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In Persian literature, tadhkira ('note', 'memorandum') works are for the most part collections of biographies of poets, combined with selections from their writings. The earliest such work is Dawlatshāh Samarqandī's Tadhkirat al-shuʿarāʾ (completed in 892/1487), which set a standard for posterity. The tadhkira genre was especially popular in the 10th/16th century and following. The work by Mīr Taqī al-Dīn Kāshānī (alive in 1016/1607) published here is an important example of this. It consists of an introduction, four divisions, and an epilogue ( khātima ), six volumes in all. From among these volumes, the epilogue listing some 394 poets from specific cities and regions in the Persianate world, many of whom were contemporaries of the author, is of special interest. Having met with many of them on his literary travels, their biographies contain a lot of information on the social and cultural climate of the time, besides new poets and poems. This volume: 6.5-6, Qazvin, Gilan, and Mazandaran.
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In Persian literature, tadhkira ('note', 'memorandum') works are for the most part collections of biographies of poets, combined with selections from their writings. The earliest such work is Dawlatshāh Samarqandī's Tadhkirat al-shuʿarāʾ (completed in 892/1487), which set a standard for posterity. The tadhkira genre was especially popular in the 10th/16th century and afterwards. The present work, completed in India in 1233/1818, finds it origin in the circumstance that its author, Ḥusayn Quli Khān ʿAẓīmābādī, wanted there to be a tadhkira work on Persian poets who wrote about love. And since he could not find any, he decided to make one himself. It took him ten years, during which he went through most of the relevant sources available in his time, more than thirty in all. The work lists 1.470 poets from all over the Persianate world and not just the Indian subcontinent. Contains biographies and sample poems, with notes and indices added by the editor.
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Persian poetry of the pre-modern era is divided into three successive styles, each belonging to a different period: Khurāsānī, ʿIrāqī and Hindī. The Hindī style is called such because in Safavid times, during which it developed, poets no longer enjoyed the shah's patronage so that many of them went to India, where Persian poetry had flourished since Ghaznavid times (11th-12th cent.). The Hindī style is often regarded as being of a lesser kind than the Khurāsānī or ʿIrāqī ones, but has the merit of having put a halt to the decline that Persian poetry was suffering from at the time and also, by its accessible language and subject matter, of having brought poetry within reach of the ordinary man. The Hindī style of those who never went to India is commonly described as 'Iṣfahānī'. Mukhliṣ Kāshānī's (d. 1150/1737) poetry is Hindī in the Iṣfahānī variant and is published here for the very first time.
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Gutenberg's invention of the printing press in the fifteenth century marked the beginning of a new era in the transmission of knowledge, the spread of ideologies, and the administration of peoples. Even if the Mughal emperor Jahāngīr (d. 1627), when presented with a printed copy of the Gospels, expressed his interest in exploring the possibilities for the printing of texts in nastaʿlīq in movable type, it would take another two hunderd years before the people of the Indian subcontinent started printing themselves. In the 1820's, when Indians began using western printing techniques to reproduce texts in local languages, they preferred lithographs over movable type. The former required less technology, were typographically superior, and also closer to the traditional reading experience. Movable type came only later. The printing of Persian texts had its heyday between the 1820's and 1850's. The present inventory shows the immense richness of two centuries of Persian printing on the Indian subcontinent. 4 vols; volume 1.
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In the history of the arts, emulation has always been important, regardless of time and place. Indeed, even the greatest artists always turn out to have their idols. Emulation is usually a way to acquire a certain skill or style that will then be put to use in the artist's own, original creations. Sometimes, emulation is such that the work of the original artist is still very present in the later work, mostly as a result of structural or stylistic similarities. In the field of Persian literature, a case in point is Jāmī's (d. 898/1492) Bahāristān , a work on morals that was written in imitation of Saʿdī's (d.691/1291-92) Gulistān . Similarly, the present work by Faqīr Shīrāzī (d. 1351/1932) is a successful reproduction of the style and format of Saʿdī's ethical mathnawī , the Bustān . Still, their content is quite different, Khānaqāh being an ode on mysticism and the Bustān a poem on ethics.
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When the founder of the Qajar dynasty of Iran, Āqā Muḥammad Khān Qājār (r. 1789-97), conquered the capital of Georgia Tiflis in 1795, two infant sons of the defeated king Heraclius II were captured. Of these, the eldest died on the way. The other, Khusraw Khān, the later Mīrzā Khusraw Bayg Gurjī (d. 1277/1860), was taken back to Tehran by the commander of the Persian forces, Ḥājjī Ibrāhīm, who treated him as if he were his own child, calling him Mīrzā. When Ḥājjī Ibrāhīm was executed in 1803 on the orders of Fatḥ ʿAlī Shāh (d. 1249/1834), Mīrzā Khusraw first lived with a family in Shiraz and then, in 1805, he was adopted by the childless Talpur ruler of Sind, Mīr Karam ʿAlī Khān (r. 1227-44/1812-28). It is there at the court in Hyderabad that he developed into a refined man of letters and where he compiled this poetical anthology, then only 27 years old.
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