* Akdeniz University, Mediterranean Civilisations Research Institute (MCRI),Antalya, [email protected] * Akdeniz Üniversitesi, Akdeniz Medeniyetleri Araştırma Enstitüsü (Mcrı), Antalya, [email protected] ABSTRACT T. M.P. Duggan * The Zigzag Design InIslamicArt On Reading TheMeanings CarriedBy T. M.P. Duggan * Anlamları Üzerine BirOkuma Sanatında Zikzak Deseni ve Kaba , onminarets, as onflags and tombs as on tomb coverings etc. temporal world ofthenur illahioftheLight oftheAlmighty. Hence theuse ofthisdesign onthe and TheLight oftheAlmighty, employed by thedesigners-nakkaş as asign, to remind inthis also a design on candlesticks, thereby reminding of the relationship between sun and sunlight surface ofwater, as alsoemployed to represent thereflection oflight from a polished mirror, as of thisdesign with light, as ithas been employed to represent thereflection ofsunlight from the traditional total number ofletters forming the Holy , 6,666. Further, there is the association equivalent oftheName ,66,visually read as zikr, wav=6 +Allah(66),as alsoreminding ofthe 1+1+4=6. Therepeat of the number 6 being read as both representing andrepeating the numerical “and Allah”; and,as also representing thesum of thetotal number ofSura intheHoly Quran, the repetition ofthenumber 6.Thenumber 6representing theletter wav meaning “and”, as in together total 15, withthese two numbers summed, thereby arepeat design read as representing in the combination of the written numbers 7 and 8 joined together. These, when added employed within anIslamic context. That the“zigzag” design was “read” intheliteral sense, minarelerde, sancaklarda ve mezar örtüleri gibi dini bağlamlarda kullanılması açıklanabilir. İllahi’yi sembolize etmek üzere tercih edildiği önerilebilir. Bu okuma iledesenin Kabe Örtüsünde, ile Allah’ın ışığıbağlantısından yola çıkarak, motifinnakkaşlar tarafından geçici dünyada Nur’u yola çıkarak ışıklabağlantısı dakurulabilir, ki motifşamdanlarda sıklıklakullanılmıştır. Güneş olabilir. Öte yandan, zikzak motifininsuyüzeyinden ya da aynadan yansıyan ışığa benzerliğinden okunabileceği gibi sayısal olarak tekrarı daKur’an’ı oluşturan harflerin toplamını (6666) betimliyor rakamsal ve görsel tekrarı olarak kabul edildiğinde zikzak motifi(wav Allah=66)zikir olarak aynı zamanda Kur’an’daki surelerin sayısının da toplamına da işaret eder (1+1+4=6). Allah’ın adının zamanda “ve” anlamına gelen “wav” harfinin de şeklidir. “Wav” “ve Allah” olarak okunabileceği gibi, oluşur. Bu sayılar toplandığında 15=6sayısını verir ki Arapça 6sayısını gösteren şekil aynı önermektedir. Motif “metin” olarak okunduğunda Arap rakamları olan7ve 8’inbirleşiminden Keywords: zigzag, , Light, legitimacy, Haramayn This presentation suggests that thisdesign carried aseries ofreligious meanings when Anahtar Kelime: zigzag, mukarnas, ışık,meşruluk, Haramayn Bu bildiri “zikzak” motifininİslami bağlamda kullanıldığında bir seridinianlam taşıdığını ÖZET 781 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 782 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI basket-weaving history ofornament) of 1893, where he related theuse ofthisdesign to aesthetics rather thanto gen: Grundlegungenzu einerGeschichte derOrnamentik,(Problems ofstyle: foundations for a refers to asquare rather thanapointed tooth), aherringbone pattern as aherringbonepattern, rather thanazigzag. pattern.” http://webapps.fitzmuseum.cam.ac.uk/explorer/index.php?qu=%20fritware&oid=72039 on Tur Abdinchurches, for Islamicexamples idem.fn.42;aslikewise: “Interior: the rim ispainted withabluedentillated “indenture fashion”, serrated daggers, Shipley 2001,59. Keser-Kayaalp-Wheatley-Irving 2017, 123, dentillations, employed production ofIslamic designs including thezigzag has been investigated c. A.D. down to the present day, that is, over thecourse of more than1,300 years and the method of 6 5 4 3 2 1 as triangles turns inalternate directions. Consequently, thedesign that has been described by historians art likewise thecase for muqarnas indomeorportal -forming acourse ordesign marked by sharp as azigzag ofrays extending down from thecircle ofthedome, forming asunburst, as isoften dentives below adomewhich can perhaps be best understood iflooked at inplanorfrom below, as formingbe defined azigzag pattern intwo, orinthree dimensions -as with thetriangularpen- which case itcan be read as therays of asunorstar, thetriangles, equilateral orotherwise, can 8 7 of thezigzag design andare here understood as such. design (Burgoyne, 1987: 220; McWilliams-Roxburgh, 2007: 50), can allbe understood as being forms carrying set ofcontextually aspecific related meanings marker design employed withinanIslamic religious-cultural context, has notitself been read as centre.ashmolean.org/collection/7/1252/1253/all/per_page/100/offset/0/sort_by/seqn./object/10740. as fringed leather oradecorative awning.”, seeTabbaa 2008,105. and by IbnFīrūzābādī (d.1415) inhisQāmūsal-muhīt,muqarnasisdefined, “as aform withstepped orserrated edges, such chevrons, oradentillated border painted onawide range ofceramics anddisplayed onothermaterial surfaces from the1 bé andtomb, painted onexterior andinterior walls, incised andcast inrelief onmetal candlesticks, textiles, flags and banners, on , in , on , , manār and column, ontur noted by historians art from the19th century onwards as found onmany works ofIslamic on art: tifier. Although the zigzag design and its variants such as the knotted zigzag design, have been is just thenameofadesign that occurs here andthere, anamed but culturally context-less iden- meaning at all,noreason isindicated for its use intheplaces where itisfound, theterm “zigzag” content andmeaning. Today theterm “zigzag” isoften used withoutitapparently carrying any hough adequate for identifying stylistic change, seems deficient interms ofcontextually relevant a freshly invented terminology, nottheterm current for thedesign at thetime it was used, alt ning to thezigzag design when employed inIslamic But art. atypology ofaform alone, employing ter-theoretician-muhandis andthepractical craftsman-artisan, asalsoAllen2004;Saliba 1999. Seljuk 12thand13thc.Anatolia. Seealso Özdural 2017 andÖzdural 2000for theworking relationship between thegeome- 211 B,for examples inrespect to themethod of construction employing, andfor theuseof, the“zigzag-chevron” design in AsontheMshattā facade, seebelow fn.22. For the latest work in this field, building on works such as Critchlow 1976, see, Bonner 2017. Idem, 163, 312, Figs. 181 and, E.g.Creswell usedtheterm chevron border, not zigzag border, Creswell 1979, II,178; likewise M.Ellis,2001,http://jameel- Asrecorded by ibnMukarram ibn`AlīAhmad ibnManzūr al-Ansārī al-IfrīqīinhisLisān al-Arab of c.1390 E.g.Papadopoulo 1979, 499, describes thepattern carved in relief onthedomes of theSultan Barquq complex inCairo In English, indenture from dentil, from 1300, Murray 2003,212,citingfrom Riegl 1992. For theexplicitly religious context inwhichthisdesign isoften found, mentioned with examples, Duggan 2006,204. A row oftriangular shapes, usually withoutbaselines, inastraight line, orinacircle, in For more than a century since Alois Riegl wrote concerning thezigzag design in 1 ,that join at two corners, two othertriangles forming aline, oras chevrons 6 ,there has been little attempt to attach any religious andcontext mea specific - 3 , from theLat. densfor atooth (although dentil today usually “a deed between two parties torn or cut in a serrated line” and daggers waved, 8 . 4 oraserrated 7 ,to-date thisnoteworthy 5 orsaw-tooth 2 ,orjoined st c. h./7 Stilfra- th - - lamic was art, described by an educated Greek at the start of the 13 derived from theFrench word zigzag). ThemodernArabic zigzag, theGreek zikzack, as likewise themodernTurkish zikzak, all zigzags painted onamihrab inanAndalusianribāt of 944 (Guardamar, Valencia), Ruiz 2004,279, etc long before the 12 have passed, perhaps by pilgrims from , as alsofrom Andalusia esque architecture of Normandy. 29; 134. tectural decoration.” inreference to thebrickdecoration of the11thc.Kariye Church inConstantinople, Ousterhout 1987, or derived from the 17 post-medieval inorigin (S.O.D.3 s.v. zigzag), to be aword coined inimitation appearance, ofavisible term chevron (Porter, 2012: 72,73,77, Figs. 78; 43, 44, 46, 47), rather thanzigzag, aword said to be textiles placed over theKa’ba inMecca andover theProphet’s tomb inMedina used theOld French fashion,” meaning serrated. Venetia Porter in2012 indescribing thisdesign employed onkiswa from 1150 onwards (Brault, 1997: 142), orjoinedchevrons orbarswavy or, bentbarsor, in“indenture this design withtheword chevron, derived from joined rafters-gables, employed inMiddle English found aGreek word to describe theIslamic design. Likewise theFranks described Mesarites did notuse thecontemporary Arabic, Persian orTurkish term(s) for thisdesign, but word stemming from odontos, meaning tooth or, anything sharporpointed. However, Nicholas pattern that has been employed for millennia “lightning or the waves of the sea” 12 11 Lundbæk-Mortensen 1996, 229. “the (water) channelsare often denoted withazigzag orherringbone pattern that is intended tolooklike flowing water.” 9 Mahjubah, Vol. designs have 19,2000,“The meanings: e.g., thezigzags symbolize water andby extension mercy,”; signify In terms ofmeaning ithas been suggested that thiszigzag design signified: “running water” tured. chevrons was usedandinsomelater examples, from 1663onwards (S.O.D.3 s.v. dentillated), dentillated replacing inden- known form of theletter, w, may have originated from azigzag representing teeth. Previously inEnglishthe term joined certain garden paths.” HenceKrabbenhöft 2011, 71, fn. 201.Chamber’s Encyclopaedia, 1963, relates, Vol.12, 118,the earliest Earliest useinGermanisreference to military siege approaches. OriginallyinEnglishusedto describe thelayout of perhaps from GermanZickzack (thoughthisisattested onlyfrom 1703), possibly a reduplication of Zacke “tooth, prong.” 14 13 10 16 15 conveyed through theuse ofthisdesign seems unrecorded intheliterature. arance. as insee-saw, from, to saw, butoffers nomeaning of, to zag, suggesting itisa word coined in imitation of avisibleappe- the mid-9 the besieged enfilading the attackers approach Fernando-Amilbangsa 2005,26. zigzag path and the zigzag design is today related to lightning in the largely Muslim Sulu Archipelago in the Philippines, ings andassociations. Ithas alsobeen noted that itwas employed as amarker of13 peoples, notthat inanIslamic context thisdesign carried acultural-religious specific set ofmean- juks from theByzantines inthe12 (Redford, 2005: 293-294), linked withthesuggestion that thisdesign was borrowed by theRūm Sel- purpose akin to modernflags;perhaps thisdesign constituted the Rum Seljuk bannerorsanjak” state buildings (Redford, 1996: 454): Vandenbroeck 2016,133,“Insomecases, thezigzag becomes ameander, similarto its Greek equivalent.” TheTDKTürkçe deBatı Kökenli Kelimeler Sözlüğü records theword “zikzak” asderived from theFrench. Fowler 1857, 253. He relates it to the play of vowels in Teutonic word formation in reduplication, in respect to motion,

Redford 2000, 104. Robert Ousterhout wrote in 1987, chevron “The or zigzag pattern was ubiquitous in Byzantine archi- The OnlineEtymology Dictionaryrecords thefirst useinEnglishof “zig-zag/zigzag in1712, from French zigzag (1670s), As inthemosque extension of al-HakimIIat Córdoba inthe960’s withitszigzags withleaves; asalsoalineof double “The zigzag“The may represent lightning orthewaves of thesea.” AzizII,2004,682.Sometimes lightning does exhibit a Concerning theterminology, we know thisdesign, today termed zigzag, employed inIs The use ofthezigzag inIslamic architecture (at Mshattā, archesas onthedome-bearing of th century great at Qairawan and in the Nilometer of Rawda etc.) of 861, seems to th - 13 ὀδοντουμένη th th c. German description of military formations like lines of teeth, preventing centuries. To date, any suggestion as to a specific set of Islamic meanings 15 . Rachel Moss writes concerning the Romanesque chevron ornament, th 10 “The zigzag seems to indicate that it served a dynastic or state c. , that it was a development from, or a type of the “meander” 12 However, examples ofthisdesign inIslamic date art from 11 13 andtherefore carried ageneral meaning amongst ,zikzak 14 , orofanunknown etymology (S.O.D. th 16 c. (Walker, 2010: 82) with a , into thelate 11 th c. Rūm Seljuk th c. Roman- 9 3 ,or s.v. - 783 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 784 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI 1992: 27). So there would have been an11 and George Zarnecki stated thezigzag-chevron design was “adopted from Islamicart.”(Zarnecki, is given. this design was employed from the 1 world thansimply describing arow ofacute angles, given thesignificance oftheplaces where but would have been understood to convey somerather more substantive meaning intheIslamic rated. Itwas perhaps associated insomeway from theAr. zāwiyat hāddah, meaning acute angle, quite unrelated to theword tooth inArabic sinn,hence,laho ‘asnān mislalminshār=ser- the Egyptian Plover, alzaqzaq almisriu;oroflines ofNorman French gables. acute angle, zaqzāq–saqsaq (Cannon-Kaye, 1994: 337), ortheblack Vshaped design onthewings of sets ofassociations from lines ofGerman,French, Turkish orGreek teeth, orAr. zāwiyat hāddah= 17 17 quite unrelated to theword tooth inArabic of “Islamicforms possiblybeingtransmitted to Romanesque Englandthrough IslamicSpain.” 19 18 arch of theporch of theAl-Aqsa mosque isof 1217-1218. For further onthe Norman useof thezigzag, Allen1986, 75–82. salem, althoughastructure at Jerusalem whichexhibited thisdesign inthe11 in theuseof chevron ornament aft er1240 inEurope would suggest itsclose association in Latin Catholic artwith Jeru- in carpets andkilims. Itmarked particular places ofpilgrimage, andremembrance. and colonettes. Itwas alsoemployed inablaqwork onthefloors ofmosques andmausoleums and Inthehierarchy ofdesigns employed onanIslamic building, structure orobject, thismar- semi-domes ofmihrab niches, on theexterior andinterior ofdomes, onminarets, manār,columns ker ‘zigzag’ design was most often employed in elevated positions on facade andportal, in the med dībāja,literally, asilkembroidery oranornament. correspondence, orinapresentation literary text, a dīwān, withits biographical introduction ter- Ka’ba; as likewise was thecase intheproduction ofarobe ofhonour, for anexample ofdiplomatic ral element was covered inmeaningful design -as thekiswa islowered over thebare stones ofthe ted, that is,acompletely dressed, a“veiled” structure orobject, where theraw material -thetempo- combined to form appearance, thevisual withalltheimplicit andexplicit references onacomple- texts andscripts employed; theirrelative size, visibility-legibility andposition. These elements of themeaning that was to be communicated, thematerials andtheirquality, thedesigns andthe the designs employed onany particular example. Each element mattered for thecomprehension compiled from books ofprotocol, ofcitations Qur’anic andProphetic, for thetitulature andfor designed to be read andremembered for its citations; to be read like diplomatic correspondence building, structure orobject withinthisreligious-cultural context was mostcarefully composed, Intraditional Islamic thephysical art form ofthework isoften dressed, inside andout, like thekiswa over theKa’ba, clothed shine, beam (oflight) (s.v. “saqsaq” Spiro, 1895). three dimensions. Itisalsoofnote that saqsaqisrecorded in19 dalusian text, adesign perhaps consisting ofvertical orhorizontal “zigzags” intwo, rather thanin in azigzag kiswa in 1016 and was rebuilt in 1022–23 and the of the al-Aqsa mosque, carried a carved zigzag patt ernor were draped lonnias, see: Nicholas & Yeager 2012, 118.Further there is thepossibility that the dome of theDome of the Rock collapsed have beenanAbbasid portal withazigzag to theal-Aqsa Mosque inthe11 was used to describe thedesign ingold andlapis lazuli applied to adome, recorded inan11 qrns, as is also suggested for muqarnas(Tabbaa 2008: 105; fn.17). Yasser Tabbaa relates qurnisat of associations anditseems possible that itmay have been related insomeway to theAr. root naming thisdesign was presumably as such identified through its etymology, providing acontext world amillennium before theword zigzag was coined inthe17 by theOld French word chevron intheLatin West. Adesign withadifferent nameintheIslamic Moss 2009,8.Decoration in zigzag bands isvery characteristic of theThagr architecture inAragon. Perhaps thedecline Zigzag No. 1350,Issa 1994, where theterm islisted astheArabic word derived from theEuropean. NoArabic synonym Kiswa , literally meaning clothing, henceastructure isclothed ordressed andkisa’, honorary garments. inthe11 th c.seenby Normanpilgrims,whoassociated thisdesign withthecity? Thezigzag onthemain 19 st inmeaningful design, andtheappearance ofthedress ofa /7 th th c. andearlier Arabic word for thisdesign, aword replaced -8 th c. onwards; adesign that conveyed quite different th c.,refl ected intheChurch of Le Wast inBou- th th th c.does not survive today, there seemsto c. Egyptian Arabic as meaning, to c. andthisword may have been 18 TheArabic word th c. An- 17 , early copies ofthe Holy Qur’an dating from the1 has been employed from theearliest days ofIslamic inthestrict art, senseoftheword, as insome stem from its use inearly copies oftheQur’an andontheKa’ba kiswa. The“zigzag” isadesign that examplesying ofthisdesign, thoseplaces where contrasting bands ofzigzags are found, seems to the border around thetitleofsūrat 14,İbrahim, ina9 ta/W.554/sap/W554_000008_sap.jpg textile examples andfragments, has been repeatedly employed since the15 facade. The“zigzag” design onthekiswa (Fig. 1)andsitarah oftheKa’ba inMecca, from surviving around thesacred text, adesign probably onandofthekiswa oftheKa’ba, adesign onapalace cognised as being animportant distinguishingmarker, adesign intermediary employed at times anings andassociations pertaining to andparticular to Islamandwas adesign type already re prominent carved zigzag relief mer ofabird’s-eye view ofMecca . Tyre dating from the9 borders to sūrat headings intheNational Library ofRussia at Saint Petersburg; andafolio from al-Jathiyah (Déroche, 2013: 87); withseveral Umayyad examples from theFustāt Codex withzigzag red, green between sūrat al Rūm and sūrat Luqman, andasingle gilt zigzag line at theendofsūrat A.D.; inthe Umayyad Codex TİEMSE321, ofaband of three horizontal zigzags, green, ment between sūrat MiriamandTā’Hā inhijāzī script,inthe“BirminghamQur’an” fragment, c. 645 a band ofhorizontal zigzag markers between sūrat, e.g. thethree red zigzag lines across theparch - I./8 tion concerning the Mshattā facade is acceptable, it was a design on the kiswa of the Ka’ba in the hausen-Graber, 1994, Fig. 34). cosmological scene, ismarked by aband ofzigzags (Creswell 1959, II,170-172; Allen1986, 76; Etting dome, thecornice forming theborder between worlds, as in thedome there is thepainting ofa Qusayr ‘Amra completed before 743, inthehotroom-caldarium, thetransition from theinterior or zigzag band andsun-like ‘rosettes’, to speculate, quite possibly representing atype ofkiswa cover today arather different perception ofthisfacade design, as perhaps representing atextile witha line of the zigzag on the Mshattā facade remained incomplete but, if completed, we would have zigzag design with suns-rosettes-roundels. Much of the upper area of the carved design above the 24 24 23 22 21 20 follows thesūrat al-fātihah ona9 www.bhmf.org.uk/how-the-british-museum-brought-the--to-my-mum entitled “Temple delaMecque” (), asteel engraving publishedin1847 inavolume of L’Univers, inParis. tongues.” Burton 1893, 211-212, andillustrated somewhat inaccurately, idem212(seeFig.2below). Asalsoonanother view, bottom to the metal rings in the basement, was tucked up by ropes from the roof, and depended over each face in two long “On Mshatta triangles”, caption to Figs. 45and46,“carved stone triangles” rather thana‘zigzag’. ropes tied to brazen rings. point oneach face below thehazim,(Fig. 2)theremainder being wrapped around thesuspension chard Burton remarked from observation in1853, two tongues (two zigzags) extending down to a covered only the upper part of the Ka’ba in the period of of textile pieces joined together, itself took ontheform ofazigzag below thehazimwhen itfirst “The Ka’abah“The had beendressed inhernew attire when we entered. Thecovering, however, instead of being secured at the Often perhaps somewhat unfortunately described astriangles, eg. Ettinghausen-Graber, 1994, 68:“on certain triangles”, Bib. Nat. deFrance, Paris (Arabe 346),folio 13,Tyre. Itresembles initszigzag, St.Petersburg, Marcel 128,fol. 2v. No. W.554 Walters collection,Baltimore, USA http://www.thedigitalwalters.org/Data/WaltersManuscripts/W554/da http://www.sothebys.com/en/auctions/ecatalogue/2012/travel-atlases-maps-natural-history-l12401/lot.155.html http:// hazim of c. 744 A.D., a textile design reworked in stone, dressing the facade. At Walid Ibn Yazid’s th c., ifnotearlier. Inrespect to thezigzag form, itcan be noted that theKa’ba kiswa consisting By themid-1 The mostparticular importance inreligious terms ofthelocations where structures carr st /8 th th -10 c. A.D. itcan be suggested the“zigzag” design had obtained aset ofme th 23 c. A.D., today inParis This state was earlier recorded inan1803 engraving by Carl Ponhei - 22 ,raised nearly two meters above ground level, ofthesame type as th 24 A.D. Qur’an folio st 20 c. A.H./mid-7 ;andagold knotted zigzag withstylised leaves 21 .Thepalace facade at Mshattā carries avery th c. copy oftheQur’an (Marcel 128,fol. 2v.), a Uryanah (naked) at the hajj, with, as Ri- th c. A.D., onwards, there is,at times, th c., and,ifthesugges ------785 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 786 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI employed onthequbbatan-nūrofMasjid al-Nabawi at Madina, orits kiswa textile covering, a al-Yahudiyya andtheQubba at the Bab Ibrahim; orthat these zigzag designs reflected thedesigns loyed onthekiswat as-Sa’âda “zigzag” designs onthekiswa ripplinginthebreeze from angels’ wings. Itwas alsothedesign emp and itmaybe themiraculous signs ofthedressed ordecked Ka’ba that are referred to were the : “And Meccah’s bride(theKaabah) appeareth decked with(miraculous) signs.”(Burton, 1893: 212), ret rior-19377745.html engraving at: http://www.alamy.com/stock-photo-geography-travel-arabia-mecca--pilgrim-centre-of--exte- the 15 ke minaret ofAl-Masjid an-Nabawī at al-Madīnatu ‘l-Munawwarah, Medina theilluminated, from secured over thequbbatan-nūr,DomeofLight; as alsoinaband around theRaisiyah Mamlū- on theshabaka as-Sa’âda , as alsoonthekiswat al-Sharifa , thetextile covering that was formerly and person. Ahmad al-Bura’i (d.803/1400), Diwan al-Bura’i, republished, Dar AlMarefah, 2007, ifthese are not oneandthesame work catalogues/Loefgren-1975-Traini/Loefgren-1981-Traini-Cat-Milano-2-134-189.pdf. Orpossibly citingfrom Abdal-Rahimibn A copy isrecorded, Cat. of Arabic Mss.No. 276, Biblioteca Ambrosiana http://www.islamicmanuscripts.info/reference/ which bear hisname, had usedinthedesert;” Madrus1996, Vol. IV, 503. maiden knew that thisqualification of colourcame from thered leather tent whichMudhar, thefather of those tribes In the992 Night of the1001Nights, theCaliphalMamunsaid, “Mylineistheof theRed Mudaris(Mudharides).” The rative ofaPilgrimageto Mecca andMedinarecords thelineby thepoet Abd al-Rahimal-Bura’i 28 27 26 25 face, is likewise recorded in western engravings 29 78, Fig.47. tomb of theProphet withits covering of chevron patterned textiles”, zigzags ingreen, black and yellow, seePorter 2012, steel engraved antique print withrecent handcolouring, publishedinavolume of L’Univers, Paris, in1847. Another 19 Kaaba or“KissingStone” Enclosure at Mecca, publishedinBrown 1876, 64.Asalsoentitled “Temple delaMecque” (Mecca) basids around the Haram at Mecca for commemorative purposes in the early 10 Tabbaa has suggested thisQubbat isbased in part onthedesign ofthedomes erected by theAb horizontal zigzags carved on theupper part of its dome around a 7pointed sun-zigzag, and Yasser ribbed dome, while theAlmoravid Qubbat al-Barudiyyin at Marrakech ofA.H.511/1117 A.D., has at Medina,draped withcoverings of brocade, akiswa. with coverings of brocade…” Lyons 2015,92, perhaps reminding of theProphet’s garden andqubbat an-nūr-Domeof Light rated thedome(inpalace orchard-garden) beautifully…, andwe went to thedomeinorchard, whichwas draped Story of theThird Quest, for theCrown, supposedly set inthereign of theOmayyad Caliph‘Abd al-Malik,“and they deco-

palace andfortress wall etc. dating from well before the14 viving examples oftheuse ofthiszigzag design onminaret, mosque andmihrab, dome, flag, city, Islam onwards has been made for theabove reasons; as alsofrom theevidence provided by sur 15 days (Burton, 1893: 212). John Lewis Burckhardt’s in visit 1814, the period when it was dressed in this fashion extended over zigzags, the zigzag form was still associated with the Ka’ba at the time of the hajj. At the time of of theKa’ba inakiswa . Inconsequence, even when thedesign onthekiswa itself did notcarry sition to innovation-bidat, thisway ofredressing theKa’ba may date from theearliest dressing these 10 144). Orperhaps thedesigns onthese later domes was influenced by thedesigns onthekiswa over around the16 a design used inthetextile covers -pûşîdeover thetomb ofProphets andShaykh, andinaband The useof red for thezigzag may possibly reference thedescendants of MudhartheRed, includingtheProphet of Islam. As in the depiction of the sanctuary at Medina in the late 17 The covering of adomeintextile ismentioned in the10 https://etc.usf.edu/clipart/80000/80002/80002_kaaba.htm Aprint that was cutdown and reworked andentitled, The Presumably citingfrom the11 28 .As also, for example intheMamlūke marble flooroftheQubbat at andas al-Quds as-Silsila th c. onwards andwas probably therefore, adesign alsoemployed ontheearlier manār-mina- While theun-dressed state oftheKa’ba, but withmore thantwo “tongues”-zigzags on each The late 11 The suggested association ofthezigzag design withtheKa’ba century from thefirst of th c. domes th c. minaret oftheShaykh al-Akbar, IbnArabi’s mosque-turbé at Damascus. th 29 -12 :theQubba above theZamzam spring, theQubba al-‘Abbasiya, theQubba th c. Kalat El-Koubba in the medina of Sousse, , has a vertical zigzag th c.Diwan al-Bura’i, of Abdar-Rahīm b. Ahmad b. ‘Ali al-Bura’ī al-Mahāgirī (d.c.1058). 27 , withsurviving 14 th 25 c.Tales of theMarvellous andNews of theStrange, in,The th , and presumably, given the longstanding oppo- c. examples (Kurtuluş 2017, Foto 4 (TSM 24/895), th -18 th c. Mss. of al-Jazuli’s th c. Richard Burton inhisPersonal Nar- Dala’il al-Khayrat, “the domed th c. (Tabbaa, 2008: th c. 26 - - -

şerefe on minaret-kharanagh, Yazd, Iran 12 Uzbekistan, 1109;Kalyan minaret 1127, Bukhara, Ozbekistan, zigzag bands below theşerefe; horizontal zigzag bands below two bands of horizontal zigzags onthe1107 Natanz minaret, Iran; horizontal zigzags ontheGreat Seljukminaret, Termez, rasan, Iran), ahorizontal zigzag band with«roundels»; horizontal zigzags ontheGreat SeljukMinaret, Firuzabad, Iran, 1040; prominently displayed on and in the form of the this design through its use onearly Qur’an folios andthrough association withthezigzag design mosques andturbé, as onawide variety oftextiles of domes, as alsocarved oncolumns andcolonettes andisadesign found over theentrance to me ofmihrab niches, inmuqarnas andonthe facets ofmuqarnas andontheexterior andinterior Mas’ud III(1099-1115) at Ghazni,but explicitly, inhorizontal orvertical bands ontheshaft in cross-section, as withthe8zigzag flutes oftheshaftminaret oftheGhaznavid sultan Almohad -Mosque minaret, ,1230. 34 33 32 31 30 formerly crowned withatiled domethat reflected thesunlight ght of the Almighty was in thepast more explicit than itis today, as many ofthese were Almighty, through thisanalogybetween thesunandrays ofsunlight andtheAlmighty andtheLi- nection intheuse ofthiszigzag design ontheshaftandpetek ofminarets withtheLight ofthe the zigzags-rays suggesting the out pouring and down-pouring of rays of sacred Light. Thecon- triangles-pendentives below domes, as alsoinmany muqarnasdesigns indomes andsemi-domes, around thedepiction oftheface ofthesun,as alsointheshape ofthe“belttriangles”, Turkish of the flash/rays of sun-light, as the zigzag is a design repeated in the outline of the circle of rays elsewhere employed to express legitimacy through its association withtheharamayn . attention andrespect generated by its repeated use at theNoble Sanctuaries, suggesting itwas c. A.D., ifnotearlier. Theuse ofthiszigzag design elsewhere, was therefore, inpart, due to the 91). Caliph al-Walid I.in707-9 inthemosque as recorded inIbn‘AbdRabbih’s al-‘Iqd(Khoury, 1996: 89- dome over thegrave oftheProphet orover thedomereputedly constructed first by theUmayyad Castillo, Aniñónby Zaragosa (Comunidad deCalatayud), 12 Turkey; invertical zigzags below theşerefe ontheminaret of theal-Qadi al-MehmendarMosque, 13 horizontal zigzags intheuppersectionof thebrickshaftbelow theşerefe of theCacabey medrese minaret, 1272, Kirşehir, also withinrectangular panels inMaghrib andAndalusia examples on/7/1252/1253/all/sort_by/seqn red locally andonblockprint textiles imported from Gujarat, for examples: http://jameelcentre.ashmolean.org/collecti- by Allahmay besure thatitcounts for goodwithhisLord” reminder ofmeaning through thisassociation, as, “Whosohonoursthatwhich isdeclared sacred the use ofthisdesign withits display intheNoble Sanctuaries. Itwas areligious statement anda ted locations for theobvious reason: its importance as anoteworthy marker, visual associating It was repeatedly employed ontextiles of thisperiodasthetextile finds from Fustat make clear, both woven/embroide- Two rectangular panels of horizontal zigzags below theAlmoravid şerefe of today’s belltower to Nuestra Señora del On theminaret, asthesupportfor light andasamarker of TheLight, Duggan 2013,362-365. Nawawi 1989, 57. E.g. onthe11 There isalsotheassociation that can be made ofthiszigzag design withthedepiction As amarker oftheLight oftheAlmighty It was adesign employed onsomeminarets from the11 It may be understood that thisdesign was employed elsewhere insignificant andeleva- th c. minaret of Arslan Jadhib, governor of Tus (1025–6)for theGhaznavid Sultan Mahmud,Sangbast (Khu- th c.; vertical zigzags on the lower shaft of the Kizil Minare, 1221-37, Aksaray, and th c.; Rectangular tiledzigzag panels below theşerefe onthe kiswa in the 32 andceramics. 33 .Firstly then,meaning was given to th haramayn from as early as the 8 c. onwards, notonly intheirform 34 .Thezigzag design isfound on 31 ;as repeatedly inthesemi-do- th c. Halep, Syria, etc. 30 ,and th 787 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 788 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI hsonian Inst., Freer-Sackler No. F1909.75; as on another late 12 13 and 13 as are noted above. Thisassociation ofthezigzag design withlight was made explicit inthe12th lot.173.esthl.html# on horseback andattendants, http://www.sothebys.com/en/auctions/ecatalogue/2013/arts-of-the-islamic-world-l13220/ circular mirrors carrying thisdesign in aninscription band below therim. bowl withappliedgold over glaze. No. OC.l58-1946, TheFitzwilliam Museum,University of Cambridge, where there are six bowl, Freer-Sackler FS-8346_04 Smithsonian Inst.; on a Kashan, Iran circa 1175 - circa 1220, mina’i frit-ware under-glaze mirrors are within red circular pivot rings; thesame pattern isontheupperwinged mirror depicted onthemina’i painted employed by designers-nakkaş water flowing over thisdesign when carved inrelief. Itseems thezigzag design was deliberately tains, notonly to generate sound,but to cause theflashes ofreflected light from themotion ofthe also adesign frequently carved inwaterslides-cascades, inthefloor of water channels, as onfoun- the band ofhorizontal zigzags inred across thefolio dividing surat intheBirminghamQur’an (Fig. 8).Whilethezigzag as therepresentation oftheDivine Light was implicit, for example, in semi-dome ofthemihrab ofthemosque- complex ofSultan Qansuh al-Ghuri of1503-04 1432-3 (Fig. 7),andby theblack andwhite zigzags that flow outfrom theName Allahcarved inthe Allah carved inthesemi-domeofmihrab intheKhanqah oftheal-Ashraf Barsbay complex of mausoleum completed in 1362; as by the red, white and black zigzags that flow out from the Name that flow outfrom theName Allahcarved inthesemi-domeofmihrab oftheSultan Hassan within it,but also, for example, by Mamlūke designers: through thered, white andblack zigzags not only onthekiswa coverings carrying thiszigzag design withtheName Allahembroidered illuminated, ofthelight oftheenlightened, oftheLight oftheAlmighty/nūr-i ilāhi. the surface ofwater ted from the Light of theAlmighty, from thenūr-i ilāhi. 39 39 38 37 36 35 candlesticks, including someSeljuk (Fig. 3) 41 41 40 gharā’ib al-mawjūdāt, produced from the13 Archangels illustrating Abu Yahya Zakariya’ ibnMuhammad al-Qazwini’s, ‘Ajā’ib al-makhlūqātwa levance&ft=candlestick+base&offset=0&rpp=50&pos=4 ropolitan Museumof Art,N.York, Acc. No91.1.561https://www.metmuseum.org/art/collection/search/444561?sortBy=Re - turned, engraved, incised,inlaidwithsilver andcopper, withwinged dragons withinthezigzags indicating theLight, Met Sotheby’s, London, Artsof theIslamicWorld, 18April,2007, Lot No. 96;1200-1250,brass candlestick base; hammered, of circular mirrors depicted onsomeSeljuk haftrangi/mina’i painted ceramics in depictions oftheArchangels, themselves made oflight employed because zigzags were understood to indicate-represent light (Fig. 5).Itisadesign found a a of theAlmighty ne Light, through the analogy drawn between sun and its light - and the Almighty and The Light shaft orontherim,adesign that can be understood to have been employed to remind oftheDivi- der-glaze onalateder-glaze 12 zigzag design inblue andwhite alsoappears as thedesign onaglass mosque lampdepicted inun- raved-brass-torch-stand-iran-4083165-details.asPpx?intObjectID=4083165 Christies Sale6713 —IslamicArtandManuscripts, 29thApril,2003http://www.christies.com/lotfinder/lot/a-safavid-eng- ver-and--inlaid-candlestick-5358623-details.aspx Metropolitan Museumof Art,N.York, Rogers Fund, 1929 (29.53); tie’s, London, 5thOctober 2010,Sale7871, Lot 27. http://www.christies.com/lotfinder/furniture-lighting/a-fine--sil- al-Malik al-Nasir Muhammad, , of 1342 has a band of doubled zigzags on the moulding above the base at: Chris- A related angels by were AishainMuslim,“The created from light.” Thelight understood to mean they were crea See onthissame matter, butin respect to the sun rather thanthezigzag, Melikian-Chirvani 1994, 146-155. mina’i-ware bowl, Iran c.1200.Museumfür IslamischeKunst, Berlin,(Forkl-Kalter-Leisten-Pavaloi 1993, Abb.72); Iran, 12 Examples of the zigzag design painted in blue and white to represent thereflection from the surface of a mirror include Today, Met. Mus.,New York, Acc. No. 20.120.106. A brass candlestick, withzigzags indicating light andlions’ heads, Khurasan, circa 1200,40.6cm.by 43.7cm. max.diam. Examples of thezigzag design painted in blue and white to represent the reflection from thesurface of water include E.g. A Mamlūke silver and gold-inlaid candlestick base in the name of Sultan Shihab al-Dunyawa al-Dīn Ahmad bin mina’i-ware bowl, Iran c.1200.Museumfür IslamischeKunst, Berlin, (Forkl-Kalter-Leisten-Pavaloi 1993, Abb.72); Smit th c.mina’i painted frit-ware bowl, offered for sale at icollector.Com, withdrawn from sale 07-2002, where the two circular th centuries, recorded intheblue andwhite zigzags depicting thereflection ofsunlight from This association ofthezigzag design withthenūr-iilāhihas at times been made explicit, 37 .Itwas perhaps thereason for theuse ofthiszigzag design inearly Qur’an folios th 38 -13 ,as alsoemployed to represent thereflection ofsunlight from thesurface th c. Iran, frit-ware tile as anoteworthy marker, to remind inthistemporal world ofthe 35 , Mamlūke andSafavid examples th 40 into the18 , thereby, itissuggested, indicating thisdesign was th /early13 th 41 c. inIran, Egypt andIndia(Fig. 6).Itis ,as innumerous miniatures depicting th c. mina’i painted frit-ware bowl with a rider 36 39 ,often around the (Fig. 4).Avertical th - - - - 55:17; “[Heis]theLord of theEast andthe West; there isnodeity except Him,”Surat Al-Muzzammil 73:9 and early winter) and the Lord of the two wests (places of sunset during early summer and early winter).” Surat Ar-Raĥmān that between them,” Surat Ash-Shu`arā’ 26:28; “(He is)theLord of thetwo easts (places of sunrise duringearly summer and, likewise, Surat Ţāhā 20:130;“made thenight andday two signs” Surat Al-’Isrā’ 17:12; “Lord of theeast andthewest and “To Himbelongs what isbefore usandwhat isbehindus,”Surat Maryam 19:64;“thetwo endsof theday” Surat Hūd11:114 the west.” Surat Al-Baqarah 2:142; “[Heis]Lord of thetwo sunrises andLord of thetwo sunsets.” Surat Ar-Raĥmān 55:17; II. Itseems mostprobable therefore that thewidespread use ofthis“zigzag” design from the11 lūke Sultans: Qalāwūn, Baraka Qān, Salāmish, Qalā’ūn, al-Ashraf Khalīl,Kitbughā andby Baybars the new Abbasid Caliph inCairo, to Sultan Baybars from 1261, andwas employed by otherMam- the 13 Ghaznavid Masud IIIb. Ibrahim (1099-1115), as later to Ghiyath al-Dīn‘Iwad ofBengal at thestart of juk Sultans including, Toghril in1058, Malikshah andMuhammad Tapar (1105-18), probably to the was primarily awarded to Turkish rulers by Abbasid Caliphs, atitlepreviously given to Great Sel- reign. Thelaqab,his first qasīmamīral-mu’minīn-Associate/Partner oftheCaliph was atitlethat by Sultan Ghiyath al-DīnKeyhusrev IIandby Sultan Rukn al-DīnQilijArslan IV(r.1248-1264) in liph andwas thereby associated withboth theCaliph andtheharamayn . Thislaqabwas alsoused Caliph, Abū Ja’far al-Mustansir (1226-1242), ofqasīmamīral-mu’minīn-Associate/Partner oftheCa- 1228/9 theSeljuk Sultan Alaeddīn Keykubat had obtained thehighest from laqab-title theAbbasid and ofVictory. Theuse ofthis“zigzag” design increased at thistimeinSeljuk territory, as from licitly through reading thedesign, theName Allah,being thesource ofboth theDivine Radiance Divine Name, Allah,as thezigzag bands onthekiswa over theKa’ba carry both explicitly, andimp that the zigzag design was understood to stand for, to be read as indicating both the Ka’ba and the the Names ofAllah,al-Galib,TheVictorious, oneach ofthefour arms(Arık-Arık, 2008: Fig. 312), within a square at the centre (Fig. 9), like the 1236 from theKubadabad Palace by Lake Beyşehir, Turkey, that has thiszigzag design repeated 42 of the Two Points from thezigzag design, that itmay be understood to be thereminder oftheAlmighty, oftheLord in stone to form theoften polychrome joggled inthelintels over doorways. of theDivine Light as zigzags, as withthese zigzags inmihrabs, inmuqarnas andthosezigzags cut noted by Yasser Tabbaa inrespect to muqarnas (Tabbaa, 2002: 132-133), through thisrepresentation creation intheworld sustained by theAlmighty, as articulated inAsh’arī occasionalism, as already This design can perhaps be understood further to represent course andremind oftheon-going of the zigzag representing light extending outfrom itinthree dimensions, ismade visually explicit. bawī at Medina theilluminated -inthese examples thisrelationship between theName Allahand fragment, as by theband ofred andwhite zigzags ontheRaisiyah Minaret by Al-Masjid an-Na- this reason, to visually clearly express aTurkish Sultan’s partnership withtheAbbasid Caliph and onwards, inGhaznavid, Great Seljuk, Rūm Seljuk andMamlūke territories was, at least inpart, for sembling thebasic form ofazigzag. wrong, interms ofdiscrimination-separation (onthis,Pendergrass 2015, 79-81), withits points re vision”, originally derived from the metaphorical sword of discernment distinguishing right from ending intwo points, forming a“chevron”, Dū-l-fiqār, acorruption offirāq meaning “distinction, di- tches ordents-teeth onthesword, and/or inreference to the“notch” formed by thesword ofAli fuqrah- “notch, groove, indentation”, inreference to a kind of decoration ofregularly spaced no- As in, “And to Allah belongs the east and the west.” Surat Al-Baqarah 2:115, as likewise, “To Allah belongs the east and th c. andto theDelhiSultan Iltutmish (1211-36). Itwas later given by Abu’l Qāsim al-Mustansir, It seems possible withinanIslamic context to suggest meaning afurther that can be read It can be suggested from aRūm Seljuk 13 Marker ofPartnership withtheCaliph 42 , Zū-l-Faqār , following the interpretation of faqār as an unfamiliar plural of kiswa with zigzags over the Ka’ba, and with one of th c. under-glaze painted c. under-glaze turquoise cross tileby

th c. c. - - 789 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 790 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI (Fig. 10).Consequently, domes carrying thiszigzag design an-nūr oftheMasjid al-Nabawi at Medina, as likewise secured thekiswa over theKa’ba inMecca the dome, like thecopper loops that secured thecovering, thekiswat al-Sharifa over thequbbat thereby dressing thedomeinastone carved kiswa , withthese carved loops around thebase of as Crichton, 1852, 517; Burton 1893, 211-212. These kiswa http://www.sas.upenn.edu/ancient/masons/OKane_Domes.pdf nard O’Kane, TheDesign of ’s MasonryDomes, p. 5,fn.12at: Mausoleum of Emir MahmudJanum, andisthemaindesign onthedomeof theQurqumas complex of 1506-7, allinCairo. expression oftheMamlūke Sultan’s titlefrom 1263 ofKhādimal-Haramayn al-Sharīfayn Ka’ba until A.H.761-1360, Steenbergen 2016,99. al-Sharīfayn, Servitor of theTwo August Sanctuaries, buttheRasūlidrulerof may have dressed theinterior of the http://www.mamissionblackburn.co.uk/makkahmuseumpagetwo.html; for thecopperrings inthe18 Ipek records, “A 15 lūke Sultans ofthelaqab, qasīmamīral-mu’minīn-Associate/Equal Partner oftheCaliph. Selin reflected intheuse by Sultan Malikal-Zahir Baybars from 1261 onwards, andby subsequent Mam- 44 43 obvious reasons were echoed insubsequent Mamlūke arts andarchitecture, ondomes and to theground design, quite clearly indicating that, like thebrazen copper rings holding thekiswa oftheKa’ba Najm al-DīnTimurtash in1152 (Keser-Kayaalp-Wheatley-Irving, 2017: 127). was to publicly signal thelegitimacy finallyconferred by theCaliph al-Muqtafī upon theArtuqid yāfāriqīn Mosque (Silvan Ulu Cami) completed in1157, ofpolygonal colonettes withcarved zigzags, In thiscontext onecan suggest for example façade theuse onthenorth ofthereconstructed May association withtheharamayn, thisdesign being employed therefore as amarker oflegitimacy. 45 Barsbay al-Bajasi of 1456. Inthe16 Ganibak 1426-27 andonthe dome over thetomb of theEmirNasrallah of 1441, as onthedomeover the Mausoleum of al-Kurdi (1394–95), onthedomeof the mosque of Sultan alMu’ayyadof 1415-20, onthedomeover themadrasa of Emir this case there isalsoaringof zigzags ontheinterior of both of these domes. Itisalsothedesign onthedomeof Mahmud ns employed onthedomes andthekiswa dressing these renovated structures, designs which for an-nūr oftheMasjid al-Nabawi andtheadjacent Raisiyah minaret from 1481-1483, andofthedesig work at theKa’ba inMecca, at theHaram al-Sharif inJerusalem andtherebuilding ofthequbbat the work carried outby Sultan Ashraf Sayf al-DinQa’itbay, 1468–1496, responsible for rebuilding design onitorthekiswa draped over itwas almostcertainly azigzag; as alsosubsequently in al-Mansur Qalawun rebuilt the the ringofloops, was aconsequence ofMamlūke responsibilities inrespect to these titles. Sultan re, and onrecording thisandotherkiswa designs “tied” to theirdomes through thedepiction of evident that theMamlūke emphasis onthiszigzag design from intheirart, textiles to architectu- characteristic ofthisfledglingpower’s identityinthediplomaticarena” (Muslu 2017, 76). Itseems sage to Murad HanGazi in1386, as recorded by Neşri, “thejihadoftheOttomans was thedefining on theghazi-jihad legitimisation ofOttoman rule, which was emphasised inSultan Barquq’s mes their association withtheNoble Sanctuaries andtheCaliph; thiswas incontrast to theemphasis as well as onminarets andinmihrabs, was surely inpart, for legitimizing purposes, inemphasising Khādim al-Haramayn al-Sharīfayn andqasīmamīral-mu’minīn. can be regarded inpart as alegitimizing design reflecting theacknowledged Mamlūke position as 60. See also Ipek, 2006: 289-316), and in terms of the use by the Mamlūkes of this zigzag design, it zig-zag pattern was anestablished woven textile designpriorto theOttoman period.”(Ipek, 2011: On the exterior of the domes over the and the mausoleum of Sultan al-Zahir, Faraj ibn Barquq of 1384-86, and in For examples intheMakkah Museumsee: In 1263 Baybars sent thekiswa “carved loops” Behrens-Abouseif 1989, 143, ortermed by Bernard O’Kane“mim” a asitsform resembles theletter, Ber On Mamlūke domes there isfrequently aband ofcarved rings at thebase ofthiszigzag The increase from 1382 intheuse by theBurji Mamlūke Sultans ofthisdesign, ondomes, 43 ,thiszigzag design was to be “read” as being draped over theform ofthese domes, th -century Mamlukfabric intheTopkapı (24/1745) shows thatthischaracteristic , replacing theRasūlidYemeni kiswa th c.,over thedome of theMausoleum of EmirTarabay al-Sharifi,over thedomeof the qubbat an-nūr of the Masjid al-Nabawi in A.H. 678/1279-80, and the attachment rings carved onMamlūke domes have beendescribed 44 andheadopted titleof Khādim al-Haramayn can be read as reminder avisual and th and19 th 45 c.,see, ,as also, - - - - Menazil-i Sefer-i Irakeyn-i Sultan Süleyman Han reverses theorder ofthezigzag designs carved instone ontheminaret oftheearly 14 horizontal zigzag ontheshaftandvertical above theşerefe oftheminaret oftheYeşil Mosque, suzerainty, withinthecontext oftheincreasing threat presented to both rulers by Timur. The al-Haramayn al-Sharīfayn , to the Mamlūke Sultanate, and the Ottoman acceptance of Mamlūke 9), be “read” as a noteworthy expressionvisual at this time of Ottoman allegiance to the putting ontherobe ofhonourtheMamlūke Sultan Sayf al-DīnBarqūq in1392 (Muslu, 2014: 78- a band ontheshaftandvertical above theşerefe, which may, inthecontext ofBeyazit Ireportedly green andred coloured tiles ontheminaret ofthe1391 Ottoman Yeşil Mosque, İznik,horizontal in Ottoman Yeşil Mosque, İznik,horizontal inaband ontheshaftandvertical bands ofzigzag blue, horizontal and vertical bands of zigzag blue, green and red coloured tiles on the minaret of the 1391 concerning the expression of legitimacy made through the use of this design, is recorded in the c. into the 19 the of theMadrasah of Mahmudal-Kurdi, builtin1395, asalsointhesemi-domeof themihrab of the15 Mangak al-Yusufi of 1349;zigzags inthesemi-domes of themihrabs intheMosque of al-Bakri builtbefore 1374, andin of themihrab of theSultan al-Mu’ayyad mosque, horizontal zigzags inblack andwhite inthemihrab of theMosque of 49 48 47 46 minarets 239 m240 352 Compotier à décorsinisant E.Cl.348Hanapàdécordezigzag). found on Iznik ceramics, Musée national de la Renaissance, Château d’Ecouen Frédéric Hitzel, Mireille Jacotin, (M 238 http://www.britishmuseum.org/explore/highlights/highlight_objects/me/p/peter_mundy,_manuscript.aspx It is also Janissary oncampaign, allwearing aheaddress carrying thisdesign in agold band around thewearer’s head. cials: etc., anillustrated manuscript”, of in1618,theBritishMuseum MEOA 1974.6-17.013, depictssixOttoman offi - on of theTurckes, theirKings, Emperors orGrand Signeurs, theirconquests, religion, customes, habbits at Constantinople, with agold band carrying thisdesign around theirhead dress, asisalsorecorded inPeter Mundy’s Album,“A briefe relati- rab of theMosque of Sultan Hassan. Allof these inCairo. InMamlūke Tripoli, thesemi-domeof the14 and green marblespringingfrom andpassing viatheNameAllahrepeated three times withinthesemi-domeof themih- the reconstructed 1875 mihrab of the‘Amr b. Al-‘As Mosque. There isaparticular form of thezigzag design inred, white octagonal minaret of the Turab al-lmamMosque. pairs of attached columnsonboth of these minarets. It was alsothedesign between thefirst andsecondşerefe onthe the late 14th c.by Amir Yalbugha al-Salami which has a horizontal zigzag band below theşerefe andit is also in a band below the Madrasa of Ummal-Sultan Sha’ban of 1368/9.The Fatimid AlAqmar Mosque inCairo hasalater minaret, builtinthe minarets of the1349mosque of AmirShaykhu, and,ahorizontal zigzag design band above theşerefe ontheminaret of 2015: 58A, 64B), anditseems to have been tall, standing well above theheight ofthecompound covered inapattern ofblue, black andwhite zigzag bands, orinblack andwhite zigzags (Atasoy, ated inside thecompound wall, to theleftofentrance into theouter courtyard. Thismanāris than acolumn isprobably to be understood as aminaret-like, manārmarker structure, thensitu- bin Abu Talib at Najaf what isdescribed as “an unusualcolumn” (Atasoy, 2015: 132), which, rather the EmirSunqurSa’dī inCairo. muqarnas nicheover theentrance portal of 1471, asisalsothecase withtheentrance nicheof the1315Mausoleum of zigzag design inthecarved stone semi-dome, like that inablaq inthemihrab of Sultan Hassan Mosque inCairo, over the portal of theTaynal Mosque, Tripoli, constructed inthe1330’s andtheTuwashi Madrasa alsohasaparticular form of the widening towards theouter edge andthere isared, white andblack marblehorizontal zigzag inthenicheover theinner Madrasa al-Nuriyya is covered by a polychrome marble zigzag pattern springing from the middle of thearc, the zigzags white horizontal zigzags by 1505;aslater intheOttoman 16 al-Dīn al-Ustadār Mosque; inthesebilandmihrab of thefunerary complex of Sultan Qansuhal-Ghuri,of black and Hâdim’ul-Harameyn’uş-Şerifeyn. also noteworthy that thezigzag design was worn by members oftheOttoman state from the16 that earlier carved over the N.W. archway into the mosque of Sultan Baybars in Cairo of 1269. It is Milas of1394 has apowerful zigzag relief carved onthecentral arch oftheportico, reminding of sir Muhammad citadel mosque inCairo. Inthesame decade, theOttoman FiruzAğa Mosque in frame the opening in the 14 rebuilding work at theMasjidal-Nabawi inA.H.678/1279-80. There are horizontal zigzags onthestucco columnsthat and theuseof thezigzags onthisminaret was probably based uponthedesigns employed inSultan al-Mansur Qalawun’s In addition to those recorded above, there is a horizontal zigzag ray pattern in black, red and white inthe semi-dome For example invarious nakkaşhane-palace produced illustrated Süleyman-name theofficials andyeniçeri are depicted Istanbul University T5964. Both vertical andhorizontal zigzag designs are ontheearly 14 şerefe onthepair of Mamlūke minarets of themosque of Sultan alMu’ayyad of 1415-20 andisalsothedesign onthe Aqa Larees -theroyal companion, theCavuşbaşi, thekapici -gate-keeper, thesolak,Yeniçeri andtheSeferli- a 46 andmihrabs th c., including by th c. minaret of the Mosque of Muhammad ibn Qalawaun, a band of horizontal zigzags on the 47 andniches inCairo, andelsewhere inMamlūke territory. point, further yeniçeri, from 1517 onwards when the Ottoman sultan had the title The miniatures painted by A.H. 944/1537 contained in the 49 th ,by Matrakçı Nasuh, depict at theshrineofAli c.mihrab of theSuleyman Pasha Mosque, Citadel, andin th c.minaret of theAl-NasirMuhammad Citadel Mosque th c.mihrab of the th c. Al-Na- th Khādim Beyan-ı c.Jamāl th

791 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 792 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI zigzag design linked itto thesame zigzag design employed at Medina. Likewise Qur’an Kursi often carry this had belonged to theProphet” (EI11936, Vol. III,359), andtheuse ofthisdesign onthisdomethereby think, isbecause beneath thisCairene dome there was “preserved apiece ofiron andwood which this Mamlūke ,as atakiyya for theKhalwati order Sufi by Ibrahim Pasha al-Shaytan, onemay this design was chosen for theexterior design ofthisdomeinthe1663-4 Ottoman restoration of the pronounced carving onMamluke domes.”(Behrens-Abouseif, 1994: 266), but thereason why al-Athar isadornedwithazigzag carving soshallow thatitcan onlybeseenatclose range, unlike other structures, objects andtextiles. DorisBehrens-Abouseif writes that “ThedomeoftheRibat on particular tombs, as ontomb coverings etc., over theentrance to mosques andtombs andon 50 and red marble its mihrab is, like some earlier Mamlūke mihrabs, decorated with a zigzag pattern in black, white ha Mosque inDamascus has zigzags carved onits west courtyard portal, while thesemi-domeof outer arches are withoutthezigzag, just ofred andwhite blocks. TheOttoman 1574 Pas Dervish of Selim II at Edirne, of1568–1575 carry alternating blocks of red andwhite zigzags, while the lower inlaid column ofhorizontal zigzags, andthearches themaindomeofSinan’s supporting Mosque (Atasoy, 2015: 102A). MimarSinan’s doorto theSüleymaniye Mosque, İstanbul, of1558 carries an of Shaykh ‘Abdu’l-Qādir-Gīlānī d.1166) was thencovered inturquoise green withblue zigzag bands records theshaftofaminaret ofonemosque-mausoleum inBagdad (probably representing that 58A), clearly thereby indicating thismanār’s considerable zigzag covered height. Thesame work it at thelower leftcorner inthedetail which otherwisedepicts only theinnershrine(Atasoy, 2015: wall, andwas constructed to serve as amarker for theshrine itself, thisbecause Matrakçi includes 53 52 51 of Egypt. Mustafa Paşa inthearmy of Sultan Selimthat took Syria, EgyptandtheHijaz,became thethird Ottoman governor of the1523 Çoban Mustafa Paşa, Gebze, Turkey, thezigzags descending from thesun’s rays intheapex of each. Çoban ting the Arabic letter wav meaning “and”, as in zigzag design could therefore be read as therepetition of the number 6. The number 6 represen- se two numbers, 7and 8when added together total 15, withthetwo numbers 1+5summed =6.The joined together, thedesign being read as repeating thenumber 7andrepeating thenumber 8.The literal sense, read inits horizontal form as thecombination ofthewritten Arabic numbers 7 and8 connection between manandGod”(Schimmel,1984: 100),linking thebeliever withtheAlmighty. such as Shaykh Najm al-Dīn Kubrā (1145-1220), thewav/vav series ofbands ofhorizontal zigzags ontheexterior facades above theşerefe. Itisnoteworthy that Abdül Aziz al-Saud’s palace at Riyad, carried a was constructed as amarker, withvertical zigzags in thebrickwork oftheshaft andonthepetek as late as 1902, theOttoman minaret oftheAdliye Mosque at ofBodrum,Muğla, theport Turkey, It isalsoemployed for example ona19 As intheminiatures by Levni inthe1720 Bookof Festivals of Vehbi, of Ahmet III. Op. cit.fn.46.Asalsoistheblack and white horizontal zigzags inthesemi-domes of themihrabs of thesoncemaat yeri For a1935 photograph of thissee, Mansel1998, 140-141. It seems reasonable to suggest that this “zigzag” design may alsohave been “read” ina Literally Reading theZigzag 51 , atent oftheOttoman Sultan-Caliph carried thisdesign inthe18 50 . It is a design found on the domes of Ottoman inlaid Qur’an th c.Ottoman Çekmece, Mevlana Müze, Konya, Env. No: 358. “and Allah” ; as was recorded in the 12 letter being regarded as, “theletter of 53 . Mahfazası (Fig. 11), th c. (Fig. 12) th c. by figures 52 and, - - Ka’ba, withthetomb oftheProphet remind ofthepresence inthisworld ofthisEssential Light, as, through its associations withthe earth” (Al Ghazali, 1992: 145). The use of the zigzag design within this temporal context toserving a lightstreaming to allthingsfrom thelightofHisessence, for Heisthelightofheavens and Names oftheAlmighty. Abū Hāmid Muhammad ibnMuhammad wrote, al-Ghazālī “Existence is band around thedomeofqubbat an-nur at Medina. An-Nūr –TheLight, being oneoftheGreatest Nūr 24:35: a reminder ofthepresence oftheLight oftheHeavens as isrecorded andtheEarth, intheSurat king upon aphysical form, dressing astructure orobject, withareminder oftheName Allahand zag” design inanIslamic context can perhaps best be understood as representing through mar design asareminder of thenumber6repeated. as 66.Thismeaning provides areason for thefrequent useof hexagonal tiles inIslamiccontexts, servinglike thezigzag numerical value of 66,together with,for example, thehexagon surrounding asixpointed sun-star, that can alsobe“read” with itssixpetals, allof whichcan beunderstood asrepresenting thenumerical equivalent of theNameAllah,with of thehilal,crescent moon,and itsceremonial reminder, thehāfir/mahcha, asalsofor the depictionsof thetulip-lale, the Almighty, nūr-iilāhi. through andthrough (e.g. Figs. 6,7)–illuminated by theLight oftheLight upon Light, theLight of is not just lit up on the exterior, outwardly, but truly illuminated, Mantle,” by ImamSharaf al-DīnMuhammad ibnSa’ īd al-Būşīrīal-Sanhājī. Fi Madh Khayr Al-Bariyya (TheBrilliant Stars inPraising theBest of Mankind)termed Qasīdat al-Burda, or“Poem of the 57 57 56 55 54 equivalent oftheletters forming theDivine Name, Allah the entire text oftheHoly Qur’an (77,639). reminding of the 78,000, that is, the total number of words traditionally understood to comprise the repeat oftheletters representing thenumbers 7and8can be understood as signifying and ing divided into 60ahzāb, andthere being 114Surat, which when added together, 1+1+4=6;while of Abraham and Jehuda Cresques’ Catalan Atlas of 1375, andvertical inblueandwhite onGuillemSoler’s c.1380portulan. of theKnowledge of alltheKingdoms, Lands, andLordships that are intheWorld, invertical zigzags insilver andblueon on theTeke Emirate’s flag on Augusto Angelino Dulcert’s 1339 portulan; horizontal of purple andsilver inthec.1345,Book 1284; ontheflag of the Karamanoğlu Emirate, of horizontal red andwhite zigzags and vertical, of blueandwhite zigzags forces intheCantigas deSanta Mariacodex, made at thebehest of Alfonso XtheWise, Kingof Castile between 1252 and zigzags inminiatures depicting textiles, onhorse caparisons, emblazoned shields and thedesign on someflags of Muslim read as 6plus 66,andsoformed alegible device ontheflags orbanners read as dhikr/zikr. This zigzag design can be read as a repeat of traditionally understood to represent thetotality ofthemushaf to remind oftheName Allah,thrice as dhikr/zikr , the Light oftheAlmighty, reminding ofTheLight. Itcould be read as thenumber 6repeated, twice reminder oftheAlmighty and,through thisdesign’s resemblance to therays around thesun,of Surat Al-‘Ankabut 29:46, withtheuse ofthiszigzag design marking astructure orartefact witha used thisdesign seem to have understood that, “Nothing isgreater thanthe remembrance ofGod,” man-made environment as awritten/visual reminder oftheName oftheAlmighty. Thosewho rored doubled wav letter, the numerical equivalent of the Name Allah, 66, thereby in serving the in theMiddle Ages inaddition to its otherassociations. Thiszigzag design repeats, like themir 6000, 6214, 6219, 6226, 6236. Fund and £6,666for theDay collectionfor theRed Cross, Das 2010,346-7; althoughtheactual number issomewhat less, in September 1914 includedthesums of: £6,666to thePrinceof Wales Relief Fund, £6,666to theImperialIndianRelief See for example thefour references inreference to “Nur” to theProphet Muhammad inthe13 As Evliya Çelebirecords, Dankoff 2004,156. Hence, theNizam of Hyderabad’s donations to theBritishImperial war effort As isalsothecase for calligraphy andsculptures of thedoubledwav As for example depicted inred andwhite, black andwhite, andbluewhite horizontal andbluewhite vertical ayet ; as likewise thenumber 6can itself be read to imply andremind oftheentire mushafbe The repeat ofthenumber 6being read as both representing andrepeating thenumerical The meanings conveyed andarticulated through theuse oftheboldly contrasting “zig “Allah is the Light of the heavens and the earth.”, the ayet also found in a calligraphic 57 andwiththeQubbat –ofthat ofal-Quds which as-Silsila “ve Allah”, andfour times, as 6,666, anumber letter, asalso for sculptures and other depictions 54 ,66,thezigzag design can be visually “ve Allah”, wav=6 + wav=6+ wav=6, 56 munawwar, that is - within and ,as signifying its total number 55 ofsomeIslamic states th c.Al-Kawakib Al-Durriyya - - - - 793 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 794 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI Turkish rulers from the 11 as amarker oflegitimacy and,itissuggested, indicated through its use interritory ruled over by Noble Sanctuaries, oftheCaliph andoftheGuardian oftheharamayn. Itwas at times displayed ker, associating the place where it was employed with the of theAlmighty. Thezigzag design employed inthiscontext can be read as anexplicit mar visual hic design to have been employed as anaid to theremembrance oftheAlmighty andoftheLight world.”, Chittick1983, 160; asislater recorded inIbn ‘Atā Allāh’s sermons at the start of the 14 polish theirbreasts withinvocation andmeditation sothat theheart’s mirror may receive virgin images from theunseen ger 2011,39, asinhisIhyā UlūmAl-dīn,BookXX;aslikewise Jelalad-Dīn Rumi relates, Sufis Mathnawi BookI,line3154,“The science of practice) we mean thesciencethat teaches how to polishthe mirror (of theheart) from these accretions.” Trei reflecting God.”, Chittick 1983, 39. Al-Ghazali relates, a hadith relates: “Man’s task inthisworld isto cleanse hisheart, to polishit,and ultimately to make of itaperfect mirror and truthfrom hispresentation concerning thePseudo-Dionysian corpusentitled, Talking abouttheunknown God.As truth itself, butonlyits reflection.” Mythanks to Associate Prof. E.Gören for thisquote concerningthenature of reflection Soph. 240a) it is both areflection andavirtual twin of thetruth,because thetruth represented by phenomenaisnot the between sameness andotherness; sothat itis“another thing of thesame kind,copiedfrom thegenuine thing,”(Plat. ned a legitimising design, associated with the sociation-Partnership ofTurkish Sultans withtheAbbasid Caliphs inBagdad andCairo. Itremai- Light of this Name of the Almighty; as also a reminder of those recognised as lit by the reflection of His water, as from thepolished surface ofmirror; as reminder avisual ofTheLight, andofreminding c. theflash ofreflected Italsosignified light, reminding ofAn-Nūr, as sunlight isreflected from 61 60 59 58 where there isdarkness andforbearance where there isignorance. sun. Ishallpreserve him by MyMight, andMyAngels will protect him.Ishallprovide himwithlight hadith relates ofonewho remembers theAlmighty, “Thelightofsuch aoneislike thelightof sign that was employed andunderstood to remind oftheDivine Names, Allahandan-Nūr. As the of theDivinePresence” (Burckhardt 2001, 6)through andthroughout thistemporal world, ade the multitudinous facets ofmuqarnasinthree dimensions, oftherealisation“the permeation of mensions displayed inablaqwork inthesemi-domes ofmihrabs andthrough thezigzags forming temporal reminder oftheLight oftheReal. hin andoutofthistemporal world, removed from allofthat which issimply relative, itserves as a reminder, indicating thepotential inherent inthehuman state, anaperture, awindow, both wit terms ofthemeanings that itconveyed, employed to mark amodel,anexample, aprospect and ners andformed inconsequence, anoteworthy, legible andpowerful marker for thebeliever in Holy Qur’an andoftheAlmighty, theLord ofthetwo points. Itwas employed withcare by desig 6 and therefore a design that can be read as over theassociated structures, domeandminaret-manār. Itisalsoarepeat pattern ofthenumber (to) “polish themirror of theheart” andmake oneready for theencounter withGod.”Shoshan 2002, 16. within an Islamic context and culture to signify andremind thebeliever ofthat Greater Light. temporal world, like themoon,reflects thelight ofthetemporal sun,thiszigzag design was used mirror oftheheart ofthebeliever reflecting theLight oftheReal, as thepolished mirror inthis you inMyLight. From thecollectionof al-Bazzār, cited inthe Mishkāt al-Anwār of Ibn‘Arabī, Ibn‘Arabī 2010,72. A hadīth intheMawāqif by al-Naqqāsh, cited intheMishkāt al-Anwār of Ibn‘Arabī, Ibn‘Arabī 2010,71. “According to Plato, areflected image issituated somewhere between beingandnon-being,between truthandlie, It may alsoperhaps berelated, initsgematrical value as7=zay and8=ha’, to words suchaszahrata (the)Splendour. 61 ,whose tomb covers anddomes were often covered inthisdesign andwithzigzags onor It issuggested that thisdesign indicated, signalled andreminded, as thezigzag inthree di- In terms ofits references andofwhat reading itsignifies, its meanings, the“zigzag” design 59 ” ,reflected intheanalogywhich has often been drawn between thepolished th to the 16 th c., from Afghanistan and India to Iran and Turkey, of the As 60 , is perhaps the singlemost powerful non-calligrap visual “By the Science of the Path to the Afterlife (i.e. its practical part, the dhikr/zikr-Allah; as also, as a design reminding of the haramayn, employed by the Ottomans into the 20 haramayn, through reminding of the 58 ” ,as likewise, “Ishallsurround th c.,“Also, dhikrandseclusion th ------versity Press. 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DUGGAN 798 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI ment rings at thesides, late 12 Fig. 5.Thevertical zigzag design inblueandwhite onthedepictionof atypical bulbousglassmosque lampwithatt ach- (Forkl-Kalter-Leisten-Pavaloi 1993, Abb.72). and therefl ection of light from thepool of water, onamina’i-ware bowl, Iran c.1200.Museum für Islamische Kunst, Berlin, Fig. 4.Thezigzag design inblueandwhite, usedto represent both therefl ectionfrom thesurface of both circular mirrors Fig. 1.Thebands of horizontal zigzags ona15 Fig. 6. An Archangel dressed in zigzags indicating light from a 17 le&off set=0&rpp=50&pos=9 https://www.metmuseum.org/art/collection/search/447188?sortBy=Relevance&ft=Acc.+No.+20.120.106+Iran+ti- 07 Lt o 9. htt p://www.sothebys.com/en/auctions/ecatalogue/2007/arts-of-the-islamic-world-l07220/lot.96.html 96. No. Lot 2007, lions’ heads, Khurasan, circa 1200,40.6cm.by 43.7cm. max.diam.Sotheby’s, London, Artsof theIslamicWorld, 18April, Fig. 3.Horizontal zigzags ontheneckandbodyof abrass candlestick, indicating thedown pouringof rays of light, with (From Burton 1893, 212). this zigzag patt ern,asBurton records. Thezigzag design ontheOtt oman textile itself was not depicted inthisengraving. in theform of ahorizontal zigzag. Itisslightly inaccurate, asthekiswa was folded around thesuspensionropes to form Fig. 2.Engraving of theKa’ba in the mid-19 ni’s ‘Ajā’ib al-makhlūqāt wa gharā’ib al-mawjūdāt. (Harvard ArtMuseum-Cambridge 1972.3). th -13 th c.Iran, under-glaze painted frit-ware tile. (Met. Museum,New York, Acc. No. 20.120.106).

th c. in its “naked” state at the time of the hajj, with the kiswa below thehazim th c.A.H./21st c.A.D.Ka’ba kiswa.

th c. copy of Abu Yahya Zakariya’ ibn Muhammad al-Qazwi-

“zigzag” design. htt ps://upload.wikimedia.org/wikipedia/commons/2/2c/Ahmet_III_1720.jpg Fig. 12.Detail of aminiature from theSurname-iVehbi by Levni of 1720 withtheSultan-Caliph Ahmet III’s tent carrying this and mother of pearl, (TIEM, İstanbul, Env. No. 5).htt p://www.museumwnf.org/images/zoom/objects/isl/tr/1/26/1.jpg Fig. 11.Bands of horizontal zigzags onthe dome of an Ott oman Qur’an Mahfazası of 1525, inlaid inebony, ivory, silver wire le/1721.3/72892/163062_cp.jpg?sequence=1 evidence of theMamlūke Sultans’ laqab, Khādim al-Haramayn al-Sharīfayn. htt ps://dome.mit.edu/bitstream/hand- Sultan Faraj ibn Barquq, 1411, Cairo. Echoing the design on the kiswa of the haramayn and so visually displaying the Fig. 10.Mamlūke dome, dressed withthezigzag kiswa design withitscarved att achment rings, over theKhanqah of Beyşehir, Turkey. (From Arık-Arık 2008,Fig.312). of thefour armsof adamaged Seljukunder-glaze turquoise andblack, frit-ware tilec.1236, Kubadabad Palace by Lake Fig. 9.Inthecentre, asquare of Ka’ba kiswa-like zigzags, withoneof theNames of Allah,al-Galib, TheVictorious, oneach Cairo of Sultan Qansuhal-Ghuriof 1503/04. the mihrab, andrepeated inred onwhite marbleat theapex of the nichesurround, inthe mosque-madrasa complex in Fig. 8.Theblack andwhite zigzags that fl ow outfrom theNameAllahin red onwhite marble carved inthesemi-dome of Name repeated at theapex of theniche, intheKhanqahof Sultan al-Ashraf Barsbay, Cairo, 1432. Fig. 7. The black, white and red zigzags that fl ow out from the Name Allah within the semi-dome of the mihrab and the

799 İSLAM SANATINDA ZİKZAK DESENİ VE ANLAMLARI ÜZERİNE BİR OKUMA - T.M.P. DUGGAN 800 AKDENİZ SANAT DERGİSİ - CİLT: 13 - SAYI: 23 - ÖZEL EK SAYI