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A theory considered earlier* (in relation to invasions of Britain, eg Saxon-Viking-Norman) suggests that quite apart from the effect of timing on their likelihood of occurrence and on their chance of success, the effect of a conquest will last only as long as some term within the cycle of which it is on the M~ side. So it is interesting to compare the duration of Barbarian Christian Europe ** – basically, so far, until now – with that of the Mongol and Timurid conquests,*** which were relatively short-lived, like the Viking conquests (and arguably the Norman) in Britain.

****

*ref VIII. [] ….

**& Islam? The religion has continued; but the Arab hegemony did not last beyond the Seljuks at the latest (1038[ce])

***[See last previous ts journal entry]

****& what about the Ottomans?

(See [[Redbook9:170][19910421:1410##]{[Islamic Art –] Visual Arts [continued –] The Late Period}[21st April 1991],] 170).

I don’t think this theory is watertight!

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The successful Mongol and Timurid invasions of Islamdom occurred around 2048J~. Is there anything that distinguishes these invasions from those of 2048S~M~U~ – eg the German[ic] invasions of Europe, and of course the Arab conquests themselves?

Not really.* Invasions can occur at any time, and any time is the M~ side of some cycle: in this case, the 1024-year cycle from 1024CE to 2048CE.

*But see below

[– next two ts journal entries]

**[on?]

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‘After architecture, the major arts of the Timurid period were those of the book: calligraphy,* illumination, miniature painting, and binding. We have seen how these developed in the late Mongol period and came to full fruition in the twin capitals of the Jalayrids, Tabriz and Baghdad. Under Shah Rukh these cities lost their primacy. Baghdad indeed recovered briefly when it was for five years, 1460-05[ce], the seat of government of Pir-Budaq, a Turkman princely connoisseur.’

**

*ref [[Redbook9:134][19910420:0953i]{Art Cycles (2 [continued])}[20th April 1991],] 134

{[[Redbook9:168-169][19910421:1410#]{[Islamic Art –] Visual Arts [continued –] Late Arts of the Book (1)}[21st April 1991],] 168}

**– ibid [Encyclopaedia of Visual Arts 3:] 453

[Source text continued from last previous ts journal entry]

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‘Herat at the end of the Timurid period was described by the future Emperor Babur in 1506, before its capture by Shaybani Khan, as full of learned men: poets, musicians, artists, calligraphers, bringing every work to perfection. But of all the palaces and gardens he visited, nothing remains today.

*

*– ibid [Encyclopaedia of Visual Arts 3:] 453

[Source text continues in next ts journal entry]

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‘The Timurid and Turkmen rule of eastern Anatolia, Iran, and central Asia (1370-1506[ce]).

The world-conqueror Timur Leng (Tamurlane)[,] in spite of his Muslim commitment, inflicted as great a damage on the lands which he subdued between 1370 and 1405* from Transoxiana to Turkey and Syria as had the Mongols 150 years earlier. At his death in 1405** he was leading a great army to the conquest of China where the first emperor of the Ming dynasty Hung Wu was as ruthless a general as himself; both rulers, however, were builders and patrons of the traditional arts.’

*{2048J~1280[ce]|{JG~1408[ce]|}G~1536[ce]}

**{2048JG~1408[ce]}

***– ibid [Encyclopaedia of Visual Arts 3:] 451

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*

*– ibid [Encyclopaedia of Visual Arts 3:] (446-)447

[The illustrations accompanying this double-page article are not reproduced here]

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*

*– ibid [Encyclopaedia of Visual Arts 3:] (446-)447

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[A continuation of the article begun in the last previous ts journal entry, describing Kufic script variations in detail, is not included here; it includes the sentence: 'The sacred import of the text is described in deliberate, abstract terms'.**]

*[It seems that at some stage the practice developed of giving Kufic script human heads!]

**– ibid [Encyclopaedia of Visual Arts 3:] (446-)447

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*

*– ibid [Encyclopaedia of Visual Arts 3:] 446(-447)

cf [[Redbook9:134][19910420:0953i]{Art Cycles (2 [continued])}[20th April 1991],] 134

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‘Influence from Inner Asia must have reached Egypt without passing through Iran, for the design and knotting of the Mamluk carpets of Cairo are distinct from the Persian in every way. The central design is of a star set in an octagon with the corners filled to make a square. This design originated in the Cloud Collar, a cosmological symbol which surrounded the peak of the nomad tent but had started as a Buddhist four-pointed cape. It can always be identified by the multiples of four and must have reached Mamluk Egypt through the Qipjaq on the Volga.’*

**

*{cf [[Redbook9:133-134][19910420:0953h]{Art Cycles (2)}[20th April 1991],] 134}

**– ibid [Encyclopaedia of Visual Arts 3:] 450-451

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‘The Mamluks (1250-1517).*

The Mamluks were recruited as slave troops under the Ayyubids,** mainly from the region north of the Black Sea, then in the hands of the Golden Horde, the westernmost branch of the Mongols. The word “Mamluk” means “freed” and only the slaves who had been given their freedom after conversion to Islam and meritorious service were entitled to the name and were then eligible for civilian as well as military office of high rank. In 1259[ce] the Mamluk Baybars succeeded to the Ayyubid Empire in the control of which he was aided by other Mamluk emirs. Their offices were not hereditary but had to be filled by new generations of Mamluks. Their sons, having been born free, were disqualified. It was remarkable that such a regime retained power for 250 years, though there was a change of line in 1382[ce]*** when the rule passed to the Circassian or Burji Mamluk emirs with Barquq (1382-99[ce]) as first of this new line.

‘The period until 1322[ce] was dominated by the struggle to stem the advance of the Mongol armies into Syria. In 1322[ce] a truce was arrange in Aleppo....’

****

*{2048J~1280|G~1536[ce]}

**The dynasty of Saladin, who grew up in the service of the Zangids.

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

[– A reference to the photocopied text in that ms & ts journal entry, omitted from the blogged version]

***{2048JG~1408}

****– ibid [Encyclopaedia of Visual Arts 3:] 449

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‘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]

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‘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]

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‘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

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*

[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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