Armor and weaponry were central to Islamic culture not only as a means of conquest and the spread of the faith, but also as symbols of status, wealth, and power. The finest arms were made by master craftsmen working with the leading designers, goldsmiths, and jewelers, whose work transformed utilitarian military equipment into courtly works of art. This book reveals the diversity and artistic quality of one of the most important and encyclopedic collections of its kind in the West. The Metropolitan Museum's holdings span ten centuries and include representative pieces from almost every Islamic culture from Spain to the Caucasus. The collection includes rare early works, among them the oldest documented Islamic sword, and is rich in helmets and body armor, decorated with calligraphy and arabesques, that were worn in Iran and Anatolia in the late fifteenth century. Other masterpieces include a jeweled short sword (yatagan) with a blade of "watered" steel that comes from the court of Süleyman the Magnificent, a seventeenth-century gold-inlaid armor associated with Shah Jahan, and two gold-inlaid flintlock firearms belonging to the guard of Tipu Sultan of Mysore. Presenting 126 objects, each handsomely photographed and richly documented with a detailed description and discussion of its technical, historical, and artistic importance, this overview of the Met's holdings is supplemented by an introductory essay on the formation of the collection, and appendixes on iconography and on Turkman-style armor.

Shahnama: The Visual Language of the Persian Book of Kings presents the first comprehensive examination of the interplay between text and image in the celebrated Persian national epic, the Shahnama, written by the poet Firdausi of Tus. The Shahnama is one of the longest poems ever composed and recounts the history of Iran from the dawn of time to the Muslim Arab conquests of the seventh century AD. There is no Persian text, in prose or poetry, which has been so frequently and lavishly illustrated. Offering fresh insights through a range of varied art-historical approaches to the Shahnama, the essays in this volume reveal how the subtle alterations in text and image serve to document changes in taste and style and can be understood as reflections of the changing role of the national epic in the imagination of Iranians and the equally changing messages - often political in nature - which the familiar stories were made to convey over the centuries.

The material and visual culture of the Islamic World casts vast arcs through space and time, and encompasses a huge range of artefacts and monuments from the minute to the grandiose, from ceramic pots to the great mosques. Here, Venetia Porter and Mariam Rosser-Owen assemble leading experts in the field to examine both the objects themselves and the ways in which they reflect their historical, cultural and economic contexts. With a focus on metalwork, this volume includes an important new study of Mosul metalwork and presents recent discoveries in the fields of Fatimid, Mamluk and Qajar metalwork. By examining architecture, ceramics, ivories and textiles, seventeenth-century Iranian painting and contemporary art, the book explores a wide range of artistic production and historical periods from the Umayyad caliphate to the modern Middle East. This rich and detailed volume makes a significant contribution to the fields of Art History, Architecture and Islamic Studies, bringing new objects to light, and shedding new light on old objects.

Living continuously in Iran for over 2700 years, Jews have played an integral role in the history of the country. Frequently understood as a passive minority group, and often marginalized by the Zoroastrian and succeeding Muslim hegemony,, the Jews of Iran are instead portrayed in this book as having had an active role in the development of Iranian history, society, and culture. Examining ancient texts, objects, and art from a wide range of times and places throughout Iranian history, as well as the medieval trade routes along which these would have travelled, The Jews of Iran offers in-depth analysis of the material and visual culture of this community. Additionally, an exploration of modern novels and accounts of Jewish-Iranian women's experiences sheds light on the social history and transformations of the Jews of Iran from the rule of Cyrus the Great (c. 600-530 BCE) to the Iranian Revolution of 1978/9 and onto the present day. By using the examples of women writers such as Gina Barkhordar Nahai and Dalia Sofer, the implications of fictional representation of the history of the Jews of Iran and the vital importance of communal memory and tradition to this community are drawn out. By examining the representation of identity construction through lenses of religion, gender, and ethnicity, the analysis of these writers' work highlights how the writers undermine the popular imagining and imaging of the Jewish 'other' in an attempt to create a new narrative integrating the Jews of Iran into the idea of what it means to be Iranian. This long view of the Jewish cultural influence on Iran's social, economic, political, and cultural development makes this book a unique contribution to the field of Judeo-Iranian studies and to the study of Iranian history more broadly.