The Bustan or Orchard of Sa'di


Book Description

Of the works of Persia's great poet Sa'di, the Bustan is second only to the Gulistan in reknown and popularity. Born in Shiraz sometime between 1184 and 1210 CE, Muslih-uddin Sa'di Shirazi received his education in Baghdad and spent several decades in travel and pilgrimage. In 1256, Sa'di returned to Shiraz. He wrote the Bustan in 1257, and the next year wrote the Gulistan.The Bustan or Orchard of Sa'di, intended as a 'mirror for princes,' was written entirely in verse and included 'ten doors of instruction,' that were the following ten chapters: Justice and Counsel, Benevolence, Love, Humility, Resignation, Contentment, Education, Gratitude, Repentance, and Prayer.This prose translation by A. Hart Edwards has been edited and updated by David Rosenbaum.




The Gulistan Or Rose Garden of Sa'di


Book Description

The Gulistan is among the most famous works of Persian literature by one of Persia's greatest poets, Muslih-uddin Sa'di Shirazi. Born in Shiraz sometime between 1184 and 1210 CE, Sa'di received his education in Baghdad and spent several decades in travel and pilgrimage. In 1256, Sa'di returned to Shiraz. He wrote the Gulistan in 1258, the same year that the Mongols sacked Baghdad.The Gulistan or Rose Garden of Sa'di, intended as a 'mirror for princes,' includes prose didactic tales interspersed with short verses. The book is divided into eight parts: The Manners of Kings, The Morals of Dervishes, The Excellence of Contentment, The Advantages of Silence, Love and Youth, Weakness and Old Age, The Effects of Education, and Rules for Conduct in Life.This classic translation by Edward Rehatsek has been edited and updated with a new introduction by David Rosenbaum.




Making of the Artist in Late Timurid Painting


Book Description

In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter's delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist's likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist's imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist's signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed.




The Garden of Fragrance


Book Description




Divan of Sadi


Book Description

~DIVAN OF SADI~His Mystical Love-Poetry.Translation & Introduction Paul Smith. Published by New Humanity Books/Book HeavenSadi of Shiraz (1210-1291), a contemporary of Rumi who influenced him, was another Perfect Master Poet who expressed himself in the ruba'i form as well as hundreds of ghazals in his beautiful Divan that often also contained images from dervish dancing. Sadi was a great traveller who spent forty years on the road throughout the Middle-East, North Africa and India and many of the incidents he experienced he wrote down in his two most famous works when he finally returned to his beloved birth-place… The Rose Garden (Gulistan) and The Orchard (Bustan). Sadi's mystical love poetry, his ghazals, although almost unknown in the West, are loved by his fellow-countrymen almost as much as those of Hafiz whom he greatly influenced. Here for the first time in English they can be read in all their beauty and power and spirit. The correct rhyme-structure has been kept as well as the beauty and meaning of these beautiful, mystical poems. ALL of the wonderful 603 ghazals from Sadi's Badayi and Tayyibat have been translated in clear, modern, meaningful, correct-rhyming English. Introduction on The Life of Sadi, his Poetry and his influence on the East and the West and on the form and meaning of the ghazal. 421 pages.COMMENTS ON PAUL SMITH'S TRANSLATION OF HAFIZ'S 'DIVAN'.“It is not a joke... the English version of ALL the ghazals of Hafiz is a great feat and of paramount importance. I am astonished. If he comes to Iran I will kiss the fingertips that wrote such a masterpiece inspired by the Creator of all.” Dr. Mir Mohammad Taghavi (Dr. of Literature) Tehran.“Superb translations. 99% Hafiz 1% Paul Smith.” Ali Akbar Shapurzman, translator of many mystical works in English into Persian and knower of Hafiz's Divan off by heart. “Smith has probably put together the greatest collection of literary facts and history concerning Hafiz.” Daniel Ladinsky (Penguin Books author). Paul Smith is a poet, author and translator of many books of Sufi poets of the Persian, Arabic, Urdu, Turkish, Pashtu and other languages… including Hafiz, Sadi, Nizami, Rumi, 'Attar, Sana'i, Jahan Khatun, Obeyd Zakani, Mu'in, Amir Khusrau, Nesimi, Kabir, Anvari, Ansari, Jami, Omar Khayyam, Rudaki, Yunus Emre and many others, as well as his own poetry, fiction, plays, biographies, children's books and screenplays.www.newhumanitybooksbookheaven.com




The Persian Mirror


Book Description

The Persian Mirror explores France's preoccupation with Persia in the seventeenth century. Long before Montesquieu's Persian Letters, French intellectuals, diplomats and even ordinary Parisians were fascinated by Persia and eagerly consumed travel accounts, fairy tales, and the spectacle of the Persian ambassador's visit to Paris and Versailles in 1715. Using diplomatic sources, fiction and printed and painted images, The Persian Mirror describes how the French came to see themselves in Safavid Persia. In doing so, it revises our notions of orientalism and the exotic and suggests that early modern Europeans had more nuanced responses to Asia than previously imagined.




Peerless Images


Book Description

This book is the first survey of the figural arts of the Iranian world from prehistoric times to the early twentieth century ever to consider themes, rather than styles. Analyzing primarily painting - in manuscripts and albums, on walls and on lacquered, painted pen boxes and caskets - but also the related arts of sculpture, ceramics, and metalwork, the author finds that the underlying themes depicted on them through the ages are remarkably consistent. Eleanor Sims demonstrates that all these arts display similar concerns: kingship and legitimacy; the righteous exercise of princely power and the defense of national territory; and the performance of rituals and the religious duties called for by the paramount cult of the day. She describes a variety of superb works of art inside and outside these categories, noting not only how they illustrate archetypal themes but also what it is about them that is unique. She also discusses the ways that Iranian art both influenced and was influenced by invaders and neighboring lands. Boris I. Marshak discusses pre-Islamic and also Central Asian art, in particular the earliest Iranian wall paintings and their pictorial parallels in rock carvings and metalwork, and the richly painted temples and houses of Panjikent. Ernst J. Grube considers religious imagery, and provides an informative bibliography.




Inside/Outside Islamic Art and Architecture


Book Description

When we walk into a gallery, we have a fairly good idea where the building begins and ends; and inside, while observing a painting, we are equally confident in distinguishing between the painting-proper and its frame and borders. Yet, things are often more complicated. A building defines an exterior space just as much as an interior, and what we perceive to be ornamental and marginal to a given painting may in fact be central to what it represents. In this volume, a simple question is presented: instead of dichotomous separations between inside and outside, or exterior and interior, what other relationships can we think of? The first book of its kind to grapple with this question, Inside/Outside Islamic Art and Architecture focuses on a wide spectrum of mediums and topics, including painted manuscripts, objects, architectural decoration, architecture and urban planning, and photography. Bringing together scholars with diverse methodologies-who work on a geographical span stretching from India to Spain and Nigeria, and across a temporal spectrum from the thirteenth to the twenty-first century-this original book also poses engaging questions about the boundaries of the field.




Gifts in the Age of Empire


Book Description

Explores the Safavid and Ottoman empires through the lens of gifts. When the Safavid dynasty, founded in 1501, built a state that championed Iranian identity and Twelver Shi'ism, it prompted the more established Ottoman Empire to align itself definitively with Sunni legalism. The political, religious, and military conflicts that arose have since been widely studied, but little attention has been paid to their diplomatic relationship. Sinem Arcak Casale here sets out to explore these two major Muslim empires through a surprising lens: gifts. Countless treasures—such as intricate carpets, gilded silver cups, and ivory-tusk knives—flowed from the Safavid to the Ottoman Empire throughout the sixteenth century. While only a handful now survive, records of these gifts exist in court chronicles, treasury records, poems, epistolary documents, ambassadorial reports, and travel narratives. Tracing this elaborate archive, Casale treats gifts as representative of the complicated Ottoman-Safavid coexistence, demonstrating how their rivalry was shaped as much by culture and aesthetics as it was by religious or military conflict. Gifts in the Age of Empire explores how gifts were no mere accessories to diplomacy but functioned as a mechanism of competitive interaction between these early modern Muslim courts.




Tales of God’s Friends


Book Description

"The works of Islamic mysticism are a crucial genre of Islamic piety, and the lives of the awliya (friends of God) have been and continue to be a crucial way in which the theoretical insights of Sufism are embodied and communicated to a wider audience. Traditionally, these genres would be deciphered by a living Sufi master. Here John Renard acts as our Sufi guide, transporting us to the marvelous world of Islamic piety."—Omid Safi, Professor of Islamic Studies, University of Northern Carolina