On the Artāy Vīrāz Nāmak

Sans résumé

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On the Arty Vrz Nmak

     

The Place of the Mālavikāgnimitra within Kālidāsa's oeuvre

Indo-Iranian Journal -     

Omniscience in the Mahāyānasūtrālankāra and its commentaries

I am indebted to Charles Hallisey, Matthew Kapstein, John Keenan, and J. W. de Jong, each of whom read an earlier draft of this paper and gave me useful criticisms. I have adopted some of their suggestions, and this paper has benefited considerably therefrom. I alone am responsible for deficiencies and errors that remain.     

Poetic license in the Buddhist Sanskrit Verses of the Upālipariprcchā

Indo-Iranian Journal -     

A Gāthic Rite? A Critique of the Cosmological Interpretation of the Gāthās I

In the last few decades ritual interpretation of the Gāthās has replaced the biblical one as the dominant paradigm. The emphasis on the central role of ritual in the Avesta is well justified. This realization has given rise to the question of the role and meaning of ritual in the Gāthās. Marijan Molé had tried to argue that the Gāthās in fact describe and accompany a rite whose purpose was the preservation/renovation of the cosmic order. Students of the Gāthās working within the new paradigm have taken up Molé’s general frame. They have tried to show that the Gāthās, collectively or individually, is the text of a particular rite that served, among others, to preserve the cosmic order, especially the daily rise of the sun. The article questions the validity of this thesis. Its focus is on the version of the thesis we find in a number of recent publications by Jean Kellens. He tries to show that the first Gāthā (Ahunauuaitī) describes a unitary pre-dawn ritual that comprised a haoma rite and an animal sacrifice, and had cosmological and eschatological pretensions. His textual analyses and arguments are examined in some detail. The article concludes that Kellens's attempt must be deemed unsuccessful.     

Michael Comans,Extracting the Essence of the Śruti: The Śrutisārasamuddharanam of Totakācārya

Indo-Iranian Journal -     

The Oxus Temple: Localization of the Avestan Vahvi Dāityā

The article describes an attempt to determine the localization of the Avestan river Vahvi Dāityā using archaeological materials from the Oxus Temple (southern Tajikistan). A comparative analysis of archaeological materials and written sources makes it possible to identify the Amu Darya River with the Avestan Vahvi Dāityā.     

Vintages of the Sāqī-nāma: Fermenting and Blending the Cupbearer's Song in the Sixteenth Century

Drawing on a rich tradition of anacreontic poetry and taking inspiration from works by Nizāmī and Hāfiz, the sāqī-nāma or “cupbearer's song” emerged as an independent genre in the early sixteenth century and flourished throughout the Persian literary world for the next 250 years. Looking back on the development of the genre, the early seventeenth-century literary historians ‘Abd al-Nabī Qazvīnī and Awhadī Balyānī give contrasting accounts of its formation, but both agree on the significance of the work of Hakīm Partuvī Shīrāzī (d. 928/1520–21). An examination of his sāqī-nāma, together with two other early representatives of the genre by Sidqī Astarābādī (d. 952/1545) and Sharaf Jahān Qazvīnī (d. 968/1561), shows how closely this new genre was tied to the politics and ideology of the new Safavid state and reveals profound structural similarities to the preeminent panegyric genre of the Islamicate world, the qasīda. But once the basic components of the sāqī-nāmā were distilled and taken up by poets outside this socio-political environment, the genre proved to be as protean as the wine symbolism at its core. Cupbearer songs from the end of the century, particularly those of Muhammad Sūfī Māzandarānī (d. 1035/1625–26) and Sanjar Kāshānī (d. 1021/1612), show how the basic elements of the genre could be reconfigured to serve a variety of more personal interests.