Ebook Shahnameh: The Epic of the Persian Kings (Illustrated Edition, Slipcased), by Hamid Rahmanian
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Shahnameh: The Epic of the Persian Kings (Illustrated Edition, Slipcased), by Hamid Rahmanian
Ebook Shahnameh: The Epic of the Persian Kings (Illustrated Edition, Slipcased), by Hamid Rahmanian
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Review
A gorgeous new translation of the Persian epic. -- NPR, All Thing ConsideredOne of the most beautiful books I've ever been given. -- Neil Gaiman An Iranian epic for the masses  -- CNN internationalA Persian Masterpiece, Still Relevant Today. -- The Wall Street JournalSimply breathtaking. -- Huffington PostBrings new, vivid life to the epic tales of the ancient Persian kings. -- The AtlanticOne of the most beautiful books I've ever been given. Neil GaimanÂ
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From the Author
The ancient legends of the Persian Book of Kings (Shahnameh)1 were versiï¬ed by Abolqasem Ferdowsi (940-1020 CE), who was born to a -family of small landowners near the city of Tus, in northeastern Iran. He dedicated thirty-three years of his life to Shahnameh and ï¬nished its second redaction one thousand and three years ago, in March 1010. Shahnameh is of the essence of Iranian nationhood. Unlike the Egyptian, Syrian, and other North African populations of the Roman Empire that were thoroughly Arabized after their Islamic conquest in the seventh century, Persians were able to hold on to their language and calendar even after they converted to Islam. It has been argued that this was made possible because the Iranians' national identity was not fully invested in their pre-Islamic faith. Rather, it resided in a secular body of myth and legend that they preserved and which later would form the basis of Ferdowsi's great work. To this day men, women, and children in Persianate societies from Asia Minor to China are able to recite lines of Shahnameh by heart. The book continues to be read in family gatherings and performed by professional reciters in the teahouses of Tajikistan, Iran, and Afghanistan.It was awareness of this living tradition of Shahnameh recitations that gave me and my colleagues Melissa Hibbard and Hamid Rahmanian the -audacity to go where angels fear to tread. As we embarked on the -journey to -create a new edition of Iran's national epic with freshly narrated -stories printed against a fully illustrated backdrop, we consoled ourselves that we were -walking in the footsteps of generations of previous performers and illustrators. I never forgot the ï¬rst reciter of Shahnameh I saw at the age of seven somewhere near the city of Karaj. He wore a leather vest studded with shiny spikes and wielded a short cane that was his only prop. That lone cane turned into a sword, a mace, and even the neck of a neighing horse. The performer paced rapidly back and forth producing a range of sound effects for galloping horses, clashing swords, and collapsing rocks. He sonorously intoned the poems of Shahnameh in the middle of his prose narration as he played all of the parts from the last scenes of the battle of Rostam and Sohrab. What is remarkable is that I still remember not only the performance but also the pictures I made in my head as it went on. The session ended with a cliffhanger as the hero Rostam climbed a pile of rocks, put his neck in a self-made noose, and kicked the rocks from beneath him to commit suicide. Later I learned that this ï¬nal scene was not in any of the known copies of Shahnameh. But the knowledge did not diminish the worth of that performance because I also knew that the stories existed and evolved both before and after the completion of Ferdowsi's magnum opus.
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Product details
Hardcover: 592 pages
Publisher: Liveright; Illustrated Edition, Slipcased edition (November 21, 2017)
Language: English
ISBN-10: 1631494465
ISBN-13: 978-1631494468
Product Dimensions:
8.8 x 2.2 x 14.6 inches
Shipping Weight: 6.6 pounds (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
150 customer reviews
Amazon Best Sellers Rank:
#152,837 in Books (See Top 100 in Books)
This is not a complete translation of the "Shahnameh", in fact, it's hardly a translation at all. If you want to read the epic poem in its entirety, secure Dick Davis's prose translation published by Penguin Press. You won't regret it. Dick Davis is one of the finest scholars of Persian literation today, an inspired translator with a keen sense of poetry. His most recent publication, "Faces of Love", translates Hafez and two other poets of Shiraz and does full justice to these Persian-languages poets, unlike others who don't know Persian but claim Hafez visits their dreams! This publication has an entirely different purpose and fulfills that purpose with brilliance and wonder. Countless artists of the Islamic world have illustrated scenes and characters from Ferdowsi's epic. (Dick Davis's translation contains lithographs from 19th century versions.) For this volume an artist named Hamid Rahmanian took many illustrations and recast them to illuminate the text "with over 500 pages of lavish illustrations", as the publisher puts it. And the result is one of the most magical and uniquely beautiful books in my home library. Every time I look at it, read from it, browse through it I am happy that I bought it. Literally, every page is alive with color and design that illustrates the events of the text. The consistently high quality of these illustrations is breathtaking - there is not a false moment in the whole 572-page book! How many publications can you give such unreserved praise! Now for the text: as I wrote in my opening statement this is not the text ofFerdowsi's epic poem. A writer named Ahmad Sadri wrote a prose summary of the poem which makes up the text. In Dick Davis's translation, the illustrations serve his complete translation; in this version, Sadri's prose serves the illustrations. So the two versions are exact opposites. What this means is that this magnificent collection of creative illustrations can accompany you as you read Davis's translation. Or you can skip the epic in its complex and convoluted narrative (886 pages in the Penguin edition!) and enjoy this version as an object of art. Either way you will be enriched by your encounter with one of the great war epics of world literature, a work which occupies the same exalted status in Islamic culture that the "Iliad" and the "Aeneid" occupy in Western culture. (And aren't we Americans past due in appreciating Iranian culture in particular, considering our 21st century karma has inextricably entwined the fates of our two societies?) One further note: in 2006, the artist Zak Smith published a collection of pictures which illustrates what happens on each page of Thomas Pynchon's 1973 novel, "Gravity's Rainbow", an enormously complicated book well served by Smith's scintillating pictures. To one who has indeed the whole of Ferdowsi's epic poem, I can sincerely commend this version as an alternative to reading the medieval text. It is as if you were to see a film version of a novel that does justice to the book. For example, Terence Malick's film, "The Thin Red Line", from 1999 does justice to James Jones's 1962 novel. The important issue as I see it is this: in today's world cultural literacy involves a knowledge of the literature of the world of Islam. This version of one of the seminal works of Persian literature can provide that knowledge, and what's more, the experience of it through art.
This English version of Iran's answer to the Iliad, Ferdowsi's Shahnameh (The Book of Kings) stands head and shoulders above other translations of this great work. Not only is the translation more pithy and digestible than other attempts that I've read, the artwork alone is enough to justify buying it! It mixes clips of Ferdowsi's original Persian along with art inspired by the celebrated Persian miniature paintings, but with a modern, graphic novel sensibility (and, if my eyes don't deceive me, a rendition of Ahura Mazda in the face of the sun that is derived from the Nadir Divan-Beghi madraseh in Bukhara). In short, anyone who is interested in Iranian history, great storytelling, mythology, or gorgeous artwork will love to have this to their collection. Definitely something to treasure!
This artistically sumptuous volume is mesmerizing to view, as well as to read. The illustrations were painstakingly assembled by Hamid Rahmanian from actual artwork found in several centuries of manuscripts. Ahmad Sadri's prose translation of Ferdowsi's poetry is easy to read. The legends of ancient Iran are fascinating. I lived in Iran as a youth, during the time of the shah. I have kept up with the country and I have a number of Iranian friends. Many given names that we see in the news today can be found in this ancient poetic compilation of the prehistory of Persia. I highly recommend this fabulous tome!
I first heard about this book after listening to my local public radio interview with the author. I was intrigued enough to buy it, having no experience with this or any other work of Persian Literature. I am so thrilled with it! The binding is beautiful, the illustrations unexpectedly unique & each a work of art itself. After receiving the book, I was surprised by the interviewers characterization of this amazing work as a "coffee table book"! Mr Sadri was very gracious indeed to not take issue with that remark! This book will be nowhere near my coffee table! lol
I've only had this book in my possession for a few days, but I could tell immediately upon picking it up that this is a quality item. There is not a doubt in my mind that this book will last, and that I'll be able to pass it to my children and hopefully theirs. Even removing it from the sleeve feels magical. Every page is alive and vibrant, done in a style my Western eyes are unfamiliar with, yet which speaks to me the way that only truly great art can. I can't speak to the text at all. I've read that it's a prose summary, not the poem itself. Hopefully that makes the work more accessible; I know that I'm capable of paying attention to dry epic poems, but I don't think my daughter is. Long story short, in probably any other circumstance, I wouldn't even consider leaving a review without having read the book and owned it for 6+ months; in this instance, however, the work is so moving, I was compelled.
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