{[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]

[continued]

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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]

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[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

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{[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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{[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]

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{[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

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{[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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{[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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[continued]

*

‘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

[continued]

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

[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]

[continued]

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

[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

[continued]

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