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  • BĀḴTAR (1)

    A. Tafażżolī

    designation of the geographical “west” in Modern Persian, but its Pahlavi equivalent abāxtar means “north,” probably borrowed from Parthian.

  • HAMADĀN vii. MONUMENTS

    Ali Mousavi and EIr

    The city of Hamadān, besides its pre-Islamic remains, comprises some important monuments belonging to the Islamic period. The most significant of these is the mausoleum called Gonbad-e ʿAlawiān. It is a square, relatively massive monument, almost entirely of baked brick. Its façade was once covered with opulent stucco decoration.

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  • GĪLĀN v. History under the Safavids

    Manouchehr Kasheff

  • INDIA xxviii. IRANIAN IMMIGRANTS IN INDIA

    Masashi Haneda

    Although emigration from the Iranian plateau to the Indian subcontinent is not a phenomenon specific to any particular period, the trend does seem to have grown after the foundation of Muslim governments on the subcontinent.

  • KASHAN v. ARCHITECTURE (3) TRADITIONAL ARCHITECTURE

    Mohammad- Reza Haeri and EIr.

    In line with the trend towards modernization in Iran’s recent history, most residential houses built by the middle classes in Kashan since 1950 comprise all or some of the following units: entrance, courtyard, living room, reception room, kitchen, lavatory, bath, bedroom, storage, staircase, and hall.

  • ADAB ii. Adab in Arabic Literature

    Ch. Pellat

    In modern Arabic usage the term adab (plur. ādāb) denotes “literature,” but in classical Islam it was applied only to a limited range of literary works.

  • ʿARAB v. Arab-Iranian relations in modern times

    R. K. Ramazani

  • AZERBAIJAN v. History from 1941 to 1947

    B. Kuniholm

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  • KANDAHAR ii. Pre-Islamic Monuments and Remains

    Gérard Fussman

    city in southern Afghanistan (lat 31°36′28″ N, long 65°42′19″ E), the second most important in the country and the capital of Kandahar province.

  • Isfahan xi. SCHOOL OF PAINTING AND CALLIGRAPHY

    Massumeh Farhad

    The “Isfahan” school of painting and calligraphy generally refers to works of art associated with the city from about 1597-98, when it was chosen as the Safavid capital, until the Afghan invasion of 1722. In the second half of the 17th century, many Isfahani artists  began experimenting with Europeanized pictorial concepts, such as modeling and shading—the second phase of the “Isfahan” school of painting.

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