Search published articles


Showing 4 results for Tombstone
From Bundarabad to New York: The Untold Story of a Historic Tombstone
Vahid Aghaie, Mohammad Hossein Dehghani , Zahra Danesh Heidari ,
Volume 3, Issue 2 (9-2020)
Abstract
In Gallery No. 455 of the Metropolitan Museum of Art, New York, USA, there is a historical tombstone, originally said to be from Yazd, Iran. The inscription on the stone dates to 759 AH. According to information provided by the museum on its website, the tombstone is attributed to a man named «Sheikh Mahmoud ibn Sada Muhammad,» who is described as the leader of a religious brotherhood. However, the study of the stone›s inscriptions, which, fortunately, are fully available
in both the original script and translation (Arabic and English) thanks to the museum, offers clues for further research into the true owner and the story behind it. Research into the gathered information, beginning with the inscriptions on the tombstone, reveals that the stone actually belongs to Sheikh Mahmoud ibn Taqi al-Din Dada Muhammad Yazdi, one of the great leaders of the Dada’iya Sufi order in Yazd, and a renowned Sufi of medieval Islamic Iran. His name and lineage have been mistakenly recorded, and the name of the Sufi order under his leadership, «Dada’iya,» was erroneously interpreted as a common colloquial term for «brother» in the local dialects of central Iran, particularly in cities like Isfahan and Yazd, where «Dadash» and «Dada» are used informally. This error led to his misidentification as the head of a religious brotherhood. According to descriptions from scholars based on local accounts, the tombstone—along with other gravestones of disciples and sheikhs of the Dada’iya order buried around Mahmoud Shah in the Bundarabad complex in Yazd—was taken abroad at an unknown time, likely in the late 19th to early 20th century, and later ended up in the Metropolitan Museum of Art, New York. This research note presents a description and narrative of this tombstone and the life of its owner, a story that begins in Bundarabad, Yazd, and continues in New York, USA.

Conservation and restoration of the tombstone belonging to the cultural heritage department of Oskou city
Samin Eshaghi Fesqendisi,
Volume 5, Issue 1 (3-2022)
Abstract
The present study examines and identifies the tombstone belonging to the cultural heritage department of Oskou city. The city of Oskou, located in the west of East Azerbaijan province, has many historical monuments, and gravestones are one of them. These symbols are considered as one of the cultural and social values ​​of the region and the process of formation of different types of patterns and decorations can be carefully studied in them. The tombstone studied in this research was obtained from the historical cemetery of Khosraq neighborhood and is currently located in the cultural heritage office of Oskou city. During this research, the pathological condition of this stone has been examined and historical and comparative studies have been conducted to identify the period of the effect and match it with similar stones. Also, attention has been paid to its technology, type of motifs and stone carving method. To identify the type of rock, thin sections have been prepared and analyzed by petrography (petrography). Finally, after taking actions such as documenting, cleaning, patching and reconstructing the missing parts, a proposed plan for protection, restoration, display and maintenance of the work has been presented.

An Introduction to the Islamic principles of Conservation and Restoration of Historical Tombstones Based on Sharia Laws and Requirements
Mehdi Razani, Parisa Zahedi, Omid Omidian,
Volume 5, Issue 4 (1-2023)
Abstract
Tombstones are composed of various stones adorned with different patterns and decorations, and their role in Islam and Iranian culture is considered integral cultural artefacts, with respect to the concept of life after death and their educative function to living people in reminding the concept of death and the eternal abode. In past societies, stones were perceived as the abodes of souls. This research employs a descriptive-analytical approach and library research method by exploring the various types of tombstones and diverse decorations associated with them in different Islamic periods, as well as the methods of conservation and restoration of tombstones. The paper also investigates the Islamic perspective on this matter. Restoration of Islamic tombs and tombstones is seen as a scholarly and practical endeavor, as evidenced by Islamic sources emphasizing the conservation of the tombs of divine figures, including the Imams, as a clear example of venerating religious symbols, a commendable practice and an emphasized aspect of Islam. Additionally, the restoration of the tombs of ordinary deceased individuals is justified due to its prominent role in reminding survivors of the concept of death and readiness for the journey to the eternal abode.

Typology, Characterization and Preservation-Digital Reconstruction of the Tombstone of Ohadi Maraghei
Parisa Zahedi,
Volume 5, Issue 4 (1-2023)
Abstract
The use of tombstones to mark the burial place of the dead is an ancient tradition. Over time, its types, shapes, and sizes depending on the traditions, culture, and religion, as well as the impact that the deceased had on his family and society during his lifetime has been changed. Tombstones also play an important role in preserving history, as they often have inscriptions that provide insight into the people buried beneath them and the cultural practices of that historical period. The tombstones of the Islamic period play an important role in recognizing Islamic culture in the past ages. Ohadi Maragheh is a poet of the late 7th and early 8th century AH, and his tomb is in a cemetery in Maragheh and his tombstone is a sandstone box with decorations and inscriptions. In this article, using field, library, and laboratory studies, the typology, characterization and preservation-digital reconstruction of the tombstone of Ohadi Maraghei have been studied. Using this method before carrying out physical conservation and restoration activities can be helpful in showing what will happen. The restorer can give researchers a general picture of the restored work by performing digital reconstructions.

Page 1 from 1