The Art Of The Salj Qs In Iran And Anatolia

Muqarnas is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are being published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.

This publication examines art, the human sciences, science, philosophy, mysticism, language and literature. For this task, UNESCO has chosen scholars and experts from all over the world who belong to widely divergent cultural and religious backgrounds.--Publisher's description.

Much medieval Persianate artwork--including books illustrated with exquisite miniature paintings--was disassembled and dispersed as isolated art objects. In The Arts of Iran in Istanbul and Anatolia, a literary historian and six art historians trace the journey from the destructive dispersal of fragments to the joys of restoration.

Necipoglu demonstrates the palace's role as a vast stage for the enactment of a ceremonial that emphasized the sultan's absolute power and his aloofness from the outside world. In the absence of the monumentality, axiality, and rational geometric planning principles now usually associated with imperial architecture, the author's deciphering of the palace's iconography is all the more revealing.

The Saljuq period of the eleventh and twelfth centuries saw the arrival in Iran of Türkmen nomads from Central Asia and the beginning of Turkish rule. Through the example of the city of Isfahan, the book analyses the internal evolution of Iranian society in this period and the interaction of the Iranian elites and Turkish rulers. Drawing on an analysis of a wide range of sources, including poetic and epistolary material, this study fills an historiographical gap and casts new light on the two centuries prior to the Mongol invasion. This comprehensive analytical study provides a new contribution to the understanding of many crucial issues: the cultural divide between Western and Eastern Iran; the military potential of city-dwellers; the attitude of the Turkish rulers toward cities and city life; the action of the famous vizier Nizam al-Mulk; the meaning of the Ismaili uprising; and above all the structure of the local elite, organized into rival networks and largely autonomous vis-à-vis state powers. The study is enhanced by a variety of additional features, including extensive genealogical tables, Arabic script and maps. Providing a new understanding of the cultural identity of Iran, this book is an important contribution to the study of the history of Iran and the Medieval period.

A fresh interpretation of Rumi's forty-nine poems to his God and friend Shems, the Wild One. Inspiring.