.
.

(the following are linked to more information on each title)

The Persian Arts


Mage Publishes one or two books a year of about the Persian arts in English.

The Persian Garden: Echoes of Paradise surveys the 3,000 year history of the Persian garden, which has been a focus of Iran's national imagination, influencing its art, literature, and even religion. The Persian garden's inspirational role has, however, extended far beyond the land of its origin; its precepts have exerted a profound influence on garden design around the world.

The Art of Persian Music demonstrates how the classical music of Iran is as fine, subtle, and beautiful as a Persian carpet, and yet for the most part it has remained unknown in the West. It has unique aesthetic qualities quite different from Western music. It is monophonic, undramatic, and mostly solo, with rich modal variety and melodic subtlety--an intimate music of the spirit most appreciated by the initiated.

Ardeshir Mohassess, for many years Iran’s greatest satirist, is an artist of the first order, and as with all true artists he is an antenna and decoder of the society in which he lives.

Iran the Beautiful demonstrates in photographs distinctive ways in which Iran is one of the most photogenic countries in the world -- a place where dazzling architecture is set amid desolate expanses of desert or steppe; where snow-capped mountains plunge dramatically to a seacoast of steamy lushness; where nomads guide their flocks to seasonal pasturelands; where tombs, temples, castles, and mosques bespeak the richness of the Persian past.

Mage's three-volume Shahnameh: The Persian Book of Kings is illustrated with details from hundreds of Persian miniature paintings from the 14th, 15th, 16th and 17th centuries. These books not only present the most complete translation of the Shahnameh but also serve as a repository of some of the greatest Persian miniature paintings.

In the CD collection Hafez: Songs in Tajikistan, the renowned musicologist Jean During gathers a dozen songs, mostly from Tajikistan, composed around the poetry of the Persian poet Hafez. In Iran, Hafez’s poetry is always sung in the free classical style, and rarely in songs with measured rhythms. In the traditions of Transoxiana, on the other hand, almost all classical and semi-classical songs use poems by major and minor poets, ancient and modern. Here, creativity is expressed not through improvisation but in traditional arrangements and compositions, and the result is music of great quality and originality

<