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To browse Academia. Cameron Cross. The argument is divided into four sections: after introducing the Haft paykar and summarizing some of the scholarship that has been done to crack the code of its color symbolism, I survey these thematic poles as they occur in several landmark medical, philosophical, and poetic texts of Islamic tradition.
In the final section, however, I consider how the stories resist such a straightforward reading, and indeed recursively feed into each other in such a way to suggest that neither color of love can fully exist or function without the other. I propose that the contrast of white and black in the Haft paykar is not sufficiently read as a static dichotomy of symbols; it rather evokes a dynamic interplay of light and shadow that hints at a reality beyond the sum of its parts, a pre-prismatic totality of which all colors of love are merely those refractions visible to the naked eye.
Naseem Ahmad. The empire of Shirvanshahs has been home to many ancient societies and cultures being located at the cross roads of economies, cultures and languages. The whole of southern Caucasian region demonstrates unique example of intertwining histories of people who for thousands of years kept their traditions alive and struggled for their national identities. Caravans of men and streams of thought constantly enriched the empire of Shirvanshahs that lead to mutual interactions, acculturations, assimilations and influences of different cultures, ideologies, arts and crafts, resulting into the making this empire the mosaic of a incredible composite culture.
By the 10 th. Gabrielle van den Berg. The article questions previous assumptions about the form and style of early Persian verse romances and contributes to further discussion of approaches to Persian narrative poetry. Imane Abaza.
