Medieval Tomb Towers of Iran: An Iconographical Study (Islamic Art & Architecture, Vol 2)

Arts & Photography

DaneSHVARI, ABBAS

Architecture

Mazda Pub

"This books intent is to forge a closer connection between the aesthetical and theoretical aspects of Parviz Tanavolis sculptures. So far, and understandably so, the aesthetic of his art has been at the forefront of most studies. Yet, the philosophical implications and assertions of his work have been less emphasized. The significance of Tanavolis sculptures are multifaceted and this phenomenon is engendered by the unique manner which he relates the past to the present; essence to experience, and emotion to rationality. The study of metaphor and allegory and the role of the artist in a fragmented universe aims to communicate a few philosophical values embodied in his philosophically multi-pronged forms and creations. Tanavolis "Heech" series is one example of how his work unveils the depth-structures in the transcendental plays of language and the physical reality of forms. The scope of Tanavolis fertile creative imagination and its relation to the role of the artist within the frames of sacrifice, individuality, nationalism and universal responsibility have been the focus of this book"--

Metaphor and Allegory in Tanavoli's Art: The Artist as the Unifying Principle in a Fragmented Universe (English and Persian Edition)

In the medieval Muslim world, the dragon was the most frequently represented fabulous beast. This applied across styles and media and in both sacred and secular contexts. Yet its prominence is marked by seemingly contradictory representations. Like Plato’s \x26#34;Pharmakon,\x26#34; the dragon was imbued with antithetical meanings: as it stood for both the darkness of the eclipse and the light of God, the satanic and the divine, the transcendent and the earthly. The \x26#34;yin\x26#34; and the \x26#34;yang\x26#34; of Islam were embodied in the dragon, whose fire was the hell of destruction and also the blessed light of the divine. The dragon thus represented one of those exceptional and mysterious symbols that explained the more baffling phenomena such as creation, chaos and order, furthermore signifying amalgamations of dichotomous forces whose balance made life and the understanding of life possible.\nThrough rigorous and extensive research of historical, literary and exegetical sources, Daneshvari explores the dual symbolism of this intriguing central motif of Islamic iconography. Research to date has focused on the dark side of this mythical creature, as an eclipse monster, but here, \x26#34;Of Serpents and Dragons in Islamic Art,\x26#34; seeks to re\-balance this. Representations of dragons on mosques and other holy structures, gateways to cities, the thrones of rulers, the wings of angels and candleholders are perplexing if the dragon is viewed only as a threatening or demonic icon. Daneshvari solves this puzzle by arguing that the dragon’s primary meaning is as a producer and a symbol of light and protection.\nHe further investigates the astrocosmological significance of dragon\x27s iconography, its diverse hybrid appearances and the double\-edged metaphor of opium that represented both the dragon and the only cure to its fiery bite. Identifying the dragon as signifier of the navel of the Earth, or the place of God’s creation, it also resolves one of its most mystifying representations – flanking the enthroned ruler. This book is a ground\-breaking and original contribution and essential reading for scholars and researchers of Islamic and Art History. [PLEASE NOTE: Hardcover is out of print. Please order this softcover edition.]

Of Serpents and Dragons in Islamic Art and Related Animals: An Iconographical Study

Religion & Spirituality

This is a 96 page Hessam Abrishami coffee table book published in 1998. It is NOT Signed and it is in Brand New Condition.

The Black Apple : The Paintings of Hessam Abrishami : A Retrospective

Collectors Editions

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Books by DaneSHVARI, ABBAS