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Islamic Art and Artefacts in Twelfth Péter Tamás Nagy ISLAMIC ART AND ARTEFACTS IN TWELFTH- AND THIRTEENTH-CENTURY HUNGARY MA Thesis in Medieval Studies CEU eTD Collection Central European University Budapest May 2015 ISLAMIC ART AND ARTEFACTS IN TWELFTH- AND THIRTEENTH-CENTURY HUNGARY by Péter Tamás Nagy (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner ____________________________________________ Examiner CEU eTD Collection Budapest May 2015 i ISLAMIC ART AND ARTEFACTS IN TWELFTH- AND THIRTEENTH-CENTURY HUNGARY by Péter Tamás Nagy (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection ii ISLAMIC ART AND ARTEFACTS IN TWELFTH- AND THIRTEENTH-CENTURY HUNGARY by Péter Tamás Nagy (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection iii I, the undersigned, Péter Tamás Nagy, candidate for the MA degree in Medieval Studies, declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. I declare that no unidentified and illegitimate use was made of the work of others, and no part of the thesis infringes on any person’s or institution’s copyright. I also declare that no part of the thesis has been submitted in this form to any other institution of higher education for an academic degree. Budapest, 19 May 2015. __________________________ Signature CEU eTD Collection iv Abstract My research represents a novel approach to the connections between Islamic art and Hungary in the twelfth and thirteenth centuries. The present thesis brings together seemingly disparate artefacts, such as the rock crystal head of the Hungarian royal scepter, the ring of Béla III (1172–1196), a type of coin with pseudo-Arabic imagery issued by the same king and a wall painting of the Cella Trichora in Pécs, arguing that they form a coherent group from the point of view of their patrons. After discussing some persistent historiographical myths about the Islamic artefacts, Hungarian visitors in the Islamic world, and Muslims living in the country, the thesis presents four case studies focusing on the artefacts, with special attention to their date, origin and symbolic significance. Technical observations and comparison with a wide range of analogous material suggest that the rock crystal pommel was made either in Cairo in the second half of the eleventh century or in Sicily in the second half of the twelfth century, the ring has an early Iranian seal stone mounted on it, the coins imitated two types of Andalusian coins, and finally, that the fresco was inspired by a Sicilian or Andalusian textile. As other examples of Islamic artefacts reused in a Christian context suggest, it is justifiable to argue that the objects were understood as references to the Holy Land, which also facilitated attributing Christian significance to them. The present thesis proposes a similar interpretation for the surviving Islamic artefacts created or used in the Kingdom of Hungary in this period, and also associates this phenomenon with Béla III’s political endeavours. CEU eTD Collection v Acknowledgement The following study deals with issues of several disciplines including Western European, Hungarian, Byzantine and Islamic art history, archaeology, history, numismatics, and Latin and Arabic philology. I certainly doubt that any scholar claims expertise in all these fields, nor would I ever do so. It goes without saying that due to the enormous literature, I could only refer to the most relevant and accessible publications. In addition, I have relied on the ever-helpful guidance of my two supervisors, Béla Zsolt Szakács and József Laszlovszky, who supported my work with insightful critique and honest enthusiasm. Apart from them, Alicia Walker, Avinoam Shalem, János Bak, Nóra Berend, Mária Vargha, Marcus Pilz, Máté Horváth and Zsuzsa Lovag also contributed to this thesis with their advice in some questions. Thomas Rooney and Zsuzsanna Reed tirelessly amended my language. Needless to say, I am solely responsible for the remaining errors in fact or interpretation, and those where added after any of the persons mention above read my text. CEU eTD Collection vi Table of contents Introduction ................................................................................................................................ 1 Chapter 1. Hungary and Islam ................................................................................................... 4 Historiographical myths ......................................................................................................... 4 Hungarians in the Islamic world ............................................................................................ 7 Muslims in Árpád-age Hungary........................................................................................... 10 Chapter 2. The royal sceptre head ............................................................................................ 14 Fatimid rock crystals ............................................................................................................ 14 Rock crystal pommels .......................................................................................................... 16 The route of Fatimid rock crystals to Europe ...................................................................... 20 The sceptre of the king ......................................................................................................... 23 Chapter 3. The ring of Béla III ................................................................................................. 26 A history to reconstruct ........................................................................................................ 27 Date and origin of the gemstone .......................................................................................... 30 Chapter 4. The pseudo-Arabic coins ........................................................................................ 33 Dating the CNH 101 ............................................................................................................ 34 Islamic model(s) in Hungary ............................................................................................... 35 Why mint pseudo-Arabic coins? .......................................................................................... 37 From Andalusia to Hungary................................................................................................. 40 Chapter 5. Pseudo-Arabic decoration at Pécs .......................................................................... 42 Cella Trichora, Pécs ............................................................................................................. 43 Mediterranean textiles .......................................................................................................... 45 Textiles at Pécs and Esztergom ............................................................................................ 48 Chapter 6. Islamic art in a Christian context ............................................................................ 52 CEU eTD Collection Conclusions .............................................................................................................................. 58 Bibliography ............................................................................................................................ 61 Primary sources .................................................................................................................... 61 Secondary sources ................................................................................................................ 63 Illustrations .............................................................................................................................. 80 vii List of illustrations 2.1. The royal sceptre of Hungary, Parliament, Budapest; Hungary, last third of the 12th c. (http://xfree.hu/kep_show.tvn?aid=32717&kid=215303&sort=, all images from the internet were downloaded on 3 May 2015). 2.2. The head of the royal sceptre of Hungary; Cairo or Sicily, 2nd half of the 11th c. (http://xfree.hu/kep_show.tvn?aid=32717&kid=215342&sort=). 2.3. The head of the royal sceptre of Hungary. (http://xfree.hu/kep_show.tvn?aid=32717&kid=215331&sort=). 2.4. The head of the royal sceptre of Hungary. (Kovács and Lovag, The Hungarian Crown, 85, photograph by Károly Szelényi). 2.5. The head of the royal sceptre of Hungary, drawing. (Tóth, “Krönungszepter,” fig. 3). 2.6. Rock crystal ewer with the name of al-ʿAzīz Fatimid Caliph (975‒996), Treasury of Saint
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