Сина (photographer). Taken Nov. 8, 2009. Tehran Panorama. Flickr. Retrieved from https://www.flickr.com/photos/sina-r/4082211719/sizes/l/
Country Geography
Structurally, Iran is an extremely complex area and, owing partly to political difficulties and partly to the difficult nature of the terrain itself, complete exploration and investigation have not so far been achieved. In general, Iran consists of an interior plateau, 1,000 m to 1,500 m above sea level, ringed on almost all sides by mountain zones of varying height and extent. The largest mountain massif is that of the Zagros, which runs from the north-west, first south-westwards to the eastern shores of the Persian Gulf, and then eastwards, fronting the Arabian Sea, and continuing into Baluchistan (Pakistan). Joining the Zagros in the north-west, and running along the southern edge of the Caspian Sea, is the narrower but equally high Alborz range; along the eastern frontier of Iran are several scattered mountain chains, less continuous and imposing than either the Zagros or the Alborz, but sufficiently high to act as a barrier.
Citations:
Audio Streaming on Smithsonian Global Sound
Books about Iran
Women, Power and Politics in 21st Century Iran by Call Number: E-Book or HQ1236.5.I7 W65 2012This book examines the women's movement in Iran and its role in contesting gender relations since the 1979 revolution. Looking at examples from politics, law, employment, environment, media and religion and the struggle for democracy, this book demonstrates how material conditions have important social and political consequences for the lives of women in Iran and exposes the need to challenge the dominant theoretical perspectives on gender and Islam. A truly fascinating insider's look at the experiences of Iranian women as academics, political and civil society activists, this book counters the often inaccurate and misleading stereotyping of Iranian women to present a vibrant and diverse picture of these women's lives. A welcome and unique addition to the vibrant and growing literature on women, Islam, development, democracy and feminisms.
Media, Culture and Society in Iran: Living with Globalization and the Islamic State by By exploring topics such as the Internet, print press, advertising, satellite television, video, rock music, literature, cinema, gender, religious intellectuals, and secularism, this unique and wide-ranging volume explains Iran as a complex society that has successfully managed to negotiate and embody the tensions of tradition and modernity, democracy and theocracy, isolation and globalization, and other such cultural-political dynamics that escape the explanatory and analytical powers of all-too-familiar binary relations. Featuring contributions from among the best-known and emerging scholars on Iranian media, culture, society, and politics, this volume uncovers how the existing perspectives on post-revolutionary Iranian society have failed to appreciate the complexity, the paradoxes and the contradictions that characterize life in contemporary Iran, resulting in a general failure to explain and to anticipate its contemporary social and political transformations.
The History of Iran by Call Number: DS272 .D36 2012This comprehensive survey of Iran's historical development covers everything from its origins in ancient empires to its status as a modern nation-state. Iran is a vast country with a storied, ancient past, a great diversity of cultures and ethnicities, and a location in arguably the most unstable area of the world. Iran's history over the last two centuries--developing as a modern nation-state, freeing itself from foreign domination, and asserting its influence in both the region and the world--has been particularly fascinating. This title gives an overview of Iranian history written for a general audience. It is intended to acquaint readers with the important events and personalities that have shaped that long history. In this second edition of The History of Iran, the author has thoroughly revised the original content and has added two new chapters, one of which is dedicated to Iran in the 21st century. Particular attention is paid to explaining the forces that led to the revolution of 1979 and the establishment of the Islamic Republic of Iran, as well as the controversies of its domestic and foreign policies. Provides a chronological survey of key events in Iranian history up to the present day An annotated bibliography surveys historical literature on Iran, including web resources
Books on Iranian and Persian Architecture
Iran, architecture for changing societies: an international seminar by Call Number: NA380 .I73 2004ISBN: 8842212369Publication Date: 2006-08-02
Islamic Architecture in Iran by
The architecture of the Islamic world is predominantly considered in terms of a dual division between 'tradition' and 'modernity' - a division which, Saeid Khaghani here argues, has shaped and limited the narrative applied to this architecture. Khaghani introduces and reconsiders the mosques of eighth- to fifteenth-century Iran in terms of poststructural theory and developments in historiography in order to develop a brand new dialectical framework. Using the examples of mosques such as the Friday Mosques in Isfahan and Yazd as well as the Imam mosque in Isfahan, Khaghani presents a new way of thinking about and discussing Islamic architecture, making this valuable reading for all interested in the study of the art, architecture and material culture of the Islamic world.
Call Number: NA1483 .K53 2012ISBN: 9781848857292Publication Date: 2012-08-30
Imperial Matter by
A free ebook version of this title is available through Luminos, University of California Press's new open access publishing program. Visit www.luminosoa.org to learn more. What is the role of the material world in shaping the tensions and paradoxes of imperial sovereignty? Scholars have long shed light on the complex processes of conquest, extraction, and colonialism under imperial rule. But imperialism has usually been cast as an exclusively human drama, one in which the world of matter does not play an active role. Lori Khatchadourian argues instead that things--from everyday objects to monumental buildings--profoundly shape social and political life under empire. Out of the archaeology of ancient Persia and the South Caucasus, Imperial Matter advances powerful new analytical approaches to the study of imperialism writ large and should be read by scholars working on empire across the humanities and social sciences.
Call Number: JC359 .K475 2016ISBN: 9780520964952Publication Date: 2016-03-22
Books on Iranian Art
The Golden Age of Persian Art, 1501-1722 by
The era of Safavid rule (1501-1722) saw the finest flowering of the arts in Iran. In a time of dynamic religious and political developments, painting and textiles attained new heights of brilliance and opulence and architecture flourished with the growth of cities.
Call Number: N7283 .C38 1999
Amazingly Original by Call Number: N7285.6 .D36 2014
Text and Image in Medieval Persian Art by
Focusing on 5 objects found in the main media at the time - ceramics, metalware, painting, architecture and textiles - Sheila S. Blair shows how artisans played with form, material and decoration to engage their audiences. She also shows how the reception of these objects has changed and that their present context has implications for our understanding of the past. Greater Iranian arts from the 10th to the 16th century are technically some of the finest produced anywhere. They are also intellectually engaging, showing the lively interaction between the verbal and the visual arts.
Call Number: N7280 .B63 2014
Persian Art and Architecture by
From monumentalarchitecture to miniaturepaintings, sumptuouscarpets, and ceramics:the decorative profusionof the arts of Persiacaptured in gloriousdetail through hundredsof color photographs Persian art and architecture have a rich heritage that stretches far beyond theborders of modern-day Iran, from the Abbasid monuments of Baghdad to thesplendid Timurid buildings of Samarqand and Bukhara. When the ancient landof Persia was conquered by the Arabs, its people embraced Islam but strovealso to retain their own language and culture. The merging of influencesresulted in a distinctive artistic style that spread through the Middle East.This book follows a historical path across the Iranian world and examinesthe artistic legacies of great rulers and their dynasties, from the rebirth ofPersian art under the Seljuqs to the magnificent structures built by Timur-iLang in Samarqand and the cultural flowering that occurred under the Safaviddynasty and beyond. Palaces, mosques, madrasas, and mausoleums display amesmerizing decorative complexity, with form and ornament combining tocreate an indivisible whole. Spectacular polychrome tiles, intricate brickwork,curling arabesque motifs, and calligraphic inscriptions attain a transcendentbeauty, designed to reflect both the temporal power of the rulers who commissionedthem and the heavenly glory of creation.
Call Number: NA1480 .S754 2012
Bahram Kirmanshahi. end of the 18th century. Portrait of the sovereign Nasir al-Din Shah. painting. Place: Musée du Louvre.
Image courtesy of ARTStor: https://library.artstor.org/asset/ARMNIG_10313258400.
Famous Persians
Shirin Ebadi (June 21, 1947- ) is an Iranian lawyer, writer, and activist who won the Nobel Peace Prize in 2003. She was the first Iranian and the first Muslim woman to win the Peace Prize. She received the award for her efforts to promote democracy and human rights, both in Iran and in other countries. Much of Ebadi's work has focused on freedom of speech and the rights of women and children. Throughout her career, Ebadi has called for a modern interpretation of Islamic law that is consistent with the values of freedom, equality, and democracy. In 1975, she was one of Iran’s first female judges.
Citations:
"Ebadi, Shirin." World Book Advanced, World Book, 2017, www.worldbookonline.com/advanced/article?id=ar751606. Accessed 21 Sept. 2017.
Image citation: Shirin Ebadi no Fronteiras do Pensamento do Sao Paulo (Sala Sao Paulo). (2011). Retrieved from commons.wikimedia.org on February 12, 2019. Used under Creative Commons Attribution-Share Alike 2.0 Generic.
Rumi, Jalal al-Din al (1207-1273) Born in Balkh (in modern Afghanistan) but lived in Qonya, Anatolia (Turkey). Initially followed existing Sufi paths, but became a visionary ecstatic in 1244 after being inspired on a new path of aesthetic and emotional mysticism, which developed into the Mawlawi (Mevlevi) order after his death. Created an aristocratic organizational structure, with hereditary succession and wealthy corporate status. Taught that the Master of the Way was to serve as a medium between God and humanity. Played an important role in Turkish culture and the reconciliation of some Christians to Islam. Sought identification of the human self with divine Being. Famous for humanism, devotion to music, and dhikr exercises incorporating dance where dervishes imitate the order of the universe by spinning in circles around the shaykh like planets revolving around the sun; this gave rise to the European expression “whirling dervishes.” Wrote more than seventy thousand verses of Persian poetry in ordinary language, expressing the experience of God's presence in creation and inspiring joy in the listener; common themes are the trials of separation from the Beloved and the joys of union with Him.
Citation: (2006-01-01). Rumi. In . : . Retrieved 21 Sep. 2017, from http://www.oxfordreference.com/view/10.1093/oi/authority.20110803100433148.
Featured E-Books
A History of Modern Iran by Call Number: E-Book
From Iran to Hollywood and Some Places In-Between by Call Number: E-Book
Politics, Poetry, and Sufism in Medieval Iran by Call Number: E-Book
Music Power and Politics by Call Number: E-Book
Contemporary Iranian Art by Call Number: E-Book
Books on Iranian and Persian cooking
Secrets of Cooking by Call Number: TX723.4 .C53 1987
Maman's Homesick Pie by
"A lavish taste of Persian culture and cuisine . . . [A] compelling, poignant and most delectable book."--BookPage For Donia Bijan's family, food has been the language they use to tell their stories and to communicate their love. In 1978, when the Islamic revolution in Iran threatened their safety, they fled to California's Bay Area, where the familiar flavors of Bijan's mother's cooking formed a bridge to the life they left behind. Now, through the prism of food, award-winning chef Donia Bijan unwinds her own story, finding that at the heart of it all is her mother, whose love and support enabled Bijan to realize her dreams. From the Persian world of her youth to the American life she embraced as a teenager to her years at Le Cordon Bleu in Paris (studying under the infamous Madame Brassart) to apprenticeships in France's three-star kitchens and finally back to San Francisco, where she opened her own celebrated bistro, Bijan evokes a vibrant kaleidoscope of cultures and cuisines. And she shares thirty inspired recipes from her childhood (Saffron Yogurt Rice with Chicken and Eggplant and Orange Cardamom Cookies), her French training (Ratatouille with Black Olives and Fried Bread and Purple Plum Skillet Tart), and her cooking career (Roast Duck Legs with Dates and Warm Lentil Salad and Rose Petal Ice Cream). An exhilarating, heartfelt memoir, Maman's Homesick Pie is also a reminder of the women who encourage us to shine.
Call Number: TX725.I7 B55 2011
Learn Farsi!
- Mango Languages
An online language learning resource that covers over 70 languages. Courses are accessible from a web browser or app.
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- Tennessee Electronic LibraryCreate an account with TEL to access Transparent Language Online from their website. Find it in the right side bar entitled "Featured Resources."
Iran
The Islamic Republic of Iran lies in western Asia.The Islamic Republic of Iran is bounded on the north by the Caspian Sea, Armenia, Azerbaijan and Turkmenistan, on the east by Afghanistan and Pakistan, on the south by the Persian (Arabian) Gulf and the Gulf of Oman, and on the west by Iraq and Turkey. Iran’s principal crops are wheat, barley, rice, oilseeds, sugar cane, sugar beet and cotton. Iran boasts a large number of archaeological and historical attractions, including Persepolis (dating to 515 bce) in Shiraz. Furthermore, the country hosts some important religious sites—principally the Imam Reza shrine and Goharshad mosque in Mashhad, the Hazrat-e Masumeh shrine in Qom, the Shah Abdul Azim shrine in Tehran, the Shah Cheragh mausoleum in Shiraz and the tomb of the Prophet Daniel in Shush—which attract significant numbers of foreign visitors, particularly Shi‘a Muslims from other Middle East countries such as Kuwait, Bahrain, Lebanon and Saudi Arabia. Tehran is the capital. The principle language is Farsi.
Citations:
http://www.europaworld.com/entry/ir.FLAG
http://www.europaworld.com/entry/ir.is.2
Books and Articles on Music in Iran
Reverberations of Dissent: Identity and Expression in Iran’s Illegal Music Scene by Call Number: ML3534.6.I72 R63 2012ISBN: 9781441146496Publication Date: 2012-04-26Beneath the ever-changing and unstable political climate of Iran lies a rich youth culture centered around rock music. Reaching beyond a social, historical and political overview of music, Bronwen Robertson looks deeper and seeks to decipher how members of the underground scene invent and express different versions of 'being Iranian,' through the production and distribution of their music. Robertson spent a year undercover in Tehran conducting research and interviews within this complex and fascinating culture. While the author explores each individual's relationship to their music, she also demonstrates how the underground scene as a whole becomes an expression of collective and anti-authoritarian identities. Robertson discusses concepts ranging from inspiration and ingenuity to the notion of being 'global,' and how these musicians perceive their political and artistic impact. This illuminating work demonstrates that rock music, a global genre, gains significance as it is performed in a local context, disrupting pre-conceived notions of what it means to be 'Iranian.'
Soundtrack of the Revolution: The Politics of Music in Iran by Call Number: Online Article
Music and Song in Persia (RLE Iran B) by Call Number: E-BookThis book is the first full-length analysis of the theory and practice of Persian singing, demonstrating the centrality of Persian elements in the music of the Islamic Middle Ages, their relevance to both contemporary and traditional Iranian music and their interaction with classical Persian poetry and metrics.
Iranian Music and Popular Entertainment: From Motrebi to Losanjelesi and Beyond by Call Number: E-Book or ML3756 .B74 2016The word motreb finds its roots in the Arabic verb taraba, meaning 'to make happy.' Originally denoting all musicians in Iran, motrebi came to be associated, pejoratively, with the cheerful vulgarity of the lowbrow entertainer. In Iranian Music and Popular Entertainment, GJ Breyley and Sasan Fatemi examine the historically overlooked motrebi milieu, with its marginalized characters, from luti to gardan koloft and mashti, as well as the tenacity of motreb who continued their careers against all odds. They then turn to losanjelesi, the most pervasive form of Iranian popular music that developed as motrebi declined, and related musical forms in Iran and its diasporic popular cultural centre, Los Angeles. For the first time in English, the book makes available musical transcriptions, analysis and lyrics that illustrate the complexities of this history. As it presents the findings of the authors' years of ethnographic work with the history's protagonists, from senior motreb to pop-rock stars, the book reveals parallels between the decline of motrebi and the rise of 'modernity.' In the twentieth century, the fate of Tehran's motrebi music was shaped by the social and urban polarization that ensued from the modern market economy, and losanjelesi would be similarly affected by transnational relations, revolution, war and migration. Through its detailed and informed examination of Iranian popular music, this study reveals much about the values and anxieties of Iranian society, and is a valuable resource for students and scholars of Iranian society and history.
Tehrangeles Dreaming: Intimacy and Imagination in Southern California's Iranian Pop Music by Call Number: ML3477.8.L67 H46 2020Los Angeles, called Tehrangeles because it is home to the largest concentration of Iranians outside of Iran, is the birthplace of a distinctive form of postrevolutionary pop music. Created by professional musicians and media producers fleeing Iran's revolutionary-era ban on "immoral" popular music, Tehrangeles pop has been a part of daily life for Iranians at home and abroad for decades. In Tehrangeles Dreaming Farzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the songs, music videos, and television made in Tehrangeles express modes of Iranianness not possible in Iran. Exploring Tehrangeles pop producers' complex commercial and political positioning and the histories, sensations, and fantasies their music makes available to global Iranian audiences, Hemmasi shows how unquestionably Iranian forms of Tehrangeles popular culture exemplify the manner in which culture, media, and diaspora combine to respond to the Iranian state and its political transformations. The transnational circulation of Tehrangeles culture, she contends, transgresses Iran's geographical, legal, and moral boundaries while allowing all Iranians the ability to imagine new forms of identity and belonging.
Music of a Thousand Years: A New History of Persian Musical Traditions by Call Number: ML344 L83 2019A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Iran's particular system of traditional Persian art music has been long treated as the product of an ever-evolving, ancient Persian culture. In Music of a Thousand Years, Ann E. Lucas argues that this music is a modern phenomenon indelibly tied to changing notions of Iran's national history. Rather than considering a single Persian music history, Lucas demonstrates cultural dissimilarity and discontinuity over time, bringing to light two different notions of music-making in relation to premodern and modern musical norms. An important corrective to the history of Persian music, Music of a Thousand Years is the first work to align understandings of Middle Eastern music history with current understandings of the region's political history.
The Dastgah Concept in Persian Music by Call Number: ML344 .F32 1990The tradition of Persian art music embodies twelve modal systems, known as dastgahs. Each dastgah represents a complex of skeletal melodic models on the basis of which a performer produces extemporised pieces. The dastgahs revolve around unspecified central nuclear melodies which the individual musician comes to know through experience and absorption. It is a personal and elusive tradition of great subtlety and depth. Through extensive research, including interviews with leading musicians and recording over one hundred hours of music, Hormoz Farhat has unravelled the art of the dastgah. In his study Professor Farhat analyses the intervallic structure, melodic patterns, modulations, and improvisations within each dastgah, and examines the composed pieces which have become a part of the classical repertoire in recent times.
Music Theory in the Safavid Era by Call Number: E-BookThe Safavid era (1501-1722) is one of the most important in the history of Persian culture, celebrated especially for its architecture and art, including miniature paintings that frequently represent singers and instrumentalists. Their presence reflects a sophisticated tradition of music making that was an integral part of court life, yet it is one that remains little known, for the musicological literature of the period is rather thin. There is, however, a significant exception: the text presented and analysed here, a hitherto unpublished and anonymous theoretical work probably of the middle of the sixteenth century. With a Sufi background inspiring the use of the nay as a tool of theoretical demonstration, it is exceptional in presenting descriptive accounts of the modes then in use and suggesting how these might be arranged in complex sequences. As it also gives an account of the corpus of rhythmic cycles it provides a unique insight into the basic structures of art-music during the first century of Safavid rule.
Iranian Classical Music: The Discourses and Practice of Creativity by Call Number: E-BookQuestions of creativity, and particularly the processes which underlie creative performance or 'improvisation', form some of the central areas of interest in current musicology. Yet the predominant discourses on which musicological thought in this area are based have rarely been challenged. In this book Laudan Nooshin interrogates musicological discourses of creativity from the perspective of critical theory and postcolonial studies, examining their ideological underpinnings, the relationships of alterity which they sustain, and the profound implications for our understanding of creative processes in music. The repertoire which forms the book's main focus is Iranian classical music, a tradition in which the performer plays a central creative role. Addressing a number of issues regarding the nature of musical creativity, the author explores both the discourses through which ideas about creativity are constructed, exchanged and negotiated within this tradition, and the practice by which new music comes into being. For the latter she compares a number of performances by musicians playing a range of instruments and spanning a period of more than 30 years, focusing on one particular section of repertoire, dastgāh Segāh, and providing transcriptions of the performances as the basis for analytical exploration of the music's underlying compositional principles. This book is about understanding musical creativity as a meaningful social practice. It is the first to examine the ways in which ideas about tradition, authenticity, innovation and modernity in Iranian classical music form part of a wider social discourse on creativity, and in particular how they inform debates regarding national and cultural identity.
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Music in Iran
Loris Tjeknavorian
Loris Tjeknavorian was born in 1937 and is will known as an Iranian Armenian composer and conductor. Tjeknavorian composed six operas, 5 symphonies, and numerous smaller works for various instruments and vocals. His most well known piece is Rostam and Sohrab, an opera. Listen to the recordings below to hear Tjeknavorian’s conducting at work.
Viguen
Viguen (1929-2003) was known as Iran’s “Sultan of Jazz” because he was influenced by Western European and Latin American styles and equated to Elvis Presley.
- Music, Migration, and Politics of Belonging: Persian Popular Music Scenes in California byCall Number: Online ArticlePublication Date: 2019This ethnographic study examines processes of identity (re)construction and negotiation, expressions of migration experience and narratives of homeland and nationness in two distinct, yet closely interrelated, Persian popular music scenes of Musiqi-ye Losanjelesi (“Music of Los Angeles,” MLA) and Musiqi-ye Mostaghel (“Alternative Music,” MM) in the United States. Informed by post-structuralist and postmodern readings of identity as dialogic, shifting and ambivalent, I argue that the complex network of local, translocal and virtual scenes of Persian popular music in diaspora has formed significant sites for the (re)production and expression of multiple individual and collective migrant identities. Engaging with musical activities in the scenes, Iranians conduct strategic acts of boundary making, negotiate their position and relationship with the host country and reflect not only socio-cultural capital and political stance, but also conceptions of Iran and Iranianness. While MLA has propagated an essentialist view of Iran and Iranianness celebrating a combination of pre-Islamic Persian culture and Western, urban, and secular set of values, the emergent translocal MM has introduced more fluid, pluralistic, and transnational notions of Iranianness. Addressing the neglect of the MM scene in Iranian diaspora studies and investigating multifaceted functions of music in shaping narratives of homeland and migration for people with common backgrounds but dissimilar experiences of displacement, I argue that music, as not only a reflective but also a constitutive factor in the enactment of identity, empowers migrants to engage in complex processes of (dis)identification. MLA and MM speak to two prominent waves of Iranian migration in different socio-political climates in home and host countries during the 1980s and 2000s. Drawing on Wimmer’s theory of boundary making and through multi-site ethnomusicological fieldwork research, interviews and participant-observation engagement with the community, I contend that music’s fluidity over metaphorical and material borders enable it to serve as an influential cultural sign for the (re)(de)construction of migrant identities and an advantageous tool for strategic negotiations of boundaries in transnational contexts. The examination of MM in relation to MLA challenges monolithic readings of the Iranian diaspora as an ethnic minority with a shared origin, collective identity and bounded culture.
- Iranian Popular Music in Los Angeles: Mobilizing Media, Nation, and Politics byCall Number: Online ArticlePublication Date: 2010This dissertation is an ethnographic and historical study of Iranian exiles in Los Angeles who, for the past thirty years, have created popular music and media that both directly criticizes the state and realizes secular, sensual, and cosmopolitan iterations of Iranian-ness that are outside of official state culture. I argue that popular music has assumed these roles for exiles because of its fraught history: promoted initially by the pre-revolutionary Pahlavi government as a symbol of modernization, popular music was banned for eighteen years following the establishment of the Islamic Republic for engendering immorality and "Westoxification." While exiles have preserved and innovated new forms of Iranian popular music since the ban took effect, today they circulate their musics via satellite broadcasts and the internet throughout the world and into Iran itself, where such music is illegal. The result is that exile-produced popular musics circumvent Iranian state restrictions on expression and create multiple alternative forms of Iranian popular culture for a globally dispersed Iranian audience. These musics also contribute to a mediated transnational public in which new identifications and platforms for political participation emerge. The dissertation investigates exiles' current musical activities, the reception of their music in Tehran, and the history of Iranian state and non-state actors' investments in music. Some of the main questions addressed in this dissertation are: How have popular musics come to serve as cultural vectors that relate subjects to multiple, contested, and dialectically constituted Iranian identities? What are the means, motivations and outcomes of exile musicians' involvement in producing culture, and what emotional and sonic terrains do their musics bring into being? And how have media and diaspora combined to create practices and identifications that engage with the category of nation but are not circumscribed by the nation-state?
Iranian Art and Architecture
Winged Genius. Gate, Palace of Cyrus
(6th century BC, Photographed: 1968). Winged Genius. Gate, Palace of Cyrus. Retrieved from https://library.artstor.org/asset/ABRMAWR_MELLINKIG_10310736009
Applique in the shape of a lion's head
Applique in the shape of a lion's head. ca. 6th-4th century B.C.. Artstor, library.artstor.org/asset/SS7731421_7731421_11700614
Tomb of Xerxes I
Tomb of Xerxes 3rd century AD, Photographed: 1968. Tomb of Xerxes I. Retrieved from https://library.artstor.org/asset/ABRMAWR_MELLINKIG_10310736037.
Shah Mosque
ordered by Shah `Abbas I; finished under Shah Safi I. Shah Mosque, interior, courtyard; south iwan. 1611-c. 1638. Artstor, library.artstor.org/asset/ISLAMIC_DB_1039424856
Carpet Technique; Carpet from Isfahan detail of medallion
Carpet Technique; Carpet from Isfahan, detail of medallion. 19th century. Artstor, library.artstor.org/asset/ISLAMIC_DB_1039913059
Tomb of Saadi
Tomb of Saadi. Andre Godard, architect, 1953. Expanded 1953, Photographed: 1957. Artstor, library.artstor.org/asset/ABRMAWR_MELLINKIG_10310735728
Episode from a Fairy Tale
Episode from a Fairy Tale 16th century. Episode from a fairy tale. Paintings. Place: Museum of Fine Arts, Boston, Boston, Massachusetts, USA, Gift of John Goelet, 60.637, http://www.mfa.org/. https://library.artstor.org/asset/AMICO_BOSTON_103838978.
ARTStor
More than one million digital images in the arts, architecture, humanities, and sciences. Please note: you must register for a free account in order to download images.
Persian Cuisine: Kookoo Sabzi (Persian Herb Fritata)
Kookoo Sabzi (Persian Herb Frittata)
I usually add 2 tablespoons of barberries (zereshk), similar to dried cranberries, and 2 tablespoons chopped walnuts to this dish.
6 tablespoons oil
4 cups chopped fresh parsley
4 cups chopped scallions, white and green parts
1 cup chopped fresh Chinese parsley
1 cup chopped fresh dill
4 green lettuce leaves, chopped
7 eggs
1 teaspoon baking soda
1 tablespoon flour
3/4 teaspoon salt
1/4 teaspoon pepper
1/2 teaspoon turmeric
1/2 teaspoon cinnamon
Directions
- Preheat the oven to 350 degrees.
- Heat 3 tablespoons of the oil in a large skillet. Add the chopped parsley, scallions, Chinese parsley, dill and lettuce and saute until the greens are wilted. Remove from the heat. When the greens are cool, mix them with the eggs, baking soda, flour, salt, pepper, turmeric and cinnamon in a large bowl. Add the barberries and walnuts if using. Beat with an electric hand mixer for 3 minutes.
- Pour 2 tablespoons of the remaining oil into a 10-inch round ovenproof dish and place in the oven. When the oil is hot, remove the dish and fill with the greens mixture, smoothing the top. Bake, uncovered, for 35 to 45 minutes.
- Remove the kookoo from the oven and slice into 8 wedges. To give the sides an even color, heat the last tablespoon of oil and fry the wedges on all sides before serving.
Per serving: 161 calories, 8 gm protein, 7 gm carbohydrates, 12 gm fat, 186 mg cholesterol, 2 gm saturated fat, 441 mg sodium
Citation
Malek, Pari. (1998, March 18). PERSIAN RECIPES THAT KEEP MEMORIES ALIVE.(Food). The Washington Post, p. E01.
Nicky Nodjoumi (b. 1942)
Image source: Letternoon
Nikzad Nodjoumi, better known as Nicky Nodjoumi, is an Iranian-American painter. He studied at Tehran University and received his Master’s degree in Fine Arts from the City College of New York in 1974. His paintings confront Iranian politics and history to the point that he was exiled from Iran during the Iranian Revolution. He lives and works in Brooklyn, New York.
Nicky Nodjoumi. 2008. The Target.
Image courtesy of ARTStor: https://library.artstor.org/asset/LARRY_QUALLS_10313558660.
Nicky Nodjoumi. 2009. Pleasure of Hysteria.
Image courtesy of ARTStor: https://library.artstor.org/asset/AWSS35953_35953_35400427.
Nicky Nodjoumi. 2005. Untitled Portrait. Paintings.
Image courtesy of ARTStor: https://library.artstor.org/asset/LARRY_QUALLS_10312609057.
Nicky Nodjoumi. 2008. To Point Out.
Image courtesy of ARTStor: https://library.artstor.org/asset/LARRY_QUALLS_10313558661.
Nicky Nodjoumi. 2002. On the Outside. Paintings.
Image Courtesy of ARTStor: https://library.artstor.org/asset/LARRY_QUALLS_10311782254.