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Worlds Writ Small Four Studies on Miniature Architectural Forms in the Medieval Middle East

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Worlds Writ Small Four Studies on Miniature Architectural Forms in the Medieval Middle East WORLDS WRIT SMALL FOUR STUDIES ON MINIATURE ARCHITECTURAL FORMS IN THE MEDIEVAL MIDDLE EAST VOLUME I Margaret S. Graves Thesis submitted for the degree of Doctor of Philosophy University of Edinburgh, 2010 ii DECLARATION I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. Signature:…………………………………………… Date:………………… iii iv ABSTRACT While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue v sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world. vi ACKNOWLEDGEMENTS First and foremost, my thanks must go to my supervisor, Robert Hillenbrand. I consider myself extraordinarily lucky to have been in a position to benefit so much from his teaching and his thinking. His superlative generosity towards me, as well as his continued sense of humour, have been matched by his wife – and my second supervisor – Carole Hillenbrand, and I sincerely thank them both. This thesis and the Masters dissertation that preceded it were made possible by four years of funding from the AHRC, while some additional funds for travel costs were provided by the University of Edinburgh and the Historians of Islamic Art Association. My thanks to each of these are recorded here. A project of this nature could not have been attempted without the host of museum and collection professionals who provided much-needed access to objects and images, as well as offering their insights and their time, and I would like to record my debt of gratitude to the following: Mariam Rosser-Owen; Venetia Porter; Noorah al-Gailani; Janet Boston; Nahla Nassar; Kjeld von Folsach and Mette Korsholm; Anne Murray; Sophie Makariou and Carine Juvin; Juergen Frembgen; Jens Kröger and Gisele Helmecke; Mina Moraitou; Stefano Carboni and Annick Des Roches; Ladan Akbarnia; Jaimee Uhlenbrock; Massumeh Farhad; Linda Komaroff; Katherine Baker; Iman Abdulfattah; Nadja Tomoum and Assad Yusuf. Several academic colleagues have also provided invaluable suggestions and assistance of all kinds: Alain George, Sussan Babaie, Avinoam Shalem, Bernard O’Kane, Yuka Kadoi, Alireza Anisi, Richard Todd, Alex Bremner, Shirley Guthrie and Ulrike al-Khamis are all sincerely thanked for their input. On both professional and personal levels, particular thanks are given to all of the members of the online Researchers of Islamic Art in London, and to the many colleagues in History of Art, Architecture, and Middle Eastern Studies at Edinburgh University who have provided good ideas and good company. vii Finally, the love and support of my parents, my brothers and their families and my sister has been more valuable than I can say. The only person to have suffered more from this work than they have is A.D.B., to whom my biggest thanks will always go. This study is dedicated, with love, to the memory of Oliver Charles Grant. viii NOTE ON TRANSLITERATION AND REFERENCING The system followed for transliteration from Arabic and Persian is essentially that of The Encyclopaedia of Islam, with the following modifications: proper nouns, names of places and of historic personages that have entered the language or have a generally recognized English form are anglicized, j replaces dj, and q replaces ḳ. For the sake of simplicity plurals have normally been formed using the English convention of adding an ‘s’, and dates are given in the Common Era (CE) calendar unless otherwise stated. References to electronic sources, unpublished museum records and sale catalogues are given in full within the footnote text and excluded from the bibliography; all other references follow the author-date system. ix x CONTENTS VOLUME I Declaration…………………………………………………………………………………...iii Abstract……………………………………………………………………………………….v Acknowledgements………………………………………………………………………….vii Note on transliteration………………………………………………………………………..ix Table of Contents………………………………………………………………………….....xi INTRODUCTION ARCHITECTURE AS ORNAMENT, ORNAMENT AS ARCHITECTURE……………...1 Ornament, Iconography and the Third Dimension: The Mediation of Ornament……………2 Aspects of the Miniature……………………………………………………………………...8 Framing the Question: Examples and Scope………………………………………………...12 Methodologies, Limitations and Structure…………………………………………………..16 CHAPTER ONE MIMESIS AND THE DOMESTIC SPHERE: CERAMIC ‘HOUSE MODELS’ FROM PERSIA…………………………………………23 Dating and Provenance……………………………………………………………………....24 Authenticity………………………………………………………………………………….28 Historical Background: Seljuq Figural Art and Ceramic Production……………………….30 Characteristics and Types……………………………………………………………………34 Architectural Elements: Introduction………………………………………………………..40 Decorative Edging…………………………………………………………………………...41 Corner Projections…………………………………………………………………………...48 Side Piercings………………………………………………………………………………..52 External Decoration………………………………………………………………………….56 Inscriptions…………………………………………………………………………………..58 Animal Motifs……………………………………………………………………………….59 Geometric Motifs……………………………………………………………………………62 Activity of Figures…………………………………………………………………………..65 Possible Meanings…………………………………………………………………………...72 Conclusions………………………………………………………………………………….83 xi xii CHAPTER TWO RECONFIGURING AN ARCHITECTURE OF ASPIRATION: CERAMIC TABOURETS FROM PERSIA AND SYRIA………………………………...85 Historical Background of Persian Group……………………………………………………87 The History of Raqqa………………………………………………………………………..88 Twentieth-Century Archaeology in Raqqa………………………………………………….90 The Objects: Physical Characteristics……………………………………………………….93 Authenticity and Reconstruction…………………………………………………………….96 Furniture in the Medieval Islamic World: Literary Sources………………………………...97 Furniture in the Medieval Islamic World: Artefacts……………………………………….101 Furniture in the Medieval Islamic World: The Evidence of Painting……………………...106 Architectural Parallels……………………………………………………………………...112 Polygonal Structures and Garden Architecture…………………………………………….113 Pavilions in Miniature Painting…………………………………………………………….120 Screens and Grilles…………………………………………………………………………123 True Archways and Arched Windows……………………………………………………..130 Balustrades…………………………………………………………………………………133 Inscriptions…………………………………………………………………………………137 Muqarnas…………………………………………………………………………………..140 Corners……………………………………………………………………………………..142 Moulded Arabesques and Vegetal Designs………………………………………………...144 Plaited and Knotted Motifs………………………………………………………………...145 Stepped Motifs……………………………………………………………………………..146 Figural Painting…………………………………………………………………………….147 Meaning of the Form……………………………………………………………………….150 Conclusions………………………………………………………………………………...154 CHAPTER THREE URBANISM IN PARS PRO TOTO: MARBLE JAR STANDS FROM CAIRO………...155 Existing Scholarship and Known Examples……………………………………………….156
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