{[Islamic Art –] Visual Arts [continued –] Invasion and Migration [continued (6)]}[21st April 1991]

[Redbook9:167-168][19910421:1410ll]{[Islamic Art –] Visual Arts [continued –] Invasion and Migration [continued (6)]}[21st April 1991]

19910421:1410

[continued]

It must also be borne in mind* that two critical factors in the success of a military campaign are the condition of the aggressor and the condition of the defender. M~ is the side of concentration, G~ of dissolution: so that although in theory M~ favours the determined actor, this is counterbalanced by the tendency towards dissolution around G~. Presumably dissolution is worse news for stable** societies than for nomadic ones, in whom it is even more likely than in the former to take the form*** of a tendency towards outward migration: ‘The great destructive sweep of the Mongol hordes through Iran...’.**** In other words, outward emigration is bad# for cities and agricultural economies, but good for nomadic peoples; it may look like a concentrated military invasion typical of M~, and will probably have elements of that on some scale, but it is essentially quite different.

*[re last two previous ts journal entries, [Redbook9:167][19910421:1410jj]{[Islamic Art –] Visual Arts [continued –] Invasion and Migration [continued (4)]}[21st April 1991]&f]

**[ie settled? – physically]

***(as in the last 3 centuries in Europe)

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

(quoting ibid [Encyclopaedia of Visual Arts 3:] 445)

#or at least potentially weakening

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