S~ CAPTIONS OF ILLUSTRATIONS

list of all the figure and plate images in the letter S entries.

 

S ENTRIES: CAPTIONS OF ILLUSTRATIONS

online entry

caption text

ṢABĀ, ABU’l-ḤASAN

Figure 1. Abu’l-Ḥasan Ṣabā.

ṢABĀ, ABU’l-ḤASAN

Figure 2. Abu’l-Ḥasan Ṣabā.

SACRED BOOKS OF THE EAST

Figure 1. Transliteration of consonants, nos. 1-17 (SBE I, p. li).

SACRED BOOKS OF THE EAST

Figure 2. Transliteration of consonants, nos. 18-37 (SBE I, p. lii).

SACRED BOOKS OF THE EAST

Figure 3. Transliteration of consonants, nos. 38-59 (SBE I, p. liii).

SACRED BOOKS OF THE EAST

Figure 4. Transliteration of vowels (SBE I, p. liv).

SADEQI, BAHRAM

Figure 1. Photograph of Bahram Sadeqi.

SADR, BEHJAT

Figure 1. Photograph of Behjat Sadr and her work, 1968. (Mojabi et. al., p. 128).

SADR, BEHJAT

Figure 2. Behjat Sadr and Forough Farrokhzad, Shemiran, 1966. (Mojabi et. al., p. 130).

SADR, BEHJAT

Figure 3. Oil on canvas, 110 × 180 cm, 1956. Tehran Museum of Contemporary Art collection. (Mojabi et. al., p. 105).

SADR, BEHJAT

Figure 4. Oil on aluminum, 70 × 99 cm, 1974. (Mojabi et. al., p. 74).

SADR, BEHJAT

Figure 5. Oil on canvas, 42 × 62 cm, 1975. (Mojabi et. al., p. 84).

SADR, BEHJAT

Figure 6. Photo collage and oil painting on paper, 50 × 60 cm, 1990. (Mojabi et. al., p. 49).

SA'EDI, GHOLAM-HOSAYN

Figure 1. Gholam-Hosayn Sa‘edi.

SA'EDI, GHOLAM-HOSAYN

Figure 2. Book cover, Šabnešini-e bāšokuh.

SA'EDI, GHOLAM-HOSAYN

Figure 3. Ahl-e havā, a monograph on the fishing villages of southern Iran by Gholam-Hosayn Sa'edi.

SA'EDI, GHOLAM-HOSAYN

Figure 4. Vāhemahā-ye bi nām o nešān, a short collection by Gholam-Hosayn Sa'edi

SA'EDI, GHOLAM-HOSAYN

Figure 5. Dandil, a short story collection by Sa'edi, in English translation

SA'EDI, GHOLAM-HOSAYN

Figure 6. Tup, a novel by Gholam-Hosayn Sa'edi, in English translation

SA'EDI, GHOLAM-HOSAYN

Figure 7. Parvārbandān, a short story collection by Gholam-Hosayn Sa'edi

SA'EDI, GHOLAM-HOSAYN

Figure 8. Faṣl-e gostāḵi, a film script by Gholam-Hosayn Sa'edi

SAFIDRUD

Figure 1a. Drainage systems of Iran (Beaumont, 1973).

SAFIDRUD

Figure 1b. Drainage system of the Qezel Uzan-Šāhrud-Safidrud (Beaumont, 1973).

SAFIDRUD

Figure 2. The Safidrud valley and Central Gilān (Jahrudi, 1975).

SAFIDRUD

Figure 3. Pleistocene and recent deposits of the Safidrud Delta (Annells et al., 1975).

ŠĀH-NĀMA TRANSLATIONS iii. Into English

Figure 1. Joseph Champion, The Poems of Ferdosi, Calcutta, 1785, title page (orig. h. 32 cm). Courtesy of the Rare Book and Manuscript Library, Columbia University in the City of New York.

ŠĀH-NĀMA TRANSLATIONS iii. Into English

Figure 2. Helen Zimmern, Epic of Kings: Stories Retold from Firdusi, London, 1882, frontispiece The Bowman by Sir Lawrence Alma-Tadema (etching, 30 × 23 cm). Art Institute Chicago, acc. no. 1991.612. Available at artic.edu.

ŠĀH-NĀMA iv. Illustrations

Figure 1. “Rostam pulls the Khaqan of Čin from his saddle,” signed by Āqā Loṭf-ʿAli Ṣuratgar, dated 1279/1862-63, from the Šāh-nāma-ye Dāvari, MS pers., Reżā ʿAbbāsi Museum, Tehran. After Ḡazbānpur and Āḡdāšlu, p. 149 (Persian)/80 (Eng.).

ŠĀH-NĀMA iv. Illustrations

Figure 2. “Kay Ḵosrow enthroned,” signed by Ḥosayn-ʿAli (orig. size 23.5 × 33 cm), from the Šāh-nāma-ye Bahādori, lithographed, Tehran, 1904. Courtesy of Ulrich Marzolph.

ŠĀH-NĀMA TRANSLATIONS xv. Into Japanese

Figure 1. Bunmei Tsuchiya, poet and translator of the Šāh-nāma into Japanese.

ŠĀH-NĀMA TRANSLATIONS xv. Into Japanese

Figure 2. Cover of Perushiya shinwa, Japanese translation of the Šāh-nāma by Bunmei Tsuchiya.

ŠĀH-NĀMA TRANSLATIONS xv. Into Japanese

Figure 3. Cover of the Japanese translation of “Rostam and Sohrāb” by Masaharu Higuchi.

SAḤĀB, ʿABBĀS

Figure 1. Photograph of ʿAbbās Saḥāb. (Courtesy of the author)

SAḤĀB, ʿABBĀS

Figure 2. Photograph of ʿAbbās Saḥāb. (Courtesy of the author)

SALAMIS

Figure 1. Map of the battle of Salamis (Aegean Sea).

SALAMIS

Figure 2. Map of the battle of Salamis (Psyttaleia).

SALJUQS vi. Art and Architecture

Figure 1. Sojās, Friday Mosque, stucco decoration of qibla wall (2nd half of 12th century).

SALJUQS vi. Art and Architecture

Figure 2. Ḵarraqān, tomb tower (1093-94).

SALJUQS vi. Art and Architecture

Figure 3. Sāva, Friday mosque, minaret (1110-11).

SALJUQS vi. Art and Architecture

Figure 4. Candlestick, dated 561/1166, Linden-Museum, Stuttgart.

SALJUQS vi. Art and Architecture

Figure 5. Mināʾi bowl showing Bahrām Gur and Āzāde, New York, Metropolitan Museum of Art.

SALJUQS vi. Art and Architecture

Figure 6. Robāṭ-e Šaraf, main eyvān with stucco decoration (1154-55).

SAMFONI-e MORDAGĀN

Figure 1. Abbas Ma’rufi.

SAMFONI-e MORDAGĀN

Figure 2. Book cover, Samfoni-e mordagān (Persian).

SAMFONI-e MORDAGĀN

Figure 3. Book cover, Symphony of the Dead (English).

SAMFONI-e MORDAGĀN

Figure 4. Book cover, Symphonie der Toten (German).

SANAI, MAHMOUD

Figure 1. Photograph of Mahmoud Sanai. (Courtesy of Mina Sanai)

SANAI, MAHMOUD

Figure 2. Photograph of Mahmoud Sanai. (Courtesy of Mina Sanai)

SAND GROUSE

Figure 1. Black-bellied sand grouse (Pterocles orientalis. By permission of E. Firouz (The Complete Fauna of Iran, London and New York, 2005, p. 150)

SANG-E CHAKHMAQ

Figure 1. Map of the region north of Šāhrud showing the location of Sang-e Chakhmaq (adapted from Masuda, ed., 1977, fig. 1).

SANG-E CHAKHMAQ

Figure 2. Djeitun-style finds from Sang-e Chakhmaq East: (A) ceramic bowl from Level 3 (Furusato, 2005, fig. 12); (B) ceramic beakers from Level 3 (Masuda, ed., 1977, fig. 9); (C) ceramic jars from Levels 4 and 5 (idem, figs. 10, 12); (D) stone figurine (Masuda, 1973, fig. 7.5); (E) bone sickle (Furusato, 2005, fig. 40); (F) stone spindle whorls (nos. 1-3) and a “cosmetic vial” (no. 4) (Masuda, ed., 1977, fig. 17).

SANG-E CHAKHMAQ

Figure 3. Sialk-style finds from Sang-e Chakhmaq East: (A) Sialk II-style sherds excavated by Masuda (no. 1 from Furusato, 2005, fig. 27.2; no. 2 from Masuda, ed., 1977, fig. 10); (B) alabaster vessels from Levels 1-2 (idem, fig. 15); (C) Sialk II-style Black-on-Red sherds collected by Dyson from the surface; (D) copper tacks (Masuda, 1976, figs. 7.11-12); (E) bone sickle from Level 5 (Masuda, ed., 1977, fig. 18); (F) ceramic spindle whorls (idem, fig. 17).

SANG-E CHAKHMAQ

Figure 4. Local-style finds from Sang-e Chakhmaq East: (A) ceramic “husking tray” from Level 3 (Furusato, 2005, fig. 29); (B) ceramic vessels from Levels 1 and 2 (Masuda, ed., 1977, fig. 7); (C) ceramic pot stand from Level 5 (idem, fig. 12); (D) alabaster ram figurine from Level 2 (idem, fig. 20); (E) bone sickles from Level 5 (idem, fig. 18); (F) ceramic house model from Level 3 (idem, fig. 21).

SANGLĀḴ, MOḤAMMAD-ʿALI

Figure 1. Portrait of Sanglāḵ in the 1874 lithograph of Taḏkerat al-ḵaṭṭāṭin, page 26. The surrounding poem celebrates him; e.g., “he is a king in mortal’s garb … the years of his life are up to 100.” (Sāzmān-e Asnād va Ketābḵāna-ye Melli-ye Jomhuri-ye Eslāmi-ye Irān, which gives a tentative birth date of 1184/1770-71; MS available at http://dl.nlai.ir/UI/331a63f0-2d77-4bd7-8c08-69e01136837a/catalogue.aspx)

SAQQĀ-ḴĀNA i. History

Figure 1. Photograph of a saqqā-ḵāna in Golpāyagān. Courtesy of www.centraldaneshjoo.com.

SAQQĀ-ḴĀNA i. History

Figure 2. Photograph of a saqqā-ḵāna in Tehran. Courtesy of www.aftab.ir.

SAQQĀ-ḴĀNA i. History

Figure 3. Photograph of a modern saqqā-ḵāna in Boroujerd. Courtesy of the author.

SAQQĀ-ḴĀNA ii. School of art

Figure 1. Charles Hossein Zenderoudi, “K + L + 32 + H + 4,” 1962, Tempera on Paper, 148 × 225 cm.

SAQQĀ-ḴĀNA ii. School of art

Figure 2. Parviz Tanavoli, “Hič and Chair II,” 1973, Bronze.

SAQQĀ-ḴĀNA ii. School of art

Figure 3. Faramarz Pilaram, “Mosques of Isfahan,” ca. 1962, Tempera and Gold and Silver Paint on Paper.

SAQQĀ-ḴĀNA ii. School of art

Figure 4. Mansur Qandriz, “Untitled,” 1963, Oil on Canvas, 80 × 115 cm, Tehran Museum of Contemporary Art.

SAQQĀ-ḴĀNA ii. School of art

Figure 5. Massoud Arabshahi, “Untitled,” 1965, Oil on Canvas, 110 × 127.5 cm, Artist’s Private Collection.

SAQQĀ-ḴĀNA ii. School of art

Figure 6. Nasser Oveisi, “Five Goblet- Dance,” late 1960s, Oil on Canvas, 100 × 200 cm, Tehran Museum of Contemporary Art.

SAQQĀ-ḴĀNA ii. School of art

Figure 7. Sadeq Tabrizi, “The Lovers,” 1960s, Oil on (animal) Skin, Tehran Museum of Contemporary Art.

SAQQĀ-ḴĀNA ii. School of art

Figure 8. Žazeh Tabatabai, “Blue-Eyed King,” 1960, Iron, height 86 cm. (from Iron Sculptures series).

SASANIAN COINAGE

Plate I. Sasanian coin examples. (RY = regnal year.) a. Kavāḏ I/2nd reign, AU Dinar, type SNS II/2, no mint, RY 25. State Hermitage Museum, St Petersburg; Schindel, 2004, no. 300. b. Kosrow II/2nd reign, AR Drachm, type SN II/3,  mint WYHC, RY 38. Numismatic Central Card File, Institute for Numismatics and Monetary History, University of Vienna. ...

SASANIAN WALL PAINTING

Figure 1. a-b. Dura Europos, battle scene, wall painting. After Little, fig. 2, pl. II.

SASANIAN WALL PAINTING

Figure 2. Susa, hunting scene, wall painting. After Ghirshman, 1962, p. 183.

SASANIAN WALL PAINTING

Figure 3. Hajiabad, fragments of wall painting. Courtesy of the author, with the help of drawings by Geert Verhoeven, after Azarnoush, figs. 158-60 and 162, pl. XXXV.

SASANIAN WALL PAINTING

Figure 4. Tepe Hissar, horseman, wall painting. After Schmidt and Kimball, fig. 175.

SASANIAN TEXTILES

Figure 1. Fragmentary woolen clothes taken from a mummified body recovered at Ḥamzelu village. Archeological Museum of Iran, Tehran.  Photo taken by Rudy Favaro in 2005 in the Archaeological Museum of Iran.

SASANIAN TEXTILES

Figure 2. Fragment of a pair of woolen trousers from Antinoe (Egypt). Paris, Musée du Louvre, département des antiquités égyptiennes, Inv. No. E29323 and Lyon, Musée Historique des Tissus, Inv. No. 908.I.117, numéro d’entrée 28928. Drawing after Bénazeth, 1991, fig. 6.

SASANIAN TEXTILES

Figure 3. Fragment of trousers.  Lyon, Museée Historique des Tissus. Drawing after F. Demange, ed., Les Perses sassanides: Fastes d’une empire oublié (224-642), Paris, 2006, Cat. No. 113.

SASANIAN TEXTILES

Figure 4. Fragmentary woolen and linen textile from Egypt (?), possibly part of a tapestry. Athens, Benaki Museum, Inv. No. 7001.  Sketch after Benaki Museum, Inv. No. 7001.

SATTĀR KHAN

Figure 1. A portrait of Sattār Khan.

SCHEFER, CHARLES-HENRI-AUGUSTE

Figure 1. Charles Schefer, Jerusalem 1845, drawing by C. Doussault. Courtesy of Jean-Louis Schefer.

SCHEFER, CHARLES-HENRI-AUGUSTE

Figure 2. Charles Schefer with Henri Cordier (standing), ca. 1895. Courtesy of Jean-Louis Schefer.

SCHLERATH, BERNFRIED

Figure 1. Photograph of Bernfried Schlerath. (Courtesy of the author).

SCHLIMMER, JOHANNES LODEWIK

Figure 1. Title page of J. L. Schlimmer, Terminologie Medico-Pharmaceutique, lithograph (viii + 570 pp. + 38 pp. index, 206 m × 330 mm), Tehran, 1874. (Courtesy of Columbia University Libraries)

SEALS AND SEALINGS: In the Eastern Iranian Lands

Figure 1. Cat 7.17 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Ba. Agate with beige and brown bands, blemished; whole. L. 20 × 16.

SEALS AND SEALINGS: In the Eastern Iranian Lands

Figure 2. Cat 7.24 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel, probably trapezoid in section. E6a? Honey-colored chalcedony; whole. L. 9.5 × 8; base: 1. 12 × 11. Male bust in profile to right, the frontal upper body rendered by three roughly circular segments. A narrow beard frames the face and the features are summary. The hairstyle shows a raised band (curls?) on the forehead.

SEALS AND SEALINGS: In the Eastern Iranian Lands

Figure 3. Cat 7.34 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Ba. Cornelian; whole. L. 12 × 10.5. Male bust in profile to right, the frontal upper body rendered by four roughly circular segments. The facial features are detailed and there is a raised band of hair round the head. An earring hangs from a bar, and the tunic has a high neckline.

SEALS AND SEALINGS: In the Eastern Iranian Lands

Figure 4. Cat 7.42 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Ca. Garnet; whole. L. 17 × 13.5. Male bust.

SEALS AND SEALINGS: In the Eastern Iranian Lands

Figure 5. Cat 8.1 (after Callieri, 1997) PM, Sir John Marshall’s Collection. Ring bezel. Eb. Amber-coloured chalcedony; rim slightly chipped. Diam. 14. An apparently girdled male figure in profile to left moves, left leg and right arm forward, towards a winged horse in profile to right.  The body of the horse is well modelled and its head lowered. Sogdian characters, above prn, below ∫r(y), Farnvare, ’bringing fortune’ (presumably personal name).

SELEUCID ECONOMY

Figure 1. Silver tetradrachm of Seleucus I. Obv. : Head of the kings, helmeted with bull's skin, ear, and horn. “Once when a wild bull was brought for sacrifice to Alexander and broke loose from his ropes, Seleucus held him alone, with nothing but his hands” (Appian, Syriaca 56 [tr., http://www.livius.org/ap-ark/appian/appian_syriaca_12.html]). Rev.: Victory wreathing a trophy; inscription: BASILEŌS SELEUKOU. (B. V. Head, Historia Numorum. A Manual of Greek Numismatics, Oxford, 1887, p. 638, fig. 336)

SELEUCUS

Figure 1. Silver tetradrachm of Seleucus I. Obv. : Head of the kings, helmeted with bull's skin, ear, and horn. “Once when a wild bull was brought for sacrifice to Alexander and broke loose from his ropes, Seleucus held him alone, with nothing but his hands” (Appian, Syriaca 56 [tr., http://www.livius.org/ap-ark/appian/appian_syriaca_12.html]). Rev.: Victory wreathing a trophy; inscription: BASILEŌS SELEUKOU. (B. V. Head, Historia Numorum. A Manual of Greek Numismatics, Oxford, 1887, p. 638, fig. 336)

SEVRUGUIN, ANTOIN

Figure 1. Antoin Sevruguin. Self-Portrait at Naqsh-i-Rustam, ca. 1900. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection.

SEVRUGUIN, ANTOIN

Figure 2. Antoin Sevruguin. Persepolis, Colossi of the Porch of Xerxes, ca. 1900. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection.

SEVRUGUIN, ANTOIN

Figure 3. Antoin Sevruguin. Dr. Nūr Moḥammad (a Jewish doctor), ca. 1880. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection.

SEVRUGUIN, ANTOIN

Figure 4. Antoin Sevruguin. Interior in Golestān Palace, ca. 1890. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection.

SEVRUGUIN, ANTOIN

Figure 5. Antoin Sevruguin. Barber Dyeing Nāṣer-al-Din Shah’s Mustache, ca. 1890. Modern gelatin silver print from glass photonegative. Courtesy of the Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Myron Bement Smith Collection.

SHAHBAZ, HASAN

Figure 1. Photograph of Hasan Shahbaz. (Courtesy of Rahavard)

ŠARAFĀBĀD

Figure 1. Contour map of Tepe Šarafābād (corrected version of the figure in Schacht, 1975).

SHAPUR I ii. The Great Statue

Figure 1. The Cave of Shapur, Terrace IV. The Great Statue of Shapur I. (Photograph, G. Reza Garosi)

SHAPUR I ii. The Great Statue

Figure 2. Map of the Cave of Shapur. (After Garosi, 2009, pp. 84-85)

SHAPUR I ii. The Great Statue

Figure 3. The Cave of Shapur. Head, Hair, and Body of the Great Statue of Shapur I. (Photograph, G. Reza Garosi)

SHAPUR I ii. The Great Statue

Figure 4. The Cave of Shapur. Crown, Head, and Hair of the Great Statue of Shapur I. (Photograph, G. Reza Garosi)

SHEYBANI, MANUCHEHR

Figure 1. Photograph of Manuchehr Sheybani.

SHEYBANI, MANUCHEHR

Figure 2. Video still image of Manuchehr Sheybani.

SHEYBANI, MANUCHEHR

Figure 3. Painting, from the series “Tribal women of Southern Iran.”

SHEYBANI, MANUCHEHR

Figure 4. Illustration used on the book cover of Ātaškada-ye ḵāmuš.

SHEYBANI, MANUCHEHR

Figure 5. Video still image from a Manuchehr Sheybani television production.

SHEYBANI, MANUCHEHR

Figure 6. Book cover of Sarābhā-ye kaviri.

SHIR-E SHIAN

Figure 1. Trinkhaus’s 1976-77 archaeological survey map of the Damghan region, adapted from Dyson Jr. and Thornton, fig. 2.

SHIR-E SHIAN

Figure 2. The only finds from Shir-e Shian drawn and recorded by Schmidt. All drawings to scale, except for the carnelian bead, which is 2:1 relative to the other drawings. Adapted from Dyson Jr. and Thornton, figs. 6-7, 10-12.

SHIR-E SHIAN

Figure 3. A comparison between burial BT4 x-1 from Shir-e Shian (left) and two burials from Tepe Hissar Period IA (right). Adapted from Dyson Jr. and Thornton, fig. 13.

SHIRAZ i. History to 1940

Figure 1. Shiraz in 1671; by Andre Daulier, Homāyun, Pl. 100 with pp. 166-67.

SHIRAZ i. History to 1940

Figure 2. Tang and Allah-o-Akbar Gate in 1888; Curzon II, p. 92.

SHIRAZ i. History to 1940

Figure 3. Shiraz under Karim Khan: Perry, p. 273, Fig. 3.

SHIRAZ i. History to 1940

Figure 4. Shiraz in 1930; Afsar.

SHIRAZ i. History to 1940

Figure 5. Map of modern Shiraz.

SHIRVANLU, FIRUZ

Figure 1. Firuz Širvānlu, self-portrait, watercolor on paper, 36 × 36 cm, 1973.

SHIRVANLU, FIRUZ

Figure 2. Firuz Širvānlu, collage, lithographed page, ink, gouache, 40 × 34 cm, 1975.

SIĀH-QALAM

Figure 1. Unfinished painting, “Ḵosrow at Širin’s Castle,” ca. 1475-80, Ḵamsa of Neẓāmi, Topkapi Saray Library, Istanbul, H. 762, f. 82b.

SIĀH-QALAM

Figure 2. Encampment, Divān of Solṭān Aḥmad, Baghdad, early 15th century, Washington D.C., Freer Gallery of Art, 32.24 (f. 22b), detail.

SIĀH-QALAM

Figure 3. Demons, detail of album page, c. 1360-75, Topkapi Saray Library, Istanbul, H. 2153, f. 39b.

SIĀH-QALAM

Figure 4. “Nomads,” detail of album page, c. 1360-75, Topkapi Saray Library, Istanbul, H. 2153, f. 55a.

SIĀH-QALAM

Figure 5. Angels in a lotus scroll, detail of album page, ca. 1370-1400, Topkapi Saray Library, Istanbul, H. 2153, f. 94a.

SILVER

Figure 1. Rose water bottle, silver, Early 12th century CE, Iran. (Purchase, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C, F.1950.5).

SILVER

Figure 2. Small bowl, silver inlaid with gold and niello, 1500-1510, Iran. (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C, F.1954.115).

SIMORḠ

Plate I. "The Simorḡ,” Marāḡa, 697 or 699/ca. 1297-1300, illustration from the Manāfeʿ-e ḥayawān. Courtesy of The Pierpont Morgan Library, New York, Ms. M. 500, fol. 55r.

SMOKING IN IRAN

Figure 1. An unopened pack of Homa brand cigarettes with health warning.

SMOKING IN IRAN

Figure 2. An unopened pack of Kent Silver4 with health warning; Iranian tax stamp is affixed.

SOGDIANA vi. Sogdian Art

Figure 1. Epic painting of a duel in front of a castle, after 700 C.E., Panjikant (Tajikistan), object XXII, room 1. (After Marshak, 2002, p. 152, fig. 103)

SOGDIANA vi. Sogdian Art

Figure 2. Mythological painting of an encounter of the goddess Nana, riding a lion, and the Sun God in a chariot, 750-850 CE, Kalai Kachkacha I (Tajikistan), palace, room 4. Reconstruction by the author. (Courtesy of the author)

SOGDIANA vi. Sogdian Art

Figure 3. Carved panel of deity with peacock framed by an arched niche, wood, ca. 700 CE, Panjikant (Tajikistan), object XXIII, room 57. (Drawing after Belenitskiĭ et al., p. 130, fig. 7)

SOGDIANA vi. Sogdian Art

Figure 4. Sogdian ewer, silver, ca. 700 CE, Mal’tseva near Perm’ (Russia). State Hermitage Museum, St. Petersburg, Inv. No. S-11. (Drawing after Marshak, 1986, fig. 56)

SOGDIANA vi. Sogdian Art

Figure 5. Ossuary, fired clay with stamped decoration, 7th-8th centuries, Molla-Kurgan (Uzbekistan). Museum of History and Culture of the Peoples of Uzbekistan, Tashkent, Inv. No. A-436-1. (Courtesy of the author)

ŠOKUROV, MOḤAMMADJĀN

Figure 1. M. Shokurov in his forties. (Source: Navisandagoni Tojikiston, Dushanbe, 1971, p. 50).

ŠOKUROV, MOḤAMMADJĀN

Figure 2. M. Shokurov, Dushanbe, 2007. (Courtesy of Habib Borjian).

SORḴA

Figure 1. Aerial view of Sorḵa. (Image by Google Earth; courtesy of www.sorkheh.net)

SORḴA

Figure 2. Ḥāj Ḥešmat Lašgar’s house. (Courtesy of Anjoman-e Resālat-e Qalam-e Sorḵa)

SPULER, BERTOLD

Figure 1. Bertold Spuler, undated black/white photograph. Private Collection, Germany.

SPULER, BERTOLD

Figure 2. Bertold Spuler, meeting of the Deutsche Morgenländische Gesellschaft, Berlin, 1980. Courtesy of Werner Ende.

STŪM

Figure 1. Photograph of Dr. F. M. Kotwal performing the stūm ceremony at home (at Colaba, Mumbai); the ritual, here in progress, takes about 15 minutes to complete.

SULEDEH

Figure 1. Map of Suledeh Sub-province in western Māzandarān, detail in Saḥāb Geographic and Drafting Institute, Naqša-ye rāhnemā-ye ostān-e Māzandarān, Tehran, n.d.

SUSA i. Excavations

Figure 1. The main sites (indicated by numerals) worked at Susa by Roman Ghirshman and Marie-Joseph Steve, 1946-68.

SUSA i. Excavations

Figure 2. The main sites (indicated by numerals) worked at Susa under the direction of Jean Perrot, 1968-79.

SUSA ii. History During the Elamite Period

Figure 1. Map of Susa in the Elamite period.

SUSA iv. Hellenistic and Parthian Periods

Figure 1. Heracles, terracotta, Louvre Museum, no Sb 3610; from the excavations of J. de Morgan. (Photograph in Martinez-Seve, 1995)

SUSA iv. Hellenistic and Parthian Periods

Figure 2. Plan of the Parthian houses excavated by R. Ghirshman in the northern part of the Royal Town. (Martinez-Sève, 2002a, p. 95, fig. 6).

SUVASHUN

Figure 1. Cover of Suvashun (tr. Ghanoonparvar, 1990).

SWEDEN i. Persian Art Collections

Figure 1. Jar, terracotta with applied decoration of a snake, Iran, Shah Tepe, circa 2,400 BCE, Museum of Mediterranean and Near Eastern Antiquities.

SWEDEN i. Persian Art Collections

Figure 2. Bowl, Kāšān 13th century, blue glaze with brownish-black luster decoration, Museum of Mediterranean and Near Eastern Antiquities, NM 66/1947.

SWEDEN i. Persian Art Collections

Figure 3. Bowl, Kāšān 13th century, turquoise glaze with under-glaze black decoration, Museum of Mediterranean and Near Eastern Antiquities, NM 67/1947.

SWEDEN i. Persian Art Collections

Figure 4. Mortar, bronze, Saljuqid period, 12th century, Museum of Mediterranean and Near Eastern Antiquities, NM 94/1935.

SWEDEN i. Persian Art Collections

Figure 5. Miniature painting from the Šāh o gedā by Badr-al-Din Helāli, probably copied and illustrated in Isfahan around 1590, Museum of Mediterranean and Near Eastern Antiquities, NM 239/1918.

SWEDEN i. Persian Art Collections

Figure 6. Miniature painting from the Šāh o gedā by Badr-al-Din Helāli, probably copied and illustrated in Isfahan around 1590, Museum of Mediterranean and Near Eastern Antiquities, NMH 236/1918.

SYNGUÉ SABUR: PIERRE DE PATIENCE

Figure 1. Book cover, The Patience Stone, New York, 2009

SYNGUÉ SABUR: PIERRE DE PATIENCE

Figure 2. Book cover, A Thousand Rooms of Dream and Fear, London, 2006

SYRIAC LANGUAGE

Figure 1. Table of Syriac characters, by Julius Euting, in Theodor Nöldeke,Compendious Syriac Grammar, tr. James A. Crichton, London, 1904.

SYRIAC LANGUAGE i. Iranian Loanwords in Syriac

Figure 1. P. de Lagarde, Persische, armenische und indische Wörter im Syrischen, 1866.

SYRIAC LANGUAGE ii. Syriac Writings on pre-Islamic Iran

Figure 1. Eliae Metropolitae Nisibeni, Opus Chronologicum, Pars prior, ed. E. W. Brooks, CSCO 62, Syr. 3/7, Romae, 1910.

SYRIAC LANGUAGE iii. Translators as the Medium for Transmission of Greek Ideas to Sasanian Iran

Figure 1. Carolus Gottlob Kühn, ed., Medicorum Graecorum Opera Quae Exstant I, Leipzig, 1821.

(Cross-Reference)