{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 16)]}[21st April 1991]

[Redbook9:162][19910421:1410z]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 16)]}[21st April 1991]

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[continued]

‘Other types of decoration show figures in typical Mongol dress, often against a background dominated by a design in which lotus flowers are prominent, a motif introduced from the Far East or central Asia by the invaders.

‘Similar lotus flowers are also prominent in the decoration of the inlaid metal vessels, but on these the figures are more slender and elegant, wearing close-fitting caps.’

*

*– ibid [Encyclopaedia of Visual Arts 3:445]

[continued]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 15) – ]{... and the Zodiac [continued (6)]}}[21st April 1991]

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[continued]

‘In the principal room [of Abaqa’s summer palace, Saturiq]* tiles of elaborate technique were used to make panels with star and cross tiles with designs of dragon ** and phoenix in relief under turquoise or cobalt glaze and with overglaze gold enhancement.’

***

*{(In an old fire-temple in the crater of an extinct volcano, the palace being built around a lake)}

**

***– ibid [Encyclopaedia of Visual Arts 3:445]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 14) – ]{... and the Zodiac* [continued (5)]}}[21st April 1991]

[Redbook9:162][19910421:1410w]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 14) – ]{... and the Zodiac* [continued (5)]}}[21st April 1991]

19910421:1410

[continued]

‘The Mongol period:the Il-Khans and their successors in Persia, Mawarannahr, and Eastern Anatolia (1256-1370[ce])**

The great destructive sweeps of the Mongol hordes through Iran between 1220[ce] and 1230[ce] and the defeat of the Seljuks in Anatolia in 1243 were followed by the permanent rule of the grandson of Chingiz, Hulagu (1256-65[ce], as first Il-Khan of the west, who extended the conquest to Baghdad (1258[ce]), Aleppo and Damascus (1260[ce]) and under Abaqa (1265-81[ce] his son, from 1278[ce] to Eastern Anatolia.***

‘The Mongols continued to prefer a semi-nomadic existence, moving each year between summer pastures in the lower mountains, and winter pastures in the plain.’

****

*[Sic. See next ts journal entry?]

**{2048J~1280|JG~1408[ce]}

***2048J~1280[ce]

****– ibid [Encyclopaedia of Visual Arts 3:] 445

[continued]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 13) – ]{... and the Zodiac [continued (4)]}[Interest in Antiquity]}[21st April 1991]

[Redbook9:161][19910421:1410v]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 13) – ]{... and the Zodiac [continued (4)]}[Interest in Antiquity]}[21st April 1991]

19910421:1410

[continued]

*

[PHOTOCOPIED EXTRACT OMITTED FROM BLOG]

**

*[‘[The Artukid Najm al-Din]’s successors c[irca]1200[ce] put signs of the Zodiac on their coins....’]

[Extracted from the large extract photocopied in this ts journal entry, the rest of which seems hardly relevant to the {subsequently added} journal heading (& is not included in the blogged version) but may have been included for an early reference to a circa 12^th century ce Artukid interest in antiquity]

**– ibid [Encyclopaedia of Visual Arts 3:] 444

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 12) – ]{... and the Zodiac [continued (3)]}}[21st April 1991]

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[continued]

‘The back of a bronze mirror [from 13th-century Amid (Dyarbakr) of the Artukids]* (Collection of Prince Ottingen-Wallenstein) shows signs of the Zodiac arranged around a spread-eagle, like those on the walls of Amid, and seven busts of men, like figures in Armenian churches.’

**

*[Square brackets per ms, indicating insertion in ms]

**– ibid [Encyclopaedia of Visual Arts 3: 443]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 11) – ]{... and the Zodiac [continued]}}[21st April 1991]

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[continued]

‘Similar austere decoration is found on other Seljuk buildings on which motifs like the dragon,* tree of life, and lion-killing bull** are represented. The Artukids were also great bridge-builders during the 12^th century, one of which was decorated with carved signs of the Zodiac.’

***

‘In the 14^th century**** a new style of design appears, in which the dominant motif is a stylised animal, eagle, or dragon, within a frame, arranged as a repeat pattern in groups of six or more. This type is best known for its representation in Italian paintings of the 14^th and 15^th centuries.# Such designs might have derived from Byzantine silk textiles in which roundels containing animals, eagles or confronted birds are common; but they are also found in stone carvings of the Seljuk period as at Diyarbakr, while a double-headed eagle is painted in gold on a red ground#* on the inner surface of a carved wood Koran stand in Konya, dated 678-1279/80[ce],#** with carved inscription of dedication to the mausoleum of the great mystic Jalal al-Din Rumi (ob[it] 1273[ce]). The dragon and phoenix are not likely to have appeared in Anatolia #*** before the Mongol conquest of 1243[ce].’

#****

*J~-A~

**J~

{cf T.XI}

***– ibid [Encyclopaedia of Visual Arts 3:441]

****{2048J~1280|JG~1408[ce]}

#{2048JG~1408[ce]}

#*

#**!

[sic]

#***?

#****– ibid [Encyclopaedia of Visual Arts 3]: 443

[These two ms paragraphs were almost certainly originally intended to be typed as two separate ts entries]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 10) – ]{... and the Zodiac}*}[21st April 1991]

[Redbook9:158-159][19910421:1410s]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 10) – ]{... and the Zodiac}*}[21st April 1991]

19910421:1410

[continued]

‘The Seljuks of Rum (1077-1278[ce] and the Atabeg Dynasties.

The Turkish absorption of Anatolia (modern Turkey) into its hegemony was gradual, and proceeded at two levels. At the top the Great Seljuk Alp Arslan (1063-72[ce]) destroyed the Armenian Kingdom at Ani in 1065[ce] and defeated the Byzantine Emperor Romanus Diogenes at Manzikert in 1071[ce], marking the permanent loss to** Byzantium of Eastern Anatolia. On the demographic level, the Turkman Nomad tribes which provided the rank and file of the Seljuk army found the high tablelands of central Anatolia congenial to their way of life and started to settle. This explains the extent to which local building traditions were accepted by the Seljuks in Anatolia, in stone structure and sculpture, in which Armenian influence is clearly seen in octagonal form and conical roofs and above all in the rise of relief carving to decorate the outside of buildings.’

***

*[sic – see next ts journal entry]

**[ie from]

***– ibid [Encyclopaedia of Visual Arts 3]: 441

[continued]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 9) – ]{Leo.... [continued (6)]}}[21st April 1991]

[Redbook9:158][19910421:1410r]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued 9) – ]{Leo.... [continued (6)]}}[21st April 1991]

19910421:1410

[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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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (8) – ]{Leo.... [continued (5)]}}[21st April 1991]

[Redbook9:158][19910421:1410q]{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (8) – ]{Leo.... [continued (5)]}}[21st April 1991]

19910421:1410

[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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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (7) – ]{Leo.... [continued (4)]}}[21st April 1991]

[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]

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{[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

[continued]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (5) – ]{Leo.... [continued]}}[21st April 1991]

[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]

[continued]

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{[Islamic Art –] Visual Arts [continued –] Periods of Islamic Art [continued (4) – ]{Leo....}}[21st April 1991]

[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 11^th 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]

[continued]

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