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Articulating the <i>Ḥijāba</i>: Cultural Patronage and Political Legitimacy in al-Andalus最新文献

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Al-Dawla al-ʿĀmiriyya: Constructing the ʿĀmirid State al- dawla al- yi Āmiriyya:建立al- Āmirid国家
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引用次数: 0
Conclusion 结论
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引用次数: 0
Appropriating Diplomacy: The ʿĀmirid Court 挪用外交:阿卜杜拉Āmirid朝廷
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引用次数: 0
The Dār al-Ṣināʿa: ʿĀmirid Patronage of the Luxury Arts Dār al-Ṣinā & & & Āmirid奢侈艺术的赞助
It was said that the cause of his triumph was service to the sayyida Ṣubḥ al-baskunsiyya, mother of ʿAbd al-Raḥmān and Hishām, and that she was the main reason by which the government and authority passed to him in a short time. He gained this woman’s trust by the quality of his service, by his success in gaining her satisfaction, and by his generosity in the offer of gifts and presents, until he captured her soul and dominated her heart, [which in turn] dominated that of her lord, [al-Ḥakam al-Mustanṣir]. Ibn Abī ʿĀmir strove to do good for her, to make ever more frequent his attentions to her, and he created [new means] to do so, by bringing her things which had no equal [and no-one had ever seen before]. [He did this] until he conceived for her a palace of silver, which he did when he had in his hands the control of the mint. He worked on [the palace] for a time and spent on it an immense quantity of money, to create a novelty [the like of which] nothing more marvellous had ever been seen. They transported it from the house of Ibn Abī ʿĀmir so that the people could see it and they spoke about it for a long time [afterwards]. Ibn Abī ʿĀmir occupied the highest place in her heart: [she] strove to help him, she gave him her support and spoke for him, until [the point] where the people gossiped about her passion for him. One day al-Ḥakam said to some of his confidants: ‘Who is he who [has used] this youth to bring my women to his side, until their hearts are seized? Who is he, who even though they have the pleasures of the world at their disposal, they do no more than describe his gifts and are not satisfied with anything unless he has given it to them? Either [I have] a mage full of wisdom or I have a diligent servant. I am nervous of what might come from his hands ...’ Ibn ʿIdhārī, Bayān II:268–9 [translation 416]1
据说,他的胜利的原因是对sayyida Ṣubḥ al-baskunsiyya的服务,她是al- Abd al-Raḥmān和Hishām的母亲,她是政府和权力在短时间内传给他的主要原因。他通过他的服务质量赢得了这个女人的信任,通过他成功地获得了她的满意,通过他慷慨地提供礼物和礼物,直到他俘获了她的灵魂并控制了她的心,[反过来]控制了她的主人,[al-Ḥakam al-Mustanṣir]。伊本·阿布·伊Āmir努力为她做些好事,使他对她更加殷勤,他创造了[新的方法]来做这件事,给她带来了无与伦比的东西[以前没有人见过的]。直到他为她设想了一座银宫殿,当他掌握了造币厂的控制权时,他就这样做了。他花了一段时间建造(这座宫殿),花费了大量的金钱,创造了一个前所未有的新奇事物。他们把它从伊本·阿布·伊Āmir的房子里搬了出来,这样人们就可以看到它,他们谈论了很长时间。伊本·阿布·伊Āmir在她心中占据着最高的地位:她努力帮助他,她支持他,为他说话,直到人们都在议论她对他的爱。有一天,al-Ḥakam对他的一些密友说:“是谁(利用)这个年轻人把我的女人带到他身边,直到她们的心被抓住?”他是谁呢?他纵使有世上的欢愉,却只会描述他的恩赐,而且他若不赐给他们,他就不满足。要么我有一个充满智慧的法师,要么我有一个勤奋的仆人。我很担心他会做出什么事来。伊本·伊Idhārī, Bayān II: 268-9[译文416
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引用次数: 0
The Politics of Piety: Al-Manṣūr’s Extension to the Great Mosque of Cordoba 虔诚的政治:Al-Manṣūr对科尔多瓦大清真寺的延伸
In this year [381/991–2] al-Manṣūr began Hishām’s extension (al-ziyyādat al-hishāmiyya) to the Great Mosque of Cordoba. He extended it almost by half again of what had been made by earlier sovereigns. The works began on the first of Rajab of the year 381 [13 September 991] and the prayer could be made in Rajab of the year 384 [August–September 994]; they lasted, therefore, three years. On the works there laboured Berbers, noble knights from Galicia and Frankia, chained together with the workmen until it was concluded. Dhikr Bilād I:193–4 [II:182]
在这一年[381/991-2]al-Manṣūr开始了Hishām对科尔多瓦大清真寺的扩建(al-ziyyādat al-hishāmiyya)。他几乎把以前君主的税收扩大了一半。工程开始于公元381年(991年9月13日)的拉加普的第一天,祈祷可以在公元384年(994年8月至9月)的拉加普进行;因此,它们持续了三年。在那里工作的柏柏尔人,来自加利西亚和法兰克的贵族骑士,与工人被锁在一起,直到工程结束。Dhikr Bilād I: 193-4 [II:182]
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引用次数: 0
Building a Corpus of ʿĀmirid Art 建立一个语料库Āmirid艺术
What is most amazing about this hall, and what ignites the vision, is its decoration. The eyes remained locked to the great frieze which ran around it on its lower part; it was of white marble, polished so that its surface resembled ivory, because of the purity of its shine and the clarity of its colour. It was worked with figures of animals, birds and trees with fruits, and many of these figures connected by tree branches and fruits, capriciously, and they corresponded to one another in a game of forms, so that he who looked at them fixedly had the sensation that they moved, or that they made signs to him. But each figure was isolated from the others, and had a different form and ignited the gaze from top to bottom. This frieze was bordered on top by an engraved inscription which ran all around the hall from its entrance, which hardly lacked in being more elegant than the penning of a calligrapher; its letters had a marvellous form; they could be read from a long distance and contained beautiful verses dedicated to their constructor al-Ma ʾmūn. Ibn Jabīr, late eleventh century1
这个大厅最令人惊奇的是它的装饰,它点燃了人们的视觉。他们的眼睛一直盯着它的下半部分环绕着的大窗棂;它是用白色大理石做的,因为它的光泽纯净,颜色清澈,所以表面抛光得像象牙。这幅画是用动物、鸟类和有果实的树木的形象创作的,其中许多形象是用树枝和果实随意连接起来的,它们像一种形式游戏一样相互对应,因此,注视着它们的人会觉得它们在动,或者在向他做手势。但每个人都是孤立的,有不同的形式,点燃了从上到下的目光。这条横楣的顶部镶着一幅铭文,从门厅的入口开始,环绕着整个大厅,简直比书法家的笔迹还要优美。它的信有一种奇妙的形式;它们可以从很远的地方读到,里面有献给建造者al-Ma - al mūn的美丽诗句。伊本·贾布尔(11世纪末
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引用次数: 0
Poems in Stone: Imagery, Text and Meaning in ʿĀmirid Art 石刻诗:意象、文本与意义Āmirid艺术
In the centre of the hall is a large basin of green water in which the turtles continually make sounds. The water pours from the jaws of a lion whose mouth could only be more terrible if it spoke. It is of scented aloeswood and around its neck one sees a handsome necklace of pearls. Meanwhile, the jasmine watches from its throne, as if it were a king, When a sudden blaze of light would have brought down the head And narcissus, wallflowers, violets and roses stop exhaling their perfume. They watch languidly, and out of happiness they can scarcely contain the desire to speak to you, despite not having tongues. At your side you have lilies that sprout from themselves, The luminosity of the spring, such is the beauty which they give out. All of these [flowers], in their abundant diversity, remind you Of the victorious banners trembling on the day of combat. In this hall, without doubt, a king, whose riches are without number, has gathered all happiness[es] for his people. And thanks to him the West has attained such power That even the East feels envy because of him. Abū Marwān al-Jazīrī (d. 1003)1
在大厅的中央有一个大水池,里面是绿色的水,海龟不断地在里面发出声音。水是从狮子嘴里流出来的,如果它开口说话,它的嘴只会更可怕。它是香沉香做的,脖子上挂着一条漂亮的珍珠项链。与此同时,茉莉花从它的宝座上观望,仿佛它是一个国王,当一束突如其来的光会把它的头带下来时,水仙、壁花、紫罗兰和玫瑰停止了它们的香气。他们懒洋洋地看着你,尽管他们不会说话,但由于高兴,他们几乎控制不住想和你说话的欲望。在你身边,有百合花自芽而出,春天的光辉,就是它们所散发的美。所有这些花儿,以其丰富的多样性,使你想起战斗之日飘扬的胜利旗帜。在这个大厅里,毫无疑问,一位拥有无数财富的国王,为他的人民聚集了所有的幸福。多亏了他,西方获得了如此强大的力量,甚至连东方都为他感到嫉妒。abi ā Marwān al- jazz ā r ā (d. 1003
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引用次数: 0
Architecture as Titulature: al-Madīnat al-Zāhira 作为建筑的建筑:al- mad<e:1> nat al-Zāhira
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引用次数: 0
‘The Creation of Loyalty’: Public and Private Staging of the ʿĀmirid Court “忠诚的创造”:公共和私人舞台的阿卜杜拉Āmirid法院
When Sulaymān [al-Mustaʿīn] established himself in Cordoba ... those that remained of the ʿĀmirid poets (shuʿarāʾ ʿāmiriyyīn) that were still residing in Cordoba at that time began to compose panegyric for him in the hope of tapping the stores of his generosity. So they composed in his praise good poems in which they appealed to religion (dīn) and manly virtue (murūʾa), and most of them recited them openly in his public audience. He listened with manifest delight, but then defrauded them in accepting the panegyric, for he neither rained down generous rewards upon them nor even sprinkled. Because of this the dispersal of the group [of poets] from Cordoba was completed and most of them abandoned his protection. Thus every trace of culture (adab) was erased there and was vanquished by barbarism, and the Cordobans reverted from their customary humanism to blatant vulgarity, and nobility was abandoned. Ibn Ḥayyān, apud Ibn Bassām 1989, I, i:501
当Sulaymān [al-Musta al- īn]在科尔多瓦站稳脚跟时……那些当时仍居住在科尔多瓦的al - Āmirid诗人(shu - al - al - al - al - āmiriyyīn)开始为他创作赞美诗,希望能挖掘他慷慨的宝库。因此,他们在赞美他的诗歌中创作了一些好诗,其中他们呼吁宗教(d n)和男子气概(穆尔纳),他们中的大多数人公开地在他的公众面前背诵这些诗。他显然很高兴地听着,但随后欺骗了他们,接受了赞美诗,因为他既没有给他们大量的奖励,也没有洒一点。正因为如此,这群诗人从科尔多瓦的分散完成了,他们中的大多数人放弃了他的保护。因此,每一个文化的痕迹(adab)都被抹去了,被野蛮征服了,科尔多瓦人从他们惯常的人文主义回到了公然的粗俗,高贵被抛弃了。伊本Ḥayyān, apud伊本Bassām 1989, I, I:501
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引用次数: 0
期刊
Articulating the <i>Ḥijāba</i>: Cultural Patronage and Political Legitimacy in al-Andalus
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