[Redbook9:158][19910421:1410r]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 9) – ]{Leo.... [continued (6)]}}[21st April 1991]
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[continued]
‘… The extraordinary ewer in the form of a cow and calf attacked by a lioness and dated 1206[ce]’*
**
*cf T[arot].XI?
**– ibid [Encyclopaedia of Visual Arts 3]: 441
[continued]
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[Redbook9:158][19910421:1410q]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (8) – ]{Leo.... [continued (5)]}}[21st April 1991]
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[continued]
‘Iran and the East under the Ghaznevids (977-1164[ce]), the Ghurids (1148-1215[ce]), and the Seljuks (1038-1194[ce])’
*
*– ibid [Encyclopaedia of Visual Arts 3]: 436 (heading)
[Unclear why this is in the ms in this form, but it does at least allow a quick win in the post-typing schedule]
[continued]
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[Redbook9:158][19910421:1410p]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (7) – ]{Leo.... [continued (4)]}}[21st April 1991]
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[continued]
The year of the emigration to Medina was 622[ce], from which the Muslim calendar is counted (in Latin, Anno Hegirae); Muhammed died in 632[ce]. The year 640, curiously enough, is the bi-millennial dividing line between 2048M~512[ce] and 2048U~768[ce],* so that the Muslim era of conquest began virtually at the commencement of the U~ 1/8th sector, U~ being of course associated with Leo in the Zodiac and probably with the Lion (of the ancient 4 creatures) from religious symbolism.**
***
*ie
|
768 |
|
(512) |
= |
256 |
/ |
2 |
= |
128 |
+ |
512 |
= |
640 |
**[But all the dates in the last three previous ts journal entries [[Redbook9:156-157][19910421:1410m]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (4) – ]{Leo....}}[21st April 1991]ff], are in or very near to the following 2048-year eighth sector, 2048J~1152-1408ce, which is not (except negatively in T.IX) associated with Leo]
***{See [[Redbook9:116][19910415:0840j]{[Islamic Art –] The Word (2) [continued (28)]}[15th April 1991],] 116,
[[Redbook9:146][19910420:0953gg]{[Islamic Art –] Visual Arts [continued –] Late Period of Islamic Art [continued (9)]}[20th April 1991][fn=3],] 146,
[[Redbook9:147][19910420:0953kk]{[Islamic Art –] Visual Arts [continued –] [Unity of Functions]&f}[20th April 1991],] 147}
[The last two references are relatively lightly written, suggesting a later addition &/or less conviction than for the first]
[continued]
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[Redbook9:157][19910421:1410o]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (6) – ]{Leo.... [continued (3)]}}[21st April 1991]
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[continued]
*
‘In textiles, Italian looms first initiated the brocades at Genoa and their designs appear in inlaid marble pavements, for instance in S. Miniato al Monte (1207) and the Baptistry at e (1209), in both of which Signs of the Zodiac** and affronted [sic] lions*** are of Islamic derivation.’
****
*[Source text continues from last previous ts journal entry]
**[See [Redbook9:155-156][19910421:1410#]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (#) – ]{... & the Zodiac}[21st April 1991]]
***U~
****– ibid [Encyclopaedia of Visual Arts 3]: 435-436
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[Redbook9:157][19910421:1410n]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (5) – ]{Leo.... [continued]}}[21st April 1991]
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[continued]
*
‘A fine globe dated 1274-5[ce] and made by an astronomer of Mosul in Iraq, reached the British Museum in London in 1871. On it the lion’s head is still recognizably of the same form as on the coronation robe.** This is also adorned with a series of small square enamelled gold plaques placed along the straight edges and with two much larger enamelled clasps believed to be contemporary work and also made by Muslim craftsmen in Palermo when the city was full of Arabs, especially around the Court.
***
*[Source text continues from last previous ts journal entry]
**[See last previous ts journal entry]
That’s odd.
***[– ibid (Encyclopaedia of Visual Arts 3:) 435-436]
[Source text continues with new paragraph in next ts journal entry]
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[Redbook9:156-157][19910421:1410m]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (4) – ]{Leo....}}[21st April 1991]
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[continued]
‘Sicily was, with Spain, a principal route for the entry of Muslim art to Europe. Among the regalia of the Holy Roman Emperors transferred to Germany in 1194* by the Hohenstaufen Henry VI** on his marriage with Constance, daughter of Roger II, was the coronation robe made for Roger in Palermo in 1133-4,*** in accordance [sic] with the Kufic inscription embroidered in gold along its lower edge. The main element of the design embroidered in gold on a Byzantine red silk ground shows identical images in reverse of a lion bringing down a camel**** and with a stylized date-palm in the center. The outline is vigorous and the action almost natural, but the detail is highly stylised and completely flat, the indication of mane and ribs being reduced to a pattern, while the lion mask is almost floral. Space-filling floral arabesques are introduced on the bodies of both lion and camel, while stars of different magnitudes are indicated at several points, as in astronomical illustrations found in manuscripts of as-Sufi who wrote his book on the Forms of the Fixed Stars under the Bayids in 960[ce], and of which a copy dated 1009[ce] is in the Bodleian Library, Oxford, and also on the related celestial globes, the earliest surviving examples of which were made in Spain in the 11th century.#
#*
*{2048AJ~1152[ce]}
**{[[Redbook9:101][19910414:1104h]{Islamic Cultural Influence}[14th April 1991]] 101}
***{2048AJ~1152}
****cf [[Redbook9:152][19910421:1410e]{[Islamic Art –] Visual Arts [continued –] The Tree of Wisdom}[21st April 1991],] 152
#[sic]
#*[– ibid (Encyclopaedia of Visual Arts 3:) 435-436]
[Source text continues with new paragraph in next ts journal entry]
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[Redbook9:155-156][19910421:1410l]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (3)]}[21st April 1991]
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*
‘The first four Fatamid Caliphs remained in Africa but [sic] in 973[ce]** al-Mu’izz moved to Egypt in the hope of deposing the Abbasids in Baghdad. Thus Shii rule was brought to Egypt and even to the holy cities of Mecca and Medina; but Syria was only temporarily in their power and their emissaries were present in Iran, where the extreme Ismaili established themselves in castle strongholds in the mountain valleys of Dailam. From Africa they had conquered Sicily between 916 and 965.*** Subsequently the island became virtually independent; while soon after, before 1051[ce],**** Africa also fell from their grasp. It is therefore as rulers of Egypt that the Fatamids made their major impact on the Islamic world and by their contacts with Europe through the Normans in Sicily.’
#
*[Source text continues from last previous ts journal entry]
**{2048A~1024[ce]}
***{2048UA~896[ce]}
****{2048A~1024[ce]}
#– ibid [Encyclopaedia of Visual Arts 3]: 433
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[Redbook9:155][19910421:1410k]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued]}[21st April 1991]
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[continued]
‘The Fatamids and the Islamic World (915-1171[ce]).*
Nothing shows more clearly the decline in authority of the Abbasid caliphs than the rise to power of the Fatamids. For they went so far as to set themselves up as a rival Caliphate and by their propaganda did all in their power to discredit the Abbasids in Baghdad. Claming descent from the daughter of the Prophet, Fatima,** the founder of the line Ubayd Allah Sa’id, after the preparation of*** Ismaili missionaries, left Syria in 903[ce]**** and took the title of Mahdi, or Divinely Designated Leader, in 910[ce]**** at Rakkada in Tunisia.
#
*{2048UA~896|A~1024|AJ~1152}
**(ie & Ali)
***=by?
****{2048UA~896[ce]}
#[– ibid (Encyclopaedia of Visual Arts 3:) 433]
[Source text continues with new paragraph in next ts journal entry]
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[Redbook9:155][19910421:1410j]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art}[21st April 1991]
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[continued]
‘Iran under the Samavids and the Bayids (874-1037[ce]).*
Politically this period marks the beginning of the decline of the Abbasid caliphate as a power centre; in the history of art it is notable for the revival of specific Persian art forms based on the pre-Islamic traditions of the Sassanian era.’
**
*2048U~768|{UA~876|}A~1024[ce]
***– ibid [Encyclopaedia of Visual Arts 3]: 431
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[Redbook9:154][19910421:1410i]{[Islamic Art –] Visual Arts [continued –] [Cairo]}[21st April 1991]
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[continued]
‘Another fine example of influence from Baghdad introduced into Cairo is found in a long wooden frieze from the great cemetery, now in the Museum of Islamic Art. This contains elements of Sassanian design, a winged diadem alternating with a tree of life and palmettes but here combined with Coptic style vegetation, the whole being framed with Koranic texts in an elongated Kufic of 9th century [ce] style.’
*
*– ibid [Encyclopaedia of Visual Arts 3]: 430-431
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[Redbook9:153-154][19910421:1410h]{[Islamic Art –] Visual Arts [continued –] [Samarra]}[21st April 1991]
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[continued]
‘Meanwhile the attempt was made by the Caliph Mutasim (833-42[ce])* to escape from popular pressure and to separate his troops from the populace by constructing a new palace-city some 70 miles (112km) higher up the Tigris at Samarra. A vast congregational mosque was built to contain the Caliph’s household, a great walled enclosure (sahn) with eight bays on the south side and four on each of the other three. The most remarkable feature of this mosque is the minaret which is the oldest surviving example of this feature.*** All that was required was a place from which to make the call to prayer at the five stated hours; and for this the roof would normally have sufficed. Here at Samarra the minaret is a separate structure, a tapering spiral tower** to be ascended by a ramp round the outside, and without decoration; but its height and monumental scale recall the ancient ziggurat [sic] and its purpose must have been to impress. The form was copied at Cairo in the mosque of ibn [sic] Talun;**** but earlier is the tower minaret of the Great Mosque at Qairawan (724-7[ce] or 836[ce])# and this square shape was the usual form in Syria until the 12th century.’
#*
*{2048U~A~896[ce]}
**[See last previous ts journal entry but one, [Redbook9:153][19910421:1410f]{[Islamic Art –] Visual Arts [continued –] The Ziggurat at Samarra}[21st April 1991]]
***(sic)
****(where ‘the original minaret, derived from Samarra in its corkscrew form, is now represented by a renewal of 1296’
– ibid [Encyclopaedia of Visual Arts 3]: 430)
#~2048U~768[ce]
#*– ibid [Encyclopaedia of Visual Arts 3]: 429
[continued]
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[Redbook9:153][19910421:1410g]{[Islamic Art –] Visual Arts [continued –] [Baghdad]}[21st April 1991]
19910421:1410
[continued]
‘The new capital city of Baghdad,* founded in 762[ce],** was designed as a round shape with gates at the four quarters to symbolise the central point of an empire which revolved around the caliph in his palace at its heart.’
***
*(‘The Abbasid Period 750-940[ce]’)***
**{2048U~768[ce]}
***– ibid [Encyclopaedia of Visual Arts 3:429]
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[Redbook9:153][19910421:1410f]{[Islamic Art –] Visual Arts [continued –] The Ziggurat at Samarra}[21st April 1991]
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[continued]
*
**
*{Note 7 levels? (above ground level)}
**[The photograph reproduced in the ts (above), captioned ‘The historic Great Mosque of Samarra, Iraq – Times of India’, replaces an image reproduced in the ms captioned ‘The minaret of the Great Mosque of al-Mutawakkil at Samarra; 848-52[ce]’ (ibid [Encyclopaedia of Visual Arts 3]: 429)]
[See next ts journal entry but one, [Redbook9:153][19910421:1410f]{[Islamic Art –] Visual Arts [continued –] [Samarra]}[21st April 1991]]
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[Redbook9:152][19910421:1410e]{[Islamic Art –] Visual Arts [continued –] The Tree of Wisdom}[21st April 1991]
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[continued]
*
**
‘[***Khirbat al-Mafjar]**** is remarkable above all for the splendid floor mosaics, especially one depicting two deer feeding upon a great fruiting tree while a lion has pounced upon another deer# on the opposite side. According to Ettinghausen, this may symbolize the Tree of Wisdom under which the Peace of Islam is contrasted with the rule of force outside.’
#*
*[An illustration from ibid [Encyclopaedia of Visual Arts 3]: 428 reproduced here in the ms but not reproduced in the ts is captioned: ‘The “Tree of Wisdom” mosaic in the unfinished palace of Khirbat al-Mafjar, near Jericho; c[irca]730[ce]’.]
**cf VIII: [[Redbook8:268][19910219:1155f]{Christians and Pagans [continued (3)]}[19th February 1991],] 268
***[The unfinished palace of]
****[Square brackets in text per ms]
#[cf [Redbook9:155-156][19910421:1410l]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (3) – ]{Leo....}}[21st April 1991]]
#* – ibid [Encyclopaedia of Visual Arts 3]: 428
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