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Journal articles on the topic 'Persian art'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Kennedy, Rebecca Futo. "A Tale of Two Kings: Competing Aspects of Power in Aeschylus' Persians." Ramus 42, no. 1-2 (2013): 64–88. http://dx.doi.org/10.1017/s0048671x00000072.

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The frequent assumption that they [the Persians] were as greatly concerned on these levels [historically, culturally, strategically] with Greece [as they were with the east] is a misconception which stems from our own western view of the world and from the unfortunate fact that Greece has given us our main literary sources of information on the Achaemenids. It was the Greeks who were fascinated by Persia, by Persian mores, and, yes, by Persian court art and luxury goods—not the reverse. If only the Persians had spawned the likes of Aeschylus and Herodotus, our perceptions of their preoccupatio

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2

Komaroff, Linda, Richard Ettinghausen, and Ehsan Yarshater. "Highlights of Persian Art." Journal of the American Oriental Society 107, no. 1 (1987): 193. http://dx.doi.org/10.2307/603004.

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Fallahi, Esmaeil, Pontia Fallahi, and Shahla Mahdavi. "Ancient Urban Gardens of Persia: Concept, History, and Influence on Other World Gardens." HortTechnology 30, no. 1 (2020): 6–12. http://dx.doi.org/10.21273/horttech04415-19.

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The history of Persian gardens goes back to a few millennia before the emergence of Islam in Iran (Persia). Designs of Persian gardens have influenced and are used extensively in the gardens of Al-Andalus in Spain, Humayun’s Tomb and the Taj Mahal in India, and many gardens in the United States and other countries around the globe. Bagh in the Persian language (Farsi) means garden and the word Baghdad (the capital city of Iraq) is rooted from the words bagh and daad (meaning “the garden of justice”). Pasargadae, the ancient Persian capital city, is the earliest example of Persian garden design

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4

B., S., Jean During, Zia Mirabdolbaghi, and Dariush Safvat. "The Art of Persian Music." Yearbook for Traditional Music 24 (1992): 172. http://dx.doi.org/10.2307/768492.

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Danielson, Virginia, Jean During, and Zia Mirabdolbaghi. "The Art of Persian Music." Notes 49, no. 2 (1992): 607. http://dx.doi.org/10.2307/897936.

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6

Canby, Sheila R., and Abolala Soudavar. "Art of the Persian Courts." Artibus Asiae 54, no. 3/4 (1994): 382. http://dx.doi.org/10.2307/3250066.

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Caton, Margaret, Jean During, Zia Mirabdolbaghi, and Dariush Safvat. "The Art of Persian Music." Asian Music 23, no. 2 (1992): 172. http://dx.doi.org/10.2307/834180.

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8

Watkin, Henry Jay. "The cypriote surrender to Persia." Journal of Hellenic Studies 107 (November 1987): 154–63. http://dx.doi.org/10.2307/630076.

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At present there appears to be general agreement that Cyprus entered the Persian Empire some time between c. 545 and 539. It will be argued here that this event did not occur until 526 or 525. The point involves other, much broader issues. Any power wishing to control Cyprus must possess a substantial navy. When, then, did Persia acquire sufficient naval strength to control the eastern Mediterranean? This last problem in turn raises the question of when the Persians annexed the countries of the Levant and Asia Minor from which they drew the whole of their fleet. Finally, because elaborate theo

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Compareti, Matteo. "The Spread Wings Motif on Armenian Steles: Its Meaning and Parallels in Sasanian Art." Iran and the Caucasus 14, no. 2 (2010): 201–32. http://dx.doi.org/10.1163/157338410x12743419190106.

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AbstractThis paper is a study on the so-called “spread wings”—a particular element of the Sasanian art that is attested also in other regions of the Persian Empire in Late Antiquity, including the western coast of the Persian Gulf and the Caucasus. The spread wings can be observed on Sasanian coins above the royal crowns, which are considered specific for every Sasanian sovereign, supporting astronomical elements, like the crescent, star, and, possibly, the sun. The Arabs and the peoples of the Caucasus who adopted Christianity used the spread wings element as a pedestal for the cross. In Arme

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Bier, Carol. "The Appearance of Persian on Islamic Art." Iranian Studies 45, no. 2 (2012): 312–14. http://dx.doi.org/10.1080/00210862.2012.650000.

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Karame, Alya, та Travis Zadeh. "The Art of Translation: An Early Persian Commentary of the Qurʾān". Journal of Abbasid Studies 2, № 2 (2015): 119–95. http://dx.doi.org/10.1163/22142371-12340017.

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This article presents a description and analysis of a Persian translation and commentary of the Qurʾān, entitledTafsīr-i munīr, by Abū Naṣr al-Ḥaddādī (d. after 400/1009), the earliest exegetical work in Persian whose author can be identified. A manuscript of this multivolume work housed in the Topkapı Palace Museum of Istanbul offers an important historical testament to the calligraphic development of Persian exegetical writing and the manners in which scholars and authorities sought creative ways to visually balance the sacred Arabic text of the Qurʾān with vernacular exegetic material. The

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Strömberg, Fredrik. "Schemata in the Graphic Novel Persepolis." European Comic Art 13, no. 2 (2020): 91–119. http://dx.doi.org/10.3167/eca.2020.130205.

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It has repeatedly been suggested that the art in the graphic novel Persepolis by Iranian French artist Marjane Satrapi contains numerous connections to ancient Persian art forms, to the point of this becoming a ‘truism’, although the claim has not been subjected to in-depth analysis. The present formal analysis employs Gombrichian schema theory to identify visual elements in the graphic novel potentially connected to Persian visual cultures to discern if and how they might relate to their proposed influences and how they integrate with styles and visual conventions in comics. The results indic

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13

Armani, David, and Louise Gormley. "Persian Love Poetry." American Journal of Islam and Society 25, no. 1 (2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.

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This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast exper

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Kostetckii, Victor V. "Nobility and art: the philosophy of ancient painting." Vestnik of Samara State Technical University. Series Philosophy 4, no. 4 (2023): 21–32. http://dx.doi.org/10.17673/vsgtu-phil.2022.4.3.

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The article presents the cultural genesis of the nobility society through the synthesis of the military adventure of men and the playing leisure of women into a common courtly culture In the courtly culture of court society, a system of regulation of relations arises with an orientation to an excellent act and, accordingly, with the requirement to see yourself from the outside, show yourself from the best side. As a result, a phenomenon arises that can be called pictorial Pictorial communication precedes the emergence of the visual arts, which sometimes arise on a random occasion. Ancient pain

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Sifei, Li. "Iranian Religious Elements in Chinese Medieval Art: Remarks on “Zoroastrian Protective Spirits”." Iran and the Caucasus 25, no. 1 (2021): 13–28. http://dx.doi.org/10.1163/1573384x-20210104.

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This article aims at discussing the possible origin and meaning of winged fantastic creatures, which appear quite often in the 6th century A.D. Sogdian funerary monuments in China and specifically on the Shi Jun 史君 one (580 A.D.). It cannot be ruled out that composite creatures like the one on the Shi Jun funerary monument originated from the Greek ketos and hippocampus that were introduced into Persia, Central Asia and northwestern India after the conquest of the Persian Empire by Alexander the Great. The impact of Chinese cultural elements on this little investigated group of funerary monume

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Asgari-Bidhendi, Majid, Mehrdad Nasser, Behrooz Janfada, and Behrouz Minaei-Bidgoli. "PERLEX: A Bilingual Persian-English Gold Dataset for Relation Extraction." Scientific Programming 2021 (March 16, 2021): 1–8. http://dx.doi.org/10.1155/2021/8893270.

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Relation extraction is the task of extracting semantic relations between entities in a sentence. It is an essential part of some natural language processing tasks such as information extraction, knowledge extraction, question answering, and knowledge base population. The main motivations of this research stem from a lack of a dataset for relation extraction in the Persian language as well as the necessity of extracting knowledge from the growing big data in the Persian language for different applications. In this paper, we present “PERLEX” as the first Persian dataset for relation extraction,

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Blair, Sheila. "A Medieval Persian Builder." Journal of the Society of Architectural Historians 45, no. 4 (1986): 389–95. http://dx.doi.org/10.2307/990209.

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Lacking many of the documentary and archival sources available to scholars of the medieval Western world, historians of Islamic architecture are forced to turn to another feature of architectural decoration to reconstruct the building tradition: the written word. A builder's signature on a set of luster tiles in the Metropolitan Museum of Art allows us to connect the set to an early-14th-century shrine complex in central Iran. Reading of another inscription on the tiles, hitherto unnoticed and containing a signature and date, allows us to reconstruct the building campaign at the site and to ev

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18

Preckel, Claudia. "Cinnabar, Calomel and the Art of kushtasāzī: Mercurial Preparations in Unani Medicine." Asiatische Studien - Études Asiatiques 69, no. 4 (2015): 901–32. http://dx.doi.org/10.1515/asia-2015-1042.

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Abstract This paper examines the role of mercury in “Graeco-Islamic” medicine, which is referred to as Ṭibb-e yūnānī or unani medicine in South Asia. Having its origin in Ancient Greece, unani medicine spread to the Arabic countries and from the fifteenth century onwards to India. With its main roots in the Greek and Latin sources, the most influential works of ‘ilm al-adviya (pharmacology) were translated into Arabic, Persian and Urdu. Mercury (Arabic: zībaq; Persian: sīmāb; Urdu: sīmāb and pāra) played an important role in all Indian traditions of medicine, and had a prominent place in unani

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Mozafari, Jamshid, Arefeh Kazemi, Parham Moradi, and Mohammad Ali Nematbakhsh. "PerAnSel: A Novel Deep Neural Network-Based System for Persian Question Answering." Computational Intelligence and Neuroscience 2022 (July 18, 2022): 1–21. http://dx.doi.org/10.1155/2022/3661286.

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Question answering (QA) systems have attracted considerable attention in recent years. They receive the user’s questions in natural language and respond to them with precise answers. Most of the works on QA were initially proposed for the English language, but some research studies have recently been performed on non-English languages. Answer selection (AS) is a critical component in QA systems. To the best of our knowledge, there is no research on AS for the Persian language. Persian is a (1) free word order, (2) right-to-left, (3) morphologically rich, and (4) low-resource language. Deep lea

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Carmeli, Orit. "An Unknown Illuminated Judeo-Persian Manuscript of Nizāmī’s Khosrow and Shīrīn." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (2021): 131–40. http://dx.doi.org/10.3828/aj.2021.17.7.

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This is a brief presentation of the mid-seventeenth-century illuminated Judeo-Persian copy of Nizāmī’s Khosrow and Shīrīn from the collection of the Museum for Islamic Art in Jerusalem. The Khamsa of Nizāmī Ganjavi (d. 1209) is one of the most famous medieval Persian love stories and one of the most admired poetical works ever written in the Persian language. Khosrow and Shīrīn (composed 1175/6-1191) is the second book in the Quinary and recounts the tragic love story of the Sasanian king Khosrow II Parviz and the Armenian princess Shīrīn. Nizāmī’s poetry, in addition to other works of Persian

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21

Porshnev, V. P. "Landscape gardening art of the Seleucid Empire." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 85–92. http://dx.doi.org/10.30725/2619-0303-2020-4-85-92.

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Landscape art of the state of the Seleucid Empire, which inherited a considerable part of the broken-up Alexander of Macedon’s Empire still was not a subject of a separate research. Unlike Ptolemaic Egypt where imperial gardeners managed harmoniously to unite the landscape planning inherited from sacred groves and parks of Hellas with Ancient Egyptian tradition of regular planning, there is no reason to speak about any specific «Seleucid’s style». Nevertheless, landscape art of this dynasty has the great interest to historians of ancient art as it fills a time gap between gardens and parks of

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22

Gould, Rebecca. "The Persian Translation of Arabic Aesthetics: Rādūyānī's Rhetorical Renaissance." Rhetorica 34, no. 4 (2016): 339–71. http://dx.doi.org/10.1525/rh.2016.34.4.339.

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Notwithstanding its value as the earliest extant New Persian treatment of the art of rhetoric, Rādūyānī's Interpreter of Rhetoric (Tarjumān al-Balāgha) has yet to be read from the vantage point of comparative poetics. Composed in the Ferghana region of modern Central Asia between the end of the eleventh century and the beginning of the twelfth century, Rādūyānī's vernacularization of classical Arabic norms inaugurated literary theory in the New Persian language. I argue here that Rādūyānī's vernacularization is most consequential with respect to its transformation of the classical Arabic trope

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Khorasani, Manouchehr Moshtagh, and Bede Dwyer. "A Persian archery manual by Mohammad Zamān." Revista de Artes Marciales Asiáticas 11, no. 1 (2016): 48. http://dx.doi.org/10.18002/rama.v11i1.3708.

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Persian archery manuals provide lots of useful information on shooting with a Persian composite bow. The main aim of this article is to provide, for the first time, a full annotated translation of an undated Persian archery manual written by Mohammad Zamān known as Čerāq Beg from the family of Kāmrān Beg Qarānāj. The manual is handwritten and consists of twenty four pages which include twelve chapters. Despite the occasional confusion, the obscure vocabulary, and the odd clumsy description, the text is a mine of information. It shows the continuity of the Persian archery tradition at least to

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Kawami, Trudy S. "Greek Art and Persian Taste: Some Animal Sculptures from Persepolis." American Journal of Archaeology 90, no. 3 (1986): 259. http://dx.doi.org/10.2307/505686.

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25

Chagnon, Michael. "Persian Ceramics From the Collection of the Asian Art Museum." Iranian Studies 43, no. 5 (2010): 743–47. http://dx.doi.org/10.1080/00210862.2010.518589.

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Raksamani, Kusuma. "The Image of the Ideal Monarch in the Tale of Duodecagon." MANUSYA 11, no. 4 (2008): 59–67. http://dx.doi.org/10.1163/26659077-01104003.

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A collection of Thai tales, derived from Persian Islam, narrates how the kings successfully deal with their ministers and subjects with their righteousness. In the narrative, the twelve-sided tomb of a king is discovered with the inscription of twelve stories, endowed with precepts and wise sayings on the art of ruling. This article discusses the Persian source of the work and analyses the content and theme of the story that mirrors the image of the ideal king in Thai culture and that of Persian Muslims as well. Also, the power of the constructive narrative is stressed in allowing stories to e

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Khosrobeigi, Zohreh, Hadi Veisi, Ehsan Hoseinzade, and Hanieh Shabanian. "Persian Optical Character Recognition Using Deep Bidirectional Long Short-Term Memory." Applied Sciences 12, no. 22 (2022): 11760. http://dx.doi.org/10.3390/app122211760.

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Optical Character Recognition (OCR) is a system of converting images, including text,into editable text and is applied to various languages such as English, Arabic, and Persian. While these languages have similarities, their fundamental differences can create unique challenges. In Persian, continuity between Characters, the existence of semicircles, dots, oblique, and left-to-right characters such as English words in the context are some of the most important challenges in designing Persian OCR systems. Our proposed framework, Bina, is designed in a special way to address the issue of continui

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Poorhaydari, Kioumars. "Examination of Neutral Intervals and Parent Scales in Persian Art Music: A Step toward the Standardization of the Musical System." Music Theory and Analysis (MTA) 9, no. 1 (2022): 28–55. http://dx.doi.org/10.11116/mta.9.1.2.

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Neutral intervals between minor and major intervals have been used in Persian/Iranian art music for centuries or even millennia. During the medieval era in the Muslim world, several scholars proposed ratios for the various intervals used in their recognized musical species and presented systematized parent scales. However, this did not result in unanimously accepted or standardized neutral interval sizes or fretting systems in practice, either in the past or in modern times. This article examines neutral intervals and parent scales in Persian art music in four sections. First, the neutral inte

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Mousavi, Seyyedeh Zohreh, Reyhaneh Jafari, Saman Maroufizadeh, Mohammad Moez Shahramnia, Mahsa Pourmohammadi, and Nahid Jalilehvand. "Translation, Validity, and Reliability of the Persian Version of Aphasia Rapid Test for Acute Stroke." Function and Disability Journal 3, no. 1 (2020): 101–10. http://dx.doi.org/10.32598/fdj.3.15.

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Background & Objectives: Aphasia is an acquired language disorder that affects daily communication and quality of life. Early diagnosis and the treatment of aphasia are important. In this regard, one of the screening tests is the Aphasia Rapid Test (ART). This study aimed to investigate the validity and reliability of this test and extend the use of ART in the acute phase for patients with aphasia. Methods: The original version of ART was translated to Persian and 100 acute stroke patients were evaluated by ART. Besides, all the patients were assessed again after eight days by two independ

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Parseh, Mohammad, Mohammad Rahmanimanesh, and Parviz Keshavarzi. "Persian Handwritten Digit Recognition Using Combination of Convolutional Neural Network and Support Vector Machine Methods." International Arab Journal of Information Technology 17, no. 4 (2020): 572–78. http://dx.doi.org/10.34028/iajit/17/4/16.

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Persian handwritten digit recognition is one of the important topics of image processing which significantly considered by researchers due to its many applications. The most important challenges in Persian handwritten digit recognition is the existence of various patterns in Persian digit writing that makes the feature extraction step to be more complicated.Since the handcraft feature extraction methods are complicated processes and their performance level are not stable, most of the recent studies have concentrated on proposing a suitable method for automatic feature extraction. In this paper

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31

Romanowski, Sylvie. "The Art of the Persian Letters: Unlocking Montesquieu's "Secret Chain" (review)." Eighteenth Century Fiction 19, no. 3 (2007): 341–43. http://dx.doi.org/10.1353/ecf.2007.0012.

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BASIRI, Faranak, and Ashrafosadat MOUSAVILAR. "MODERNISM IN PERSIAN PAINTING AND STUDYING CUBISM ART STYLE IN THE ART WORKS OF THIS ERA." TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION 7, no. 1 (2017): 77–86. http://dx.doi.org/10.7456/10701100/007.

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BLAIR, SHEILA. "The Many Questions of Islamic Art." International Journal of Middle East Studies 39, no. 3 (2007): 336–37. http://dx.doi.org/10.1017/s0020743807070468.

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This luster bowl, made by the Persian potter Abu Zayd in February–March 1204 (Jumada II 600), exemplifies the broad range of questions that can be raised by Islamic art. The first question is that of provenance. The bowl appeared on the art market in 2001, unknown and undocumented but in virtually perfect condition. A battery of tests supports its authenticity. Jonathan Bloom and I included it in the exhibition Cosmophilia: Islamic Art from the David Collection, Copenhagen, which we organized for the McMullen Museum, Boston College, and which was on view until 20 May 2007 at the Smart Museum,

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Shoalieva, Nargiza. "THE ESSENCE OF HUMAN IN BEDIL’S CREATION." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 09 (2021): 110–16. http://dx.doi.org/10.37547/philological-crjps-02-09-24.

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Mirza Abdulkadir Bedil is a Persian-speaking poet, prose writer, philosopher and Indian thinker, very popular among the peoples of Central Asia and Afghanistan. In his work, Bedil analyzes the main part of the works of art and literature of Persian and Tajik poets from Rudaki to Jami and the literary and philosophical ideas of Sanayi, Attar, Jalaliddin Rumi and Ibn al-Arabi. The ancient philosophy of ancient Iran, Greece, India and Arabia laid the foundation for the development of literary and philosophical ideas, and as a result of relying on the achievements of the past, Mirza Bedil strength

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Keshavarz, Fateme. "Highlights of Persian Art. Edited by Richard Ettinghausen and Ehsan Yarshater (Bibliotheca Persica, Persian Art Series No.1.) pp. xviii, 391, illus. Boulder, Colorado, Westview Press, 1979." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 1 (1986): 116–17. http://dx.doi.org/10.1017/s0035869x00139346.

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Rezvani, Saeid. "Outdated Humanism and Literary Authority as Threats to the Popularity of Ahmad Shāmlu’s Poetry." Advances in Language and Literary Studies 10, no. 1 (2019): 117. http://dx.doi.org/10.7575/aiac.alls.v.10n.1p.117.

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Shāmlu belongs to the few poets of the modern Persian poetry, who can be called neoclassical, namely, those whose work has a distinctive character and who are influential in the history of modern Persian literature. These special characteristics of Shāmlu’s poetic features together with his socio-cultural and political vision as manifested in his poems had excessively allowed for his oeuvre to be popularized, forming a large crowd of admirers who even tried to mythologize his character and art. Shāmlu’s enthusiastic admirers, moreover, insist that his poetry is everlasting and even immortal. T

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Mamarajabov, Gayrat Abdulkhakimovich, and Fazliddin Jovlievich Izzatullaev. "HISTORICAL ANALYSIS OF THE ART OF EMBROIDERY IN THE UZBEK NATIONAL CRAFT." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 06 (2021): 53–57. http://dx.doi.org/10.37547/history-crjh-02-06-12.

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The art of embroidery, embodied in the world famous masters of the Uzbek people and the national fabrics they create, with its brilliance, variety of colors, Islamic conditions has found its place in the world national art. Although our national embroidery has evolved over the centuries and is distinguished by beauty, diversity and regional differences, in turn, they complement each other. The word kashta comes from the Persian-Tajik language and means "kashida", which means to pull, sew. Embroidery is an important branch of the applied arts of the Surkhandarya oasis. Among the embroidery item

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Fekete, Albert, and Reza Haidari. "Special aspects of water use in Persian gardens." Acta Universitatis Sapientiae, Agriculture and Environment 7, no. 1 (2015): 82–88. http://dx.doi.org/10.1515/ausae-2015-0007.

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Abstract The Persian garden is one of the most characteristic and notable element in the Iranian landscape. Considering Iran’s hot and dry climate along with water deficit for plantation, it becomes noticeable how important the art of making gardens is to Iranians. Water is one of the most crucial elements in the Persian garden, and we can state that gardens would be meaningless without it. Garden applications use water with its various abilities such as life, brightness, cleanliness, light, inertia, and motion, which bring forward numerous feelings in the human soul and enhance mental comfort

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Dolatabadi, Hadi. "Images of Right and Left in Western and Persian Works of Art." International Journal of the Image 6, no. 3 (2015): 25–38. http://dx.doi.org/10.18848/2154-8560/cgp/v06i03/44175.

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Kalami, Proshot. "Queer, Persian and Diasporic: Engaging with the Gay Art of Siros Ariya." International Journal of the Humanities: Annual Review 9, no. 9 (2012): 135–56. http://dx.doi.org/10.18848/1447-9508/cgp/v09i09/43322.

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Khashabi, Daniel, Arman Cohan, Siamak Shakeri, et al. "ParsiNLU: A Suite of Language Understanding Challenges for Persian." Transactions of the Association for Computational Linguistics 9 (2021): 1147–62. http://dx.doi.org/10.1162/tacl_a_00419.

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Abstract Despite the progress made in recent years in addressing natural language understanding (NLU) challenges, the majority of this progress remains to be concentrated on resource-rich languages like English. This work focuses on Persian language, one of the widely spoken languages in the world, and yet there are few NLU datasets available for this language. The availability of high-quality evaluation datasets is a necessity for reliable assessment of the progress on different NLU tasks and domains. We introduce ParsiNLU, the first benchmark in Persian language that includes a range of lang

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Habibifar, Elnaz. "Traduire l’Ekphrasis. Le cas des Fleurs du mal de Baudelaire en Iran." Studia Romanica Posnaniensia 48, no. 4 (2021): 121–34. http://dx.doi.org/10.14746/strop.2021.484.009.

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Cultural exchanges between Iran and France started over three centuries ago. In spite of the strong relationship between the two countries, some books such as Les Fleurs du mal (Flowers of Evil) went unnoticed in Iranian society. In addition to the literary value of the book, we propose to study ekphrasis in Baudelaire’s poems and its translation into Persian. Its meaning being that of a general description an artwork (imaginary or real), the term ekphrasis belongs to an interdisciplinary field of literature and art where the textual challenges we face may vary from one to another. To narrow d

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Tukhsanov, Kahramon Rahimboevich. "DJAMAL KAMAL - AN EXPERIENCED TRANSL AL - AN EXPERIENCED TRANSLATOR." Scientific Reports of Bukhara State University 4, no. 4 (2020): 181–89. http://dx.doi.org/10.52297/2181-1466/2020/4/4/12.

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The article is dedicated to the brief biography of Jamal Kamal, the great poet of Uzbekistan, skilled translator and publicist, a public man, a literary critic, and the candidate of philological sciences. Along with his creative activity, the author translated the finest pieces of world literature into the Uzbek language. It is also an ancient tradition to translate samples of Persian literature into Turkic or, conversely, Turkic works of art into Persian. Taking into account all above said, Jamal Kamal was one of the first in Uzbekistan to translate the work of Jaloliddin Rumi “Masnaviy Manav

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Sokhanpardaz, Kamran. "Stucco Inscriptions and Ornaments of The Great Seljuk Mihrab of Rey." Journal of The Near East University Faculty of Theology 7, no. 1 (2021): 87–118. http://dx.doi.org/10.32955/neu.ilaf.2021.7.1.03.

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The art and architecture of the Great Seljuk period, known as the Renaissance of Persian Art in Persian studies, left an undeniable effect on the following periods. The art of the Great Seljuk period, influenced by the art of the previous periods, became a source of inspiration for the artworks of later periods. The aim of this article is to introduce the stucco ornaments and inscriptions of the mihrab of Ray, to reveal the important values of the mihrab and thus to provide the opportunity to evaluate the influence area and its power of influence. As a result of our research, it is found that

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Schimmel, Annemarie, and Norah M. Titley. "Persian Miniature Painting and Its Influence on the Art of Turkey and India." Journal of the American Oriental Society 108, no. 1 (1988): 174. http://dx.doi.org/10.2307/603279.

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Al-Yahyai, Fakhriya, Mohammed Al-Amri, Eslam Heiba, and Heba Mansour. "Islamic Manuscripts Art in Arabic and Persian Schools: The Artistic and Aesthetic Values." Art and Design Review 07, no. 02 (2019): 89–114. http://dx.doi.org/10.4236/adr.2019.72009.

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Guarcello, Cathy. "PERSIAN DRAWINGS IN THE METROPOLITAN MUSEUM OF ART. Marie Lukens Swietochowski , Sussan Babaie." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 2 (1990): 113. http://dx.doi.org/10.1086/adx.9.2.27948219.

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Soucek, Priscilla P. "Persian Drawings in the Metropolitan Museum of Art. Marie Lukens Swietochowski , Susan Babaie." Journal of Near Eastern Studies 54, no. 1 (1995): 74–75. http://dx.doi.org/10.1086/373737.

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Rizvi, Kishwar. "ART HISTORY AND THE NATION: ARTHUR UPHAM POPE AND THE DISCOURSE ON “PERSIAN ART” IN THE EARLY TWENTIETH CENTURY." Muqarnas Online 24, no. 1 (2007): 45–65. http://dx.doi.org/10.1163/22118993-90000110.

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Rizvi, Kishwar. "Art History and the Nation: Arthur Upham Pope and the Discourse on “Persian Art” in the Early Twentieth Century." Muqarnas Online 24, no. 1 (2007): 45–65. http://dx.doi.org/10.1163/22118993_02401005.

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