Maria V. Mavroudi

Paul Magdalino

This volume represents the first attempt to examine occult sciences as a distinct category of Byzantine intellectual culture. It is concerned with both the reality and the image of the occult sciences in Byzantium, and seeks, above all, to represent them in their social and cultural context as a historical phenomenon. The eleven essays demonstrate that Byzantium was not marginal to the scientific culture of the Middle Ages, and that the occult sciences were not marginal to the learned culture of the medieval Byzantine world.

The Occult Sciences in Byzantium

Massumeh Farhad

Serpil Bağcı

"Praised by the New York Times as "a highly important exhibition book," this lavishly produced catalog reproduces illustrated texts from the groundbreaking exhibition at the Arthur M. Sackler Gallery. Called "fabulous" by the Washington Post, Falnama was the first show of its kind dedicated to the art of divination in the Islamic world. The Falnama were brilliantly painted compositions created in Safavid Iran and Ottoman Turkey in the sixteenth and early seventeenth centuries. Falnama: The Book of Omens combines rare images with scholarly texts on the deeper meaning of dreams, omens, and divination. Featured in this first publication ever devoted to the Falnama as a genre are intact volumes as well as text folios and illustrations now dispersed among international public and private collections. Essays by scholars of Safavid, Ottoman, and Byzantine history and language, complemented by full-color illustrations, offer detailed analysis of the form, content, and meaning of these rarely seen works of art. The first-ever translations of three of the four monumental copies provide insight into a vivid and enduring aspect of human concern--the unknown."--Publisher's website

The Book of Omens

Falnama

This volume discusses the so-called Oneirocriticon of Achmet, the most important Byzantine work on dream interpretation which was written in Greek in the 10th century and has greatly influenced subsequent dreambooks in Byzantine Greek, Medieval Latin, and modern European languages.By comparing the Oneirocriticon with the 2nd-century A.D. dreambook of Artemidoros (translated into Arabic in the 9th century) and five medieval Arabic dreambooks, this study demonstrates that the Oneirocriticon is a Christian Greek adaption of Islamic Arabic material and that the similarities between it and Artemidoros are due to the influence of Artemidoros on the Arabic sources of the Byzantine work. The Oneirocriticons textual tradition, its language, the identities of its author and patron, and its position among other Byzantine translations from Arabic into Greek are also investigated.

Maria V. Mavroudi

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