iranian world, explores the history of the country through the prism of Persian literature, art and culture. The result is a seminal work which illuminates important, yet largely neglected, aspects of Medieval and Early Modern Iran and the Middle East. Its scope, from the era of Ferdowsi, Iran's national epic poet and the author of the Shahnameh to the period of the Mongols, Timurids, Safavids, Zands and Qajars, examines the interaction between mythology, history, historiography, poetry, painting and craftwork in the long narrative of the Persianate experience. As such, Ferdowsi, the Mongols and the History of Iran is essential reading and a reference point for students and scholars of Iranian history, Persian literature and the arts of the Islamic World
New Persian Paperback. Roy. 8vo. (24 x 17 cm). In Persian with bilingual title in English and Persian. [14], 354 p. Felsefe-i tarikh der Quran. [= The philosophy of history from the Qur'anic point of view]. Shamsi: 1397 = Gregorian: 2019.
Imprimerie Nationale, 1996. In-4 relié pleine toile éditeur de 312 pages ornée de photos cartes et plans. Bon état
New Persian Original bdg. HC. Roy. 8vo. (24 x 17 cm). Text in Persian with English preface and bilingual title in English and Persian. 452, [5], [1] p. "Overwhelmed by complements and praise Fatimids historiography is dedicated to Imam for his divine right of kingship, the very Fatimids theo-political thought. This doctrine would never have built up unless a serious endeavor took place to draw theo-political principles to establish Fatimids Shiite administration. In fact, the advent of Fatimids as a theocratic administration in Medieval Islam in North Africa from late 3rd century of Hijrah and then its survival for more than two hundred years was based on the politicized Ismaili literature. It was Fatimids Daii theologians who manipulated the primary concepts in Ismaili theology to produce intellectual infrastructures to legitimize Fatimid Imams. The aim of this book is moving from Ismaili theological concepts to legitimacy of Fatimids, which seems to have received little attention in the contemporary Ismaili studies particularly to theo-political works...".
New New Persian Original bdg. Dust wrapper. Roy. 8vo. (24 x 17 cm). In Persian and a little abstract in English. 195, [4] p., b/w plates of original Ottomaan manuscript. "Fath-name-e Iravan (The book of conquest of Yerevan) is written by Salashhour (Silahsor) Khaseh, Kemani Mustafa Agha. Turkish scholar, Mehmet Munir Aktepe, edited and published it along with the original text in Istanbul in 1970. Undoubtedly, the book is one of the most mportant sources about the end of Safavid era. The work is a valuable monograph that provides a comprehensive, day-by-day chronicle of the Ottoman army's incursion into the Iranian territory in Caucasus; the 92 day long siege; and eventually the capture of the city of Yerevan...".
133pp., 24cm., in the series "Uppsala Universitets Arssskrift / Acta Universitatis Upsaliensis" 1952 nr.13, softcover (spine repaired), with dedication to the Swedish scholar in orientalism and religion Geo Widengren, G, T71283
