Table of Contents

  • SANG-E CHAKHMAQ

    Christopher P. Thornton

    The Aceramic Neolithic phase spans Levels 2-5 of the Western Tepe. This period is notable for large mud-brick houses with plastered and red-painted floors and well-built fireplaces, some of which appear to have had ritual significance. Amongst these houses there is abundant evidence for lithic tools using both local flint/chert and imported obsidian.

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  • SANG-E ṢABUR

    Ali Ferdowsi

    (1966, tr. by Mohammad Reza Ghanoonparvar, as The Patient Stone, 1989), the last, and arguably, the most critically acclaimed work of fiction by Sadeq Chubak.

  • SANGLĀḴ, MOḤAMMAD-ʿALI

    Maryam Ekhtiar

    (b. Qučān, Khorasan, date unknown; d. Tabriz, 3 March 1877), celebrated calligrapher and stone carver, as well as poet and author. He lived as a dervish and spent much of his time traveling, with long sojourns in the Ottoman empire and Egypt.

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  • SANJANA, Darab Dastur Peshotan

    Michael Stausberg

    (1857-1931), Zoroastrian head-priest and scholar.

  • SANJAR, Aḥmad b. Malekšāh

    Deborah G. Tor

    Abu’l-Ḥārith, Moʿezz-al-donyā-wa’l-din, Borhān Amir-al-Moʾmenin, first subordinate sultan of Khorasan and then Great Sultan of the Great Saljuq empire.

  • SAOŠYANT

    William Malandra

    a term in Zoroastrianism sometimes rendered as “savior.” Since the term also occurs frequently in reference to contemporary individuals, a more neutral translation such as “benefactor” or “helper” (Lommel) may be preferred. 

  • SĀQI-NĀMA

    Paul Losensky

    (Book of the Cupbearer), a poetic genre in which the speaker, seeking relief from his hardships, losses, and disappointments, repeatedly summons the sāqi or cupbearer to bring him wine.

  • Sāqi-nāme in Dastgāh Māhur

    music sample

  • SAQQĀ-ḴĀNA i. HISTORY

    Willem Floor

    Saqqā-ḵāna is a term referring to public water dispensers, which were, and in some places still are, a feature of some large institutional buildings in Iran, typically mosques, shrines, and bazaars.

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  • SAQQĀ-ḴĀNA ii. SCHOOL OF ART

    Hamid Keshmirshekan

    The term saqqā-ḵāna was first used to refer to a contemporary art movement in Iran in 1962. It was initially applied to painting and sculpture which used existing elements from votive Shiʿite art. It gradually came to be applied more widely to art works that used traditional-decorative elements.

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  • ŠARAFĀBĀD

    Robert M. Schacht and Henry T. Wright III

    Tepe Šarāfabād was excavated in 1971 by the joint project of the University of Michigan and what was then the Archeological Service of Iran. The staff of the excavation was directed by Henry T. Wright III, and the official representative of the National Research Center for Archeology was Muhammed H.Ḵošābi.

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  • SARGOḎAŠTE-E SAYYEDNĀ

    Farhad Daftary

    title of an anonymous Persian work containing the biography of Ḥasan-e Ṣabbāḥ, the founder of the Nezāri Ismaʿili state of Persia, centered at the mountain fortress of Alamut.

  • ŠARḤ-e TAʿARROF

    Nasrollah Pourjavady

    an extensive commentary in Persian on Abu Bakr Moḥammad Kalābāḏi’s Sufi manual Ketāb al-Taʿarrof le-maḏhab ahl al-taṣawwuf.

  • ŠARIF KHAN, Moḥammad

    Fabrizio Speziale

    (d. ca. 1807), physician at the court of the Mughal emperor, Shah ʿĀlam II (r. 1760-1806), author, and the eponymous founder of the Šarifi family of physicians.

  • ŠARQ

    Nasserddin Parvin

    a literary journal published occasionally in Tehran between 1924 and 1932.

  • SASANIAN COINAGE

    Nikolaus Schindel

    The coinage of the Sasanian empire (ca. 224-651 CE) is not only the most important primary source for its monetary and economic history, but is also of greatest importance for history and art history.

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  • SASANIAN DYNASTY

    A. Shapur Shahbazi

    The Sasanian dynasty represented the last Persian lineage of rulers to achieve hegemony over much of Western Asia before Islam, ruled 224 CE–650 CE.

  • SASANIAN ROCK RELIEFS

    G. Herrmann and V. S. Curtis

    one of the primary sources for documentation of the Sasanian period.

  • SASANIAN TEXTILES

    Matteo Compareti

    Classical, Islamic, and Chinese sources celebrate Sasanian textiles as a very precious commodity, but no specific descriptions of them are given. Most studies of Sasanian textile art are originally based on these sources and on examining the reliefs of the larger grotto at Tāq-e Bostān.

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  • SASANIAN WALL PAINTING

    An De Waele

    Murals found on sites within the territory of the Sasanian empire (224- 650 CE) are considered Sasanian. While their main function is decorative, their secondary function can be derived from location, theme, and dimension, and is important because it reflects a world-view.

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