ZARATHUSHTRA - ANQUETIL-DUPERRON (Abraham-Hyacinthe). - Lot 57

ZARATHUSHTRA - ANQUETIL-DUPERRON (Abraham-Hyacinthe). Zend-Avesta, ouvrage de Zoroastre, Contenant les Idées Théologiques, Physiques & Morales de ce Législateur, les Cérémonies du Culte Religieux qu'il a établi, & plusieurs traits importants relatifs à l'ancienne Histoire des Perses... Paris: N. M. Tilliard, 1771. - Two volumes in 3 volumes in-4, 256x200: (1 f.), xxxvj pp., (1 f.), dxlij pp., 4 plates; (2 ff.), cxx, 432 pp., 1 plate; (2 ff.), 810 pp., 8 plates. Marbled calf, gilt roulette framing the boards, ornate ribbed spine, marbled edges (period binding). Brunet V, 1540. First edition dedicated "to the nations that possess the original text of the books of Zoroaster". An important work for followers of Zoroastrianism, Zoroaster's Zend-Avestra (Greek form of Zarathushtra) distills all its fundamentals: theological, physical and moral ideas, ceremonies of worship... "A highly sought-after work (sic), which includes a report of the translator's voyage to India" (Brunet). The translation is by Abraham-Hyacinthe Anquetil-Duperron (1731-1805), a famous French Orientalist who was instrumental in the discovery of Zoroastrianism and Hinduism in Europe. Having undertaken the study of the great sacred texts during a trip to India, he had the Avesta explained to him and published this edition in 1771. The sacred text is preceded by a long preface in which he explains the Avesta based on the life of the founder as taught by the Parsi priests. This publication gave rise to controversy in literary circles, who wanted to see in the Avesta a new philosophy. In particular, Anquetil-Duperron came up against the incredulity of Voltaire, who questioned the authenticity of "the abominable jumble attributed to this Zoroaster". The edition is illustrated with 13 engraved plates, including 6 fold-outs. These include reproductions of inscriptions in ancient Tamil, a view of the excavations at Keneri, depictions of priests at prayer, plans of various places of worship, etc. A good copy in contemporary binding, very well preserved. Slight tear on the first cover of the last volume. In the same volume, there are restorations at the bottom of the first few leaves and a tear in the margin of leaf Ddddd3.