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Abstract
In his description of the nineteenth-century Madrid manuscript of the Arabian Nights, Duncan B. MacDonald states that there is no good reason why Juhā, the famous trickster character of the Arab world, should not appear in the Nights. The present essay evaluates this statement by surveying various occurrences of Juhā in texts related to the Nights, including the Mardrus translation (vol. 15, published in 1904) and the manuscript Taimūriyya qisas 15 (dating from the sixteenth century). A thorough analysis of the Juhā anecdote as integrated into the Madrid manuscript leads to the conclusion that the occurrence of Juhā in that manuscript is a singular phenomenon.
Author:
This study surveys a distinctive type of the “Islamic” book which has been largely neglected in previous scholarship: the genre of illustrated lithographed books produced in nineteenth- and early twentieth-century Iran.
In addition to introducing the history of printing in Iran and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated books in a total of 351 particular editions and 150 plates with several hundred single illustrations.
Lithographic illustration in Iran constitutes the legitimate successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in large numbers and served as a powerful medium of popular iconography.
In addition to introducing the history of printing in Iran and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated books in a total of 351 particular editions and 150 plates with several hundred single illustrations.
Lithographic illustration in Iran constitutes the legitimate successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in large numbers and served as a powerful medium of popular iconography.
Author:
This study surveys a distinctive type of the “Islamic” book which has been largely neglected in previous scholarship: the genre of illustrated lithographed books produced in nineteenth- and early twentieth-century Iran.
In addition to introducing the history of printing in Iran and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated books in a total of 351 particular editions and 150 plates with several hundred single illustrations.
Lithographic illustration in Iran constitutes the legitimate successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in large numbers and served as a powerful medium of popular iconography.
In addition to introducing the history of printing in Iran and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated books in a total of 351 particular editions and 150 plates with several hundred single illustrations.
Lithographic illustration in Iran constitutes the legitimate successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in large numbers and served as a powerful medium of popular iconography.