نمایش همه 3 نتیجه
Spring In Persian Manuscripts
The present articleرایگان!
The present article is based on published examples of the most famous illustrations of Persian manuscripts. Among these, nearly 140 illustrations from more than 70 manuscripts depict one or more aspects of spring and their origins range from the last decade of the 14th century to the third decade of the 17th. Iranian collective memory traces back the distinct particularities of spring to the era of Kaykavoos, and Ferdowsi has recorded them in his hymn of the Musician Div of Mazandaran: Ke Mãzandarãn shahr-e mã yãd bãd Hamisheh bar o boomash ãbãd bãd Ke dar boostãnash hamisheh gol ast Be kooh andaroon lãleh o sonbol ast Havã khoshgovãr o zamin por negãr Na garm o na sard o hamisheh bahãr Some of these particularities can be depicted and some others are to be felt. Such pictorial particularities as flower-filled gardens and mountain tulips and hyacinths have been directly depicted in Persian manuscripts and remained unchanged within them. By the very existence of flowers in gardens, tulips and hyacinths on mountainsides and patterns on the ground, one can feel that the air is pleasant, neither hot nor cold, and that the season is spring.
The question of ‘literary theory
What is 'literary thرایگان!
What is ‘literary theory’? How has it developed? What does it do? Why is it necessary, and/or what is it good for? What are the arguments for it and why the resistance to it? Is it, in fact, an ‘it at all, a single definable entity or phenomenon? All of these questions sound as if they belong in an exam; none of them are easy to answer, certainly not in so short a space as a foreword or introduction. But I want to begin by outlining very broadly a few responses.
Traces of Ancient Egyptian Culture & Civilization in the story of Samak-e „Ayyar
How do legends makeرایگان!
How do legends make use of historic events? What role does the collective memory of nations play in this use? How does the river of legends flow forth from historic sources? How do the streams of collective memory arisen from historic events in different periods merge into the river of legends? How does the river of legends alter its course, adapting itself to the beliefs of different eras? How does legend change in time and space, and how does it blend with other historic events? And many other questions, to which even a brief investigation of the story of Samak-e „Ayyar and its inspiration from the relations between Iran and Egypt in ancient times, may provide some answers. To the present, little attention has been given to the influence of ancient Egyptian culture on Iranian culture and literature, while we know that, in the Achaemenian period, Egypt was twice a Persian satrapy, for a total of 132 years during the 27th and 31st dynasties, and that the Iranians also ruled over Egypt for a while in the Sasanian period. Monarchical rule was more than twenty-four centuries old in Egypt when Cambyses founded the 27th dynasty, known as the dynasty of Persian Pharaohs. Of course, culture and art were even older in Egypt than monarchical rule, having long reached their summit of perfection when the Iranian conquerors set foot on Egyptian soil.