Early Islamic Art

Bu çalışma, Ahmet Hamdi Akseki Camii'nin mimarisini ve süsleme programını eklektik bir yaklaşımla değerlendirmeyi amaçlamaktadır. Geleneksel Türk-İslam mimarisi ile modern mimarlığın birleştirildiği bu cami, Osmanlı ve Selçuklu motiflerini modern malzeme ve tekniklerle yorumlamış, ancak estetik uyumda zaman zaman eksiklikler gözlemlenmiştir. Çalışmada caminin plan düzeni, yapı elemanları, malzeme ve tekniği ile süsleme unsurları ele alınmış, geçmişe referans veren detayların modern bir bağlamda nasıl uygulandığı incelenmiştir. Yöntem olarak literatür taraması ve yapı incelemesi temel alınmıştır. Çalışmanın sonuçları, caminin modern ihtiyaçlara uygun olarak geniş ve ferah bir mekân sunmasına rağmen, geleneksel ve modern unsurlar arasında güçlü bir sentez oluşturamadığını ortaya koymaktadır. Özellikle celi sülüs hat yazıları, yıldız motifleri ve mermer mihrap gibi detaylar, yapının geleneksel estetik değerlerini güçlü bir şekilde yansıtırken, tasarımda modern dokunuşların daha yaratıcı şekilde entegre edilmesi gerektiği vurgulanmıştır. Ahmet Hamdi Akseki Camii, geleneksel ve modern mimarlığın kesişim noktasında önemli bir örnek olup, cami mimarisindeki eklektik yaklaşıma dair özgün bir inceleme sunmaktadır.

В 1897-1898 гг. в коллекцию коптских тканей Эрмитажа поступили четыре шелковых фрагмента тканей, привезенные В. Г. Боком из поездки в Египет. Сюжет, изображенный на этих фрагментах, долгое время оставался неясным. В статье предложена реконструкция украшавшего их рисунка и текстильного изделия, частью которого они являлись, основанная на тщательном изучении как самих фрагментов, так и их аналогов. Гобеленовая техника с использованием шелкового утка и иконография фрагментов позволяют предположить, что работа была выполнена в древнем текстильном центре Египта-городе Ахмиме в VIII-IX вв. Превосходное качество тканой полосы свидетельствует, что эти шелковые клавы были очень дорогими изделиями, которые обычно изготавливали под заказ для достаточно состоятельных клиентов. Опираясь на аналоги, можно предположить, что было выполнено несколько комплектов декора с таким рисунком.

Examining ritual uses of scent in early Islamic sacred spaces, this article highlights the olfactory aspects of a set of columns and stones in Mecca and Medina that commemorated places where the Prophet Muḥammad was said to have performed ritual prayer. Several such locations of the Prophet's prayers became memorialized sites of visitation and ritualization over the course of the seventh to ninth centuries. At a number of these sites, perfume was applied to parts of the buildings, apparently to mark them as spaces associated with the memory of the Prophet's presence and, thereby, to highlight them as worthy of veneration. At the same time, contestation also emerged regarding the application of scent to these spaces, perhaps resulting from the complex and contradictory valences of perfume in the early Islamic sensorium.

L es individus qui s'exprimèrent sur la pierre au moyen de leurs graffiti n'imaginaient certainement pas que leur geste aurait une telle portée. Plus d'un millénaire après avoir été gravés, ces « petits textes » en langue arabe nous en disent pourtant long sur leurs auteurs, leur rapport à l'écriture, à leurs croyances et d'une manière générale au monde qui les entoure. Ils furent les témoins privilégiés des bouleversements religieux, sociaux, économiques et politiques qui secouèrent la péninsule Arabique puis l'ensemble du Proche-Orient à partir du vii e siècle. C'est l'une des raisons qui explique tout l'intérêt porté actuellement par la recherche occidentale comme arabe pour le phénomène des graffiti arabes et islamiques. Les épigraphistes, les historiens et les chercheurs d'autres disciplines des sciences humaines s'appliquent aujourd'hui à cerner toute l'importance de ce nouveau front de la recherche afin d'en définir les contours scientifiques. Ils ont donc investi le champ de la graffitologie et se sont mobilisés autour de ses principales thématiques que sont le religieux et l'expression de la foi, la langue et l'écriture arabes, le Coran et la représentation du divin, le prophétisme, etc., comme une source de connaissance inédite des premiers temps de la civilisation arabe et musulmane.

Arma kullanımı, doğrudan üst düzey devlet yetkililerinin şahsi
hizmetlerini temsil etmesi ve hizmetin muhtevasını vurgulayan
simgesel öğeler taşıması bakımından, Memlûk sanatına, nevi şahsına
münhasır bir boyut kazandırır. Armalar Memlûklü mimarisinde
ekseriyetle taçkapı, kapı, pencere ve mihraplara işlenmiş; nadir olarak
zemin döşemelerinde de kullanılmıştır. Ayrıca saray, cami, medrese,
hastane gibi yapıların cephelerine kabartma olarak da yerleştirilirdi.
Böylece sultanın statü ve otoritesi her fırsatta hatırlatılırdı.

A variety of sources report that the Sasanian king Khusraw II (r. 590-628) commissioned the construction of an imposing throne designed to celebrate his prowess as a ruler and the grandeur of the Sasanian dynasty. These sources describe the throne as a complex machine capable of movement, recreating natural sounds, and computing time. Approximately a century after the fall of the Sasanian Empire, the Abbasid Caliph al-Manṣūr (r. 754-775) founded a new capital for his empire, Baghdad. Following the example of the Sasanians, whom the Abbasids considered as a model of political authority, the caliphal court maintained a collection of ingenious devices. A comparative study of these instruments in the Sasanian and Abbasid courts reveals their significant political function and question the possible Abbasids’ recovery and integration of Sasanian technical knowledge and motifs into the Islamic context.

How can wonders be used to travel, perform pilgrimage and translocate oneself? How can paintings transport one to ports, across oceans, to distant lands and beyond? Fantastic islands, beasts, flora and fauna and maritime trade factor into many of the entries on seas (al-biḥār) found in illustrated Persian and Arabic wonders-of-creation cosmographies. The combination of word, image and extant evidence from these coastal or Oceanic sites allows for nuanced interpretations of how one may ‘sail’ or ‘stroll’ through these books. This chapter concentrates on an illustrated manuscript from the University of St Andrews Special Collections attributed to North India, c. 1780–1820. The book St Andrews Ms32(o) comprises of two texts focused on the natural world and bears numerous illustrations. The codex’s first text is the ‘Ayn al-Hayat (Source of Life), a Persian adaptation of the ‘Aja’ib al-Dahr (Wonders of the Universe) of Kamal al-Din Muhammad ibn Musa al-Damiri (1341–1405). ‘Ayn al- Hayat was composed by al-Damamini, an Egyptian who travelled to Yemen, the Deccan, and completed his work in Gujarat in 1420. The second is a Persian cosmography’s sections on seas and islands. In its resonances with multiple genres including anthology, geography and cosmography, this manuscript both codifies and creates new visions of the seas as both dangerous terrains and sites of breath-taking revelation. Through an analysis of the St Andrews book’s hyperbolic wonders – many of which are unfinished paintings – I argue that it resists the decline of non-modern affective programmes of wonder, especially as it is made on the eve of full-fledged colonial modernity.

The Royal Museums of Art and History keep more than 600 fabrics from Egypt, dating from Late Antiquity to the Mamluk period. The first two lots were purchased in 1887 from Albert Daninos Pacha and Franz Bock of which the majority was registered as coming from Akhmim. The fabrics were exhibited as early examples in the evolution of textile history and as models for (textile) designers, artists and manufacturers. In 1900, Isabella Errera donated over 200 Egyptian fabrics, many of which were purchased from Stanislas Baron in Paris, who was himself a customer of Robert Forrer in Strasbourg. Many textiles originate from Forrer’s collection that he already constituted prior to the start of his excavations at Akhmim in 1894–1895. In 1901, Jean Capart made an important purchase at an auction at the Musée Guimet in Paris: the mummy and grave content of the “embroideress Euphemia” and the partial grave content of Aurelios Kolluthos and his wife Tisoia, both excavated in the necropolis of Antinoopolis by Albert Gayet in 1899–1900. The contents of both tombs included impressive textiles that, unlike the previously acquired pieces, were displayed as part of a funerary context.

First paragraph:

Jihād – striving or fighting “in the path of God” – and its aims, legitimation, and practices are topics that in the course of history occupied the minds of Muslims and non-Muslims time and again. The resurgence of jihād since the 1980s has again aroused broad interest in the topic and led to a wave of publications, including studies that deal with the historical aspects of the phenomenon.

In the early generations of Islam, the Successors (al-tābiʿūn) played an important role by making significant contribution to the formation of Islamic sciences such as fiqh, ḥadīth, and tafsīr. Thus, it is not surprising to see var-ious references to their opinions in the early examples of different Islamic literary genres. For example, early ḥadīth collections include a great num-ber of traditions attributed to the Successors – which would later be called al-ḥadīth al-maqṭūʿ – alongside those attributed to the Prophet. This paper, focusing on the usages of al-ḥadīth al-maqṭūʿ in the early ḥadīth literature, is an inquiry into why the Successors’ opinions constituted such an important part of ḥadīth collections. It argues that the veneration of the Successors is derived from the common recognition that they were better qualified to understand religious texts than later generations and that even their personal opinions were either based on the religious texts or at least consistent with them. The historical basis of this widely accepted recognition is the existence of an intimate and close teacher-student relationship between the Companions and the Successors, which made it possible for the latter to inherit the knowledge of the former.

The understanding of r al-hijra, whose roots lie in the emigration of the Prophet Mu ammad from Mecca to Medina, has found a significant place in the history of Islamic sects. By making this notion a part of their creeds, the Kh rij s and the Ism s have endeavored to legitimize some of their views. In this article, we try to bring to light how these sects understand the notion of r al-hijra and what elements regarding the creed were later added to this concept.

The Wadi al-Khirqa graffiti site lies in the Óisma plateau in the northern Hijaz, which has been known as maktabat al-Arab ('library of the Arabs') 1 due to its numerous works of rock art and inscriptions left by human beings throughout history. Many early Islamic graffiti of the plateau have been found along the pilgrim route connecting Syria and the two holy cities in the Hijaz; however, their existence is not only confined to the areas along major pilgrim routes but also sometimes found in places far removed from them. One such graffiti site, Wadi al-Khirqa, is situated about 75 km northwest of Tabuk [Figure 18.1], which is far from any major route throughout history. The nearest route from this point was the ancient caravan route called Darb al-Bakra, but it runs some 10 km east of it. 2 In March 2017 a survey of the Wadi al-Khirqa graffiti was realised as a part of the Saudi-Japanese al-Jawf/Tabk Archaeological Project, a joint mission of Kanazawa University (Japan) and the Saudi Commission for Tourism and National Heritage 3. Our team 1 This appellation is after St John Philby's description in The Land of Midian (London: Ernest Benn Limited, 1957), p. 158: 'The Hisma plateau in its entirety is an immense library and picture gallery of the literature and art of the ancient Arabs'. 2 Darb al-Bakra is an ancient route between al-Óijr (Madain Salih) and Petra discovered by Dr AlÈ al-Ghabbån. In addition to various ancient graffiti, early Islamic graffiti by the local population was found along the route. Laïla Nehmé et al.

This paper sheds light on curious vessels unearthed in well-dated
Early Islamic contexts in the regions of Jund Filastin and Jund alUrdunn. These special vessels include alembics, a miniature spouted
vessel, kuttrolf (vessels with multiple tubes), tube-shaped vessels with
various shapes and decorations, zoomorphic vessels, vessels with basket
handles or additional feet, and vessels with cage-like zigzag trail decoration.
Additionally, there were special objects discovered such as stirring rods and
horseshoe-shaped objects2
.
Until recently, most of these objects had only been identified through
collections. However, in the past thirty years, examples found in documented
excavations in the Eastern Mediterranean, particularly in Israel, have been
recorded. As a result, gathering information from well-provenanced sites
can provide details about the geographic distribution of these vessels and
suggest the existence of production centers.

In the year 250/864-65, Baghdad's governor Muḥammad b. ʿAbd Allāh b. Ṭāhir ordered the defilement of a prisoner's corpse and grave site. The prisoner, Isḥāq b. Jināḥ, had been a criminal magistrate serving the rebel leader Yaḥyā b. ʿUmar, who had led a failed revolt in Kufa against the Abbasid caliphate (132-650/750-1258). According to the fourth/tenth-century historian al-Iṣbahānī, the governor demanded that the deceased Isḥāq b. Jināh not receive a funerary prayer, corpse-washing, or a burial shroud. Moreover, he ordered the corpse to be immersed in water in a grave and buried at a Jewish ruin. The governor's intentional neglect of proper Islamic funerary rituals is shocking but not entirely surprising. Medieval Islamic political chronicles, biographical dictionaries, and social commentaries abound with darkly salacious reports of corpse neglect and even violence, shining a light on the efforts of the living to affect the dead. Why would anyone seek to "harm" a corpse? And what purpose did medieval Islamic historical narratives of necroaggression serve? This article addresses the narrative power of corpse violence in Greater Iraq during the mid-third/ninth and early fourth/tenth centuries, investigating the political meanings inscribed on bodies unmade by others. Viewing necroaggression as a type of performative political act, the article examines a vibrant polemical discourse that toyed with administrative concerns over coercion as well as popular anxieties over possible sensations experienced postmortem.

Coin minting is basically a symbol of the formation and confirmation of a political sovereignty. The Shiite rulers of al-Boyeh were among the local and regional governments of the geographical area of Iran, that after the establishment of a political government in the year 322 AH and in imitation of the previous governments, according to the usual practice, coins were minted after the formation and stability of the political government. It seems that in the early days of the rule, the Al-Buyeh family used some of the symbols of the Abbasid dynasty and before it in their coins to validate and legitimize their political rule. that with the passage of time and the entry of this Shia political rule into the middle and final period; All the symbols of other local and regional governments have been removed from the front and back of the coins and replaced by symbols that show Shiite vision and thinking, and gradually with the passage of time, these symbols have reached a stage of maturity and complete guidance. It is one of the very important topics that the current research has aimed at, in addition to searching and analysing historical sources and new researches, to explain the reasons, motivations, and existing platforms for this change and transformation in the coins of Al Boyeh. to do and the nature of using these symbols and why not using another symbol as well as their growth and excellence from 322 to 454 Hijri, a period of 123 years with this question; What are the indicators of the minting of the coins of the Shiite Albuyeh rulers in Iran? How to challenge its adaptations, innovations and differences to other coins? Preliminary studies show that the Albuyeh ruling family, like other ruling families of their time, had to first legitimize the newly established system. They use the symbols of Bani-Abbas and before that in their coins and with the passage of time and the establishment of political rule, they tried to include Shia and Iranian symbols on their coins and their rule by minting dinar coins. (gold) and dirhams (silver) to everyone.

İnsanoğlunun taşla olan ilişkisi milyonlarca yıl öncesine dayanmaktadır. Taştan imal edilmiş işlevsel aletler, insanların temel ihtiyaçlarını karşılarken estetik unsurun da içine girdiği sanatsal objeler ise insan ruhunda yarattıkları hazla etkili olmuştur. Hammadde olarak taşın kullanıldığı eserler; çeşitli takılar, heykeller ve kabartmaların yanında mozaik sanatını da içermektedir.

“And made from water every living thing? Then will they not believe?” (Quran 21:30)
It was only after the discovery of the microscope that it was concluded that all living things consist mostly of water. While in the deserts of Arabia the last thing a man could guess is that life came from water. Because of the existence of water, the earth is unique among the other known celestial bodies. In fact, water covers three-fourths of its surface and constitutes 60-70 % of the living world.  At a micro level, the human body consists of more than 70% water

The text reconstructs a purely hypothetical history of the Dome of the Rock as follows: The Christians built a Martyrion over an existing Roman rotunda around the Sacred Rock of the Jews, building an outer wall around it and erecting a tambour on the existing rings of columns. When that Martyrion, dedicated to Hagia Sophia, was thoroughly reformed, sometime before 500 CE, a Greek cross was inscribed into its layout by dividing the inner circle of columns into four sections, each with three columns and one pier, and by giving the outer ring of columns and wall the form of an octagon. It was also dedicated additionally to the Theotokos. In the short period between 614 and 617, the Jews controlled the building. They hid the outer roof behind a parapet with 13 blind arches on each side and installed the mosaics we see today. Around 690, the Muslims appropriated the building architecturally by adding a Sassanian cupola, pulling out the Byzantine floor, changing the interior and exterior decoration, and inserting inscriptions. The historical truth was then forgotten because of both intentional suppression and unintentional misunderstandings, most importantly because the Christians confounded the ruins of the Roman temple to Jupiter with the site of the Jewish Temple and took the area of the Rock to be that of the Praetorium, i.e., of the trial of Jesus. – All of this is a mere conjectural hypothesis to be tested, not a definite theory. There are various arguments for its different aspects that are based on historical sources (including coins, mosaics etc.) or architectural evidence, which should be subjected to further scrutiny.
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Topics: The cross in the layout - The cupola - The architraves and friezes - The floor - The motive of arches on architrave - The Madaba Map - Abd al-Malik’s motive for building the Dome - The Christian confusion about the two temples - The Christian confusion about the Praetorium - The Breviarium and the Piacenza Pilgrim - The History of al-Tabari - Eutychius (Annals) on the patriarch Sophronius - On the Jewish attempt to rebuild the Temple under Julian - The Armenian History attributed to Sebeos - The small shrines - The “distant place of worship” - The Muslim Dome of Ascension - The many-arched mihrabs - Hadrian’s rotund - Cassius Dio's report - Bar Kochba’s Temple - The statue of Tyche (the “abomination”) on the Holy Rock - The Hagia Sophia - Theological narratives - The architecture of the first Hagia Sophia - The dedication to Holy Wisdom - The Hagia Sophia and the Nea-Churches - San Stefano Rotondo in Rome - The reform of the first Hagia Sophia - The twist in the layout - The theological-numerological program - The Sassanid interlude: a Jewish Temple once again - The "Martyrion of the Apostles" - The Muslims take over.
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Apart from its main theme, this article hypothetically explains or sheds some light on various other topics, such as: the small shrines around the Dome of the Rock; the many-arched mihrabs in the Dome of the Rock; its mosaics and the location of its inscriptions; the upper part of the outer wall of the Dome of the Rock with its 13 hidden arches on each side; the Madaba Map; the interpretation of various sources, such as Cassius Dio, Jerome, the Piacenza Pilgrim, the History of al-Tabari, the Annals of Eutychius, and the Armenian History; the Codex Purpureus Rossaniensis; Hadrian’s policy regarding the Jews; the Bar Kochba Revolt; the significance of some antique coins from Jerusalem; the Tycheon in Jerusalem; the legend of the Floating Stone; San Stefano Rotondo in Rome; the site of Pentecost; the twist in the layout of the Dome of the Rock; the “footmark” on the Holy Rock; the Jewish tradition of the Dome of the Rock as The Temple; etc.

This article investigates how, since ancient times, building windows have had grids of stucco, stone, wood, or iron, as well as slabs of glass or other materials. They also appeared as simple apertures in the wall, the arrangement of which frequently served decorative functions. Following a classical tradition, the usage of shuttered windows with glass fixed on timber frames was known in late antiquity. The search for a peculiar architectural taste of the late antique and early mediaeval times is particularly appealing due to the light effects produced by shuttered windows made of translucent material, which provides a mystical and suggestive appearance.

Lichtenberger, A. and Raja, R. 2024. "A miniature horned Altar". In Lichtenberger, A. and Raja, R. 2024. Miscellaneous Objects. Final publications from the Danish-German Jerash Northwest Quarter Project VI. Jerash Papers 12 (Brepols: Turnhout), 21-24.

Lichtenberger, A. and Raja, R. 2024. ‘An Oblong Square Gaming Piece/Teetotum?’. In Lichtenberger, A. and Raja, R. 2024. Miscellaneous Objects. Final publications from the Danish-German Jerash Northwest Quarter Project VI. Jerash Papers 12 (Brepols: Turnhout), 25-26.

Bobou, O., Lichtenberger, A. and Raja, R. 2024. ‘Spindle Whorls’. In Lichtenberger, A. and Raja, R. 2024. Miscellaneous Objects. Final publications from the Danish-German Jerash Northwest Quarter Project VI. Jerash Papers 12 (Brepols: Turnhout), 215-222.

Bobou, O., Lichtenberger, A. and Raja, R. 2024. ‘The stone objects’. In Lichtenberger, A. and Raja, R. 2024. Miscellaneous Objects. Final publications from the Danish-German Jerash Northwest Quarter Project VI. Jerash Papers 12 (Brepols: Turnhout), 27-92.

Lichtenberger, A. and Raja, R. 2024. ‘Stone Sculpture’. In Lichtenberger, A. and Raja, R. 2024. Miscellaneous Objects. Final publications from the Danish-German Jerash Northwest Quarter Project VI. Jerash Papers 12 (Brepols: Turnhout), 11-20.

This study presents a collection of gold dinar coins from the period of the Bahri and Burji's Mamluk, which were transferred from Birjand to the National Museum of Iran in 1944. The Mamluk government reigned over Egypt and Syria for approximately 275 years (648-923 AH / 1250-1517 AD) until it was ultimately defeated by the Ottomans in 923 AH / 1517 AD. The objective of this research is to introduce this exceptional collection from the National Museum of Iran, which belongs to the history of the Kingdom of Egypt. Due to the scarcity of Mamluk coins in the collections and museums of the country, no specialized research has been conducted on them to date. With this research, a comprehensive introduction of this collection has been provided, thereby creating an opportunity for researchers and numismatics enthusiasts to recognize and study these coins from a new perspective. The introduction of this collection of Mamluk coins is crucial for the field of numismatics as it expands the existing knowledge of the Kingdom of Egypt's history. Additionally, this research presents a unique opportunity for further study and analysis of Mamluk coins. By bringing attention to the importance of these coins, this study seeks to fill a gap in the current literature and generate interest in further research on Mamluk numismatics. Overall, this collection has the potential to contribute significantly to the broader understanding of the Kingdom of Egypt's economic and cultural history.m

First European Round Table on Modern Persian Literature

and official Mid-Term Conference of the Societas Iranologica Europaea (2024)

The Round Table is organised in cooperation with the laboratoire CERMOM (Centre de Recherches Moyen-Orient et Méditérranée) of the Institut National des Langues et Civilisations Orientales (INALCO, Paris), by Julie Duvigneau, Goulia Ghardashkhani and Christoph U. Werner.

Modern Persian literature in all major genres — prose, poetry, drama, criticism, etc. — has been written and read in Iran since the early twentieth century. Despite a vibrant production field, modern Persian literature remains widely understudied, due to a lack of institutional foundations both inside and outside of Iran. Inside Iran, modern literature has always been regarded as a potential subversive threat, both during the Pahlavi period for its supposed leftist and oppositional tendencies, and after the revolution as a challenge to Islamist ideologies. Outside of Iran, modern literature has rarely found its place inside Oriental Studies departments and has been in competition with classical Persian literature that lends itself better to diasporic identity building.

The first European Round Table on Modern Persian Literature aims to address this dual predicament in the study and reception of modern and contemporary Persian literature. Regarding institutional infrastructure, it intends to identify researchers and research locations in Europe (and beyond) and establish networks to facilitate publications, teaching, mobility, and joint projects. The European context allows easier personal contacts, but also an awareness of Persian literature in a multilingual setting and the need for multi-language translations (in French, English, German, Italian, Swedish, etc.). Concerning research focus and methodology, the goal is to bring into attention works, topics, and critical approaches that challenge and pluralize the present understanding of modern Persian/Iranian literary system and ultimately help to re-conceptualize its development within a trans-periodic and trans-cultural model.

Bu makale, en az iki hakem tarafından incelendi ve intihal içermediği teyit edildi. / This article has been reviewed by at least two referees and scanned via a plagiarism software. Telif Hakkı&Lisans/Copyright&License: Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları CC BY-NC 4.0 lisansı altında yayımlanmaktadır. / Authors publishing with the journal retain the copyright to their work licensed under the CC BY-NC 4.0.

Doğal dünyanın sevimli yansımaları olan ördekler, doğa ile bağlantısı bulunan, dini ve kültürel anlamlar barındıran ve insanlarla olan ilişkilerinin sanatla buluştuğu özel canlılardır. Türk sanatında ördek sembolizminin, estetik ve görsel denemeleri genellikle ahşap, çini, maden, minyatür, seramik, taş, tekstil, vb. malzemelerle şekillendirilmiştir. Ayrıca Türk sanatında geniş bir yelpazede görülen ördek motifi, resim, heykel, yazı ve diğer sanat formlarında da karşımıza çıkmaktadır. Bu çalışmada, sanatsal alanda kullanılan ördek imgesinin oluşum serüveni, hangi ikonografik mesajlar ihtiva ettiği ve sanat eseri olma özellikleri, teknik ve üslup analizleri birlikte incelenmiştir. Ördeğin Türk topraklarındaki tarihi ve mitolojik kökenleri araştırılarak Türk sanatında geçmişten günümüze kadar olan süreçteki yeri, süsleme unsuru olarak kullanımı ve yapım teknikleri üzerinde durulmuştur. Ördek imgesi birçok ikonografik mana ihtiva ederek Türk sanatında uzun bir geçmişe sahip olmuş ve çeşitli dönemlerde farklı şekillerde yorumlanmıştır. Ördek imgesinin kullanımında Türk mitolojisi, destanlar, halk hikâyeleri ve masallar gibi kültürel unsurların da etkili olması durumu sanat tarihi alanında bu konuya çok boyutlu bir anlam katmaktadır. Söz konusu çalışmada ele alınan ördek imgesinin Türk sanatındaki kültürel, sembolik ve sanatsal boyutu ortaya çıkarılarak, süsleme ve imgesel konularda başka alanlara da bilimsel anlamda kaynaklık edebileceği düşünülmektedir.

Madrasa is the living form of an educational system which thrived in the past. It remained unaware of the swiftness of progress and development which came about in other walks of life and the education that was being imparted through it was also kept away from any change and innovation. As a result, the madrasa, to some extent, fell prey to marginalization, fundamentalism, and a sense of deprivation and its education could not maintain its cherished traditions. The educational system of the madrasa can be analysed in view of a number of aspects. Some of these aspects might be questionable, but a number of them are worthwhile. One of these aspects is the atmosphere of mutual cooperation that a madrasa can provide. Teachers and students belonging to different cultures and traditions come together in a madrasa and develop an intercultural communication pattern. They form cultural groups that work together to rectify their deprivation and remove misunderstanding between them. Their education in a madrasa allows them to take part in joint activities, improve their knowledge, and get an access to some service. In this way, the madrasa education initiates a social mobilization which encourages social groups that are knit together with the fabric of culture to take part in the religious, political, and revolutionary movements of the country.

Note streets running perpendicular from south decumanus and diagonally from the town centre towards the hilltop © LAJP. 2. Survey map showing location of Trench 5-9 on the southwest hilltop © LAJP. 4. SouthWest view of the excavations in Trench 5, where the large cut in the bedrock and the caving are visible © LAJP. 3. Rock-cut flight of steps leading into the cave in Trench 5. Grooves are carved at the edge of each step, facilitating water to run off if spilled © LAJP.

Sub-theme C: Conserving and managing intangible heritage-methods Sous-thème C : Conservation et gestion du patrimoine immatériel-méthodes ________________________________________________________________________________________________ Place-memory-meaning: preserving intangible values in monuments and sites La mémoire des lieux-préserver le sens et les valeurs immatérielles des monuments et des sites

Stamp seals are incredibly significant as a category of archeological finds because of their various motifs and
functions, and inquiry into such glyptic evidence will help reconstruct different aspects of human life. During the
Sassanian period, stamp seals were made of precious and semi-precious stones in different shapes and designs. In
this descriptive, comparative and analytical study, the data was collected through library research, and the authors
attempted to study, analyze and compare the designs on several Sassanian stamp seals with the depictions of
constellation signs in Abd al-Rahman Sufi’s famous book Sovar al-Kavakeb. The results show strong similarities
between the considered glyptic designs and astronomical symbols. On account of the Sassanian’s deep belief in
astrology and the role the constellations played in their lifestyle and ruling system, it is conceivable that such
stamp seals served apotropaic purposes and were related with Sassanian’s astrological beliefs connected with
predicting good and bad days. The main purpose behind the application of these designs was most probably to
seek the support and protection from constellations. Associating these glyptic designs with constellations is further
supported by a series of animal motifs such as scorpions, snakes and bears which did not held any position in the
Sassanian belief system, demonstrating that these motifs were designed for astrological prognostications. For
example, from the Sassanian point of view, the motif of scorpion and snake form the class of vermin, and devilish
animals and bears symbolize ruin and corruption. Therefore, such evil representing motifs were employed for no
reasons other than their relation to the constellations and astrological prophecies.

The paper explores the earliest theological work in the North Caucasus, "Sharh al-Shihab", written by a theologian of the 11th century from Bab al-Abwab, Abu al-Qasim al-Warraq al-Babi (d. between 1098-1004). This work is a commentary on the work of an Egyptian qadi and preacher Abu Abdullah al-Quda'i (d. 1062) "Shihab al-Akhbar", in which the author collected various aphorisms and maxims attributed to the Prophet Muhammad. During our study, we revealed numerous lists of "Sharh al-Shihab" stored in libraries and archives in various parts of the world. Some of these lists are used in our paper in order to analyze the text of the work. The study brings to light new valuable information from the life of the Muslim community in the Caucasus in the 11-12th centuries. In the course of the study, it was found that al-Warraq's disciple, a famous Sufi and theologian from Bab al-Abwab, Abu Bakr al-Darbandi (d. in the first third of the 12th century) also composed his own commentary on the "Shihab al-Akhbar" by al-Quda'i, taking as a basis the commentary of his teacher. The lists of this previously unknown work, which the author entitled "Tuhfat al-Ashab fi Sharh al-Shihab", were also uncovered. Some of them became the subject of this study. Thus, the paper examines two works of the 11-12th centuries, compiled in Bab al-Abwab. The study suggests that the writing of these works is a reflection of the general processes in the socio-religious sphere that took place in the Muslim world during the specified period.

An investigation on the Muslim concept of al-Hakimiyya (sovereignty) highlights judicial aspect as among the important one. Therefore, this research attempts to examine approaches taken by Muslim rulers in translating concept of al-Hakimiyya by choosing one of the most conflicting region, namely Islamicjerusalem (Bayt al-Maqdis). By investigating the implementation of Islamic law in Islamicjerusalem during the first Muslim conquest of this region, this paper affirms that Muslims had strategically and successfully translated al-Hakimiyya concept into practice by upholding Islamic law as the backbone of Umar's Assurance of Safety to the people Islamicjerusalem. This also guided them in initiating appropriate measures to judiciously implement Islamic law by appointing qualified judges and establishing police department since the first Muslim conquest led by c Umar Ibn al-Khattāb.

Sub-theme C: Conserving and managing intangible heritage-methods Sous-thème C : Conservation et gestion du patrimoine immatériel-méthodes ________________________________________________________________________________________________ Place-memory-meaning: preserving intangible values in monuments and sites La mémoire des lieux-préserver le sens et les valeurs immatérielles des monuments et des sites

For anyone curious about the eleventh-century Book of Curiosities, an extraordinary Egyptian Fatimid manuscript at the Bodleian Library in Oxford, this book is required reading. The manuscript had its debut online in 2007 at the library website and was edited and translated in 2014 (An Eleventh-Century Egyptian Guide to the Universe: The "Book of Curiosities," Leiden: Brill) by the authors. This volume builds on the previous effort in order to "open a window into the worldview of eleventh-century Islamic society and learning, its geographic horizons, and some of its scientific endeavors" (p. 2). The authors acknowledge a range of scholars who have contributed to the analysis of the manuscript (pp. 271-273). There are ten chapters with details on the discovery of the manuscript, its astronomy, astrology, cosmology, and the geographical knowledge in both the maps and the time period. Twenty-four full-color maps and images, most from the manuscript, are included as plates in the middle of the volume. Had it not been for a visit by Savage-Smith to look at an an Arabic manuscript that Christies was preparing for auction in 2000 and the eventual purchase of the manuscript for 400,000 British pounds by the Bodleian, this manuscript would probably have disappear into a private collection and the wealth of its information buried. The manuscript is not from the time of the author, but appears to have been copied around the year 1200 CE. Later it was discovered that there were later copies of the text, although without the unique maps. One had been in the Bodleian since 1611. Neither the author nor the patron for the text is known, although there are clues that he may have been from the Egyptian Delta (p. 67). It seems from the text itself that the author was a mapmaker, given his comments on techniques and the unique style. There is also the question of which maps may have been added later (see pp. 25-27).

The work on the art and architecture of Islamic Morocco has mainly focused on the study of plans, the inventory of artefacts, and the analysis of decorative designs on some specific materials: marble, stone, plaster, wood, and zellige. However, this approach has overlooked an important type of artistic expression, known as “poor art,” which refers to the art of mural painting that was quite common during the medieval period.
This thesis aims, through the analysis of all collections discovered since the first excavations conducted in 1948 up until today, to establish a comprehensive interpretation of the transformation of late antique themes, the inception of the pictorial tradition in Maghrib al-Aqsa, and the evolution of its styles from the 8th to the 14th century. It relies on three main research axes: techniques and materials, decorations and styles, transmission and influences. By delving into unpublished excavation archives and data obtained from various collections discovered in several archaeological sites, this thesis fully engages in the exploration of ancient testimonies of Islamic art in Morocco.
Going beyond classical theories, it provides an opportunity to highlight new lines of diffusion and to examine the intricate relationship between decorations, space, and society.

Fatimid art is known for the production of luxury artifacts, particularly rock crystal vessels. The appearance in 2008 of the Francis Mills Ewer, which seemed to belong to a famous group of 6-8 rock crystal ewers attributed to Fatimid Egypt, prompted an investigation of the techniques used to carve them. A comparison of the carving technique of the Francis Mills Ewer with that of the other members of the group offers the best criterion for determining whether the new ewer belongs to this group. To this end, the traces of manufacture (mainly polishing and carving) were analysed on a group of fourteen artifacts. The topography of the surfaces has been measured with a confocal rugosimeter using silicon replicas. To identify and characterise the multi-scale wear signature and the traces left by the tools, a Fourier isotropic filtering technique was applied. Using these complementary methods, we were able to confirm that the Francis Mills Ewer belongs to the Fatimid group.

This article underlines the place of communication in Islam. The analysis closely links the historical phases of development of Islam to the development of communication media and modes in society, and highlights the structural relationship between communication as a fundamental human behaviour and the belief in, and the call for, Islam as basically communicationoriented religion. Islam is a communication-based religion. The basic miracle of al-Qur≥àn lies in its extreme eloquence and literary sophistication that none of the acknowledged Arab poets and orators could match. All through the verses of the Qur≥àn, reference is continuously made to the importance of communication for the call to Islam. The Qur≥àn uses such concepts as balàgh, da≤wah bashár, nadhár, tadhkirah, and Maw≤içah to communicate Allah's message to people. The two most central Qur≥ànic concepts of waäy (revelation) and waswasah (Satanic promptings) 1 are communication-related concepts. The former denotes a Divine communication of Allah's teachings, the latter refers to Satanic communication of evil deeds. The two basic guides of Islamic social and political behaviour, al-Qur≥àn and Sunnah, are communicationbased. The first and foremost guide, al-Qur≥àn, communicates the fundamental principles of Islam and lays the foundation of Islamic behaviour. The second, the Sunnah or the deeds, utterances, and trait approvals of the Prophet (SAS), elucidate and clarify these principles and relate the abstract to reality. A third reference, ijtihàd, the Islamic method of independent reasoning and analogy, 2 is an important source of Islamic legislation. Ijtihàd is also communication-based because it involves continuous reference to basic texts, analysis, inference, and deduction. A fourth element of Islamic jurisprudence and political decision-making, ijmà≤ or consensus of the ≤ulamà≥, is also *