Pub Date : 2019-10-02DOI: 10.1163/22118993-00361p03
Cailah Jackson
The arts of the book of late medieval Rum (Anatolia) constitute a rich resource for Islamic art historians that remains relatively unknown in the wider scholarship. This complex period saw the disintegration of Seljuk rule and the partial absorption of the region into the Ilkhanid realm. Konya (present-day central Turkey), the former Seljuk capital, was hardly isolated from its better-known neighbors and was evidently an active center for the patronage of the arts of the book. This article contributes to ongoing discussions concerning late medieval Islamic manuscripts by discussing illuminations that were produced by Mukhlis ibn ʿAbdallah al-Hindi in thirteenth-century Konya. One of the two named illuminators active in the city, Mukhlis extensively decorated two manuscripts, both in 677h (1278): a small Qurʾan and a monumental copy of Jalal al-Din Rumi’s Mas̱navī. Both are the initial focus of the article. Following an analysis of these manuscripts, the article presents additional material as possible products of Mukhlis’s hand or of Konya generally, demonstrating both the relative visual distinctiveness of Konya illumination and the need to potentially re-examine works previously attributed to Egypt or Persia.
{"title":"The Illuminations of Mukhlis ibn ʿAbdallah al-Hindi: Identifying Manuscripts from Late Medieval Konya","authors":"Cailah Jackson","doi":"10.1163/22118993-00361p03","DOIUrl":"https://doi.org/10.1163/22118993-00361p03","url":null,"abstract":"\u0000 The arts of the book of late medieval Rum (Anatolia) constitute a rich resource for Islamic art historians that remains relatively unknown in the wider scholarship. This complex period saw the disintegration of Seljuk rule and the partial absorption of the region into the Ilkhanid realm. Konya (present-day central Turkey), the former Seljuk capital, was hardly isolated from its better-known neighbors and was evidently an active center for the patronage of the arts of the book. This article contributes to ongoing discussions concerning late medieval Islamic manuscripts by discussing illuminations that were produced by Mukhlis ibn ʿAbdallah al-Hindi in thirteenth-century Konya. One of the two named illuminators active in the city, Mukhlis extensively decorated two manuscripts, both in 677h (1278): a small Qurʾan and a monumental copy of Jalal al-Din Rumi’s Mas̱navī. Both are the initial focus of the article. Following an analysis of these manuscripts, the article presents additional material as possible products of Mukhlis’s hand or of Konya generally, demonstrating both the relative visual distinctiveness of Konya illumination and the need to potentially re-examine works previously attributed to Egypt or Persia.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41751742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1163/22118993-00361p06
Patricia Blessing
In the second quarter of the fifteenth century, a new phenomenon appears in Ottoman architecture: tiles with blue-and-white decoration, associated with tile-makers from Tabriz. These tiles appear most prominently in the Muradiye in Edirne, completed in 839/1435-36. They mark the beginning of an aesthetic shift, away from black-line (or cuerda seca) tiles inspired by Timurid and Aqquyunlu models, toward the blue-and-white tiles and vessels of the so-called Baba Naqqaş style of the late fifteenth and early sixteenth centuries. The mihrāb of the Muradiye features both kinds of tiles, thus illustrating this shift at its early stages. Within the parameters of an international Timurid style, the artistic production of this period (tile-work in particular) has been considered an offshoot of Timurid court patronage in eastern Iran and Central Asia. In the larger context of the fifteenth-century Islamic world, however, related tiles and vessels were also produced in Damascus and Cairo. This article examines the tiles of the Muradiye Mosque within the framework of artistic centers, the movements of motifs, objects, and makers, and their impact on architecture in the fifteenth-century Ottoman empire.
{"title":"The Blue-and-White Tiles of the Muradiye in Edirne: Architectural Decoration between Tabriz, Damascus, and Cairo","authors":"Patricia Blessing","doi":"10.1163/22118993-00361p06","DOIUrl":"https://doi.org/10.1163/22118993-00361p06","url":null,"abstract":"\u0000 In the second quarter of the fifteenth century, a new phenomenon appears in Ottoman architecture: tiles with blue-and-white decoration, associated with tile-makers from Tabriz. These tiles appear most prominently in the Muradiye in Edirne, completed in 839/1435-36. They mark the beginning of an aesthetic shift, away from black-line (or cuerda seca) tiles inspired by Timurid and Aqquyunlu models, toward the blue-and-white tiles and vessels of the so-called Baba Naqqaş style of the late fifteenth and early sixteenth centuries. The mihrāb of the Muradiye features both kinds of tiles, thus illustrating this shift at its early stages. Within the parameters of an international Timurid style, the artistic production of this period (tile-work in particular) has been considered an offshoot of Timurid court patronage in eastern Iran and Central Asia. In the larger context of the fifteenth-century Islamic world, however, related tiles and vessels were also produced in Damascus and Cairo. This article examines the tiles of the Muradiye Mosque within the framework of artistic centers, the movements of motifs, objects, and makers, and their impact on architecture in the fifteenth-century Ottoman empire.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48803930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1163/22118993-00361P02
F. Flood
This article presents an overview of the current state of knowledge regarding the material culture of north India under the Delhi sultans and the regional sultanates that emerged in Bengal, Gujarat, Jaunpur, and Malwa during the fourteenth and fifteenth centuries. Highlighting lacunae in existing scholarship, it also draws attention to material and textual sources that underline the strong transregional filiations of Sultanate art and architecture. It suggests that negotiations between regional artistic forms and styles and those that reflect transregional connections in Sultanate art and architecture anticipate a feature often seen as characteristic of early Mughal art and architecture.
{"title":"Before the Mughals: Material Culture of Sultanate North India","authors":"F. Flood","doi":"10.1163/22118993-00361P02","DOIUrl":"https://doi.org/10.1163/22118993-00361P02","url":null,"abstract":"\u0000 This article presents an overview of the current state of knowledge regarding the material culture of north India under the Delhi sultans and the regional sultanates that emerged in Bengal, Gujarat, Jaunpur, and Malwa during the fourteenth and fifteenth centuries. Highlighting lacunae in existing scholarship, it also draws attention to material and textual sources that underline the strong transregional filiations of Sultanate art and architecture. It suggests that negotiations between regional artistic forms and styles and those that reflect transregional connections in Sultanate art and architecture anticipate a feature often seen as characteristic of early Mughal art and architecture.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41621421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-02DOI: 10.1163/22118993-00361p07
G. Kale
In 1614 Caʿfer Efendi devoted four chapters of his book on architecture to the science of surveying. Caʿfer’s text is the only extant comprehensive book written by a scholar on the relation between architecture and various forms of knowledge. His sections on surveying have attracted little scholarly attention since they were often viewed as ad hoc chapters in a biography of the chief architect Mehmed Agha. An investigation into the intersection between architecture, as represented by the architect’s cubit, the science of surveying, and jurisprudence sheds significant light on how scholars assessed the legitimacy of early modern Ottoman architecture. In this article, I examine the relationship between architectural practices, mathematical knowledge, and social practices by focusing on Caʿfer Efendi’s elaborations on the architect’s cubit, units of measure, and mensuration of areas. These links need to be understood through the cultural and scientific context in which architects and scholars collaborated. I also explore Caʿfer Efendi’s identity, which gave him the tools to discuss such intrinsic connections. When read along with court decrees, and in conjunction with the use of mathematical sciences for civic affairs, this investigation reveals how Ottoman architecture was embedded in the scientific discourses, social practices, and ethical concerns of the early seventeenth century.
{"title":"Intersections Between the Architect’s Cubit, the Science of Surveying, and Social Practices in CaʿFer Efendi’s Seventeenth-Century Book on Ottoman Architecture","authors":"G. Kale","doi":"10.1163/22118993-00361p07","DOIUrl":"https://doi.org/10.1163/22118993-00361p07","url":null,"abstract":"\u0000 In 1614 Caʿfer Efendi devoted four chapters of his book on architecture to the science of surveying. Caʿfer’s text is the only extant comprehensive book written by a scholar on the relation between architecture and various forms of knowledge. His sections on surveying have attracted little scholarly attention since they were often viewed as ad hoc chapters in a biography of the chief architect Mehmed Agha. An investigation into the intersection between architecture, as represented by the architect’s cubit, the science of surveying, and jurisprudence sheds significant light on how scholars assessed the legitimacy of early modern Ottoman architecture. In this article, I examine the relationship between architectural practices, mathematical knowledge, and social practices by focusing on Caʿfer Efendi’s elaborations on the architect’s cubit, units of measure, and mensuration of areas. These links need to be understood through the cultural and scientific context in which architects and scholars collaborated. I also explore Caʿfer Efendi’s identity, which gave him the tools to discuss such intrinsic connections. When read along with court decrees, and in conjunction with the use of mathematical sciences for civic affairs, this investigation reveals how Ottoman architecture was embedded in the scientific discourses, social practices, and ethical concerns of the early seventeenth century.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43513393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-05DOI: 10.1163/22118993_03501P006
L. Parodi
This essay closely examines three early Mughal portraits—the Portrait of Shah Abuʾl-Maʿali, Portrait of Mir Musavvir, and an alleged self-portrait of Mir Sayyid ʿAli—as well as a seal impression from an early sixteenth-century copy of Jamal al-Din Husayni Shirazi’s Rawżat al-Aḥbāb. The resulting scenario challenges certain scholarly assumptions that are based on a blind acceptance of the narrative contained in official Mughal sources. The analysis serves to substantiate and articulate evidence on the role of Central Asian elites (more specifically, religious elites) in the early Mughal period. It also contributes to the socio-historical contextualization of Mughal paintings on the basis of the inscriptions contained in them and stimulates further discussion on the origins of Mughal portraiture.
{"title":"Shah Abuʾl-Maʿali , Mir Sayyid ʿAli, and the Sayyids of Tirmiz: Three Portraits Challenge Akbari Historiography","authors":"L. Parodi","doi":"10.1163/22118993_03501P006","DOIUrl":"https://doi.org/10.1163/22118993_03501P006","url":null,"abstract":"\u0000 This essay closely examines three early Mughal portraits—the Portrait of Shah Abuʾl-Maʿali, Portrait of Mir Musavvir, and an alleged self-portrait of Mir Sayyid ʿAli—as well as a seal impression from an early sixteenth-century copy of Jamal al-Din Husayni Shirazi’s Rawżat al-Aḥbāb. The resulting scenario challenges certain scholarly assumptions that are based on a blind acceptance of the narrative contained in official Mughal sources. The analysis serves to substantiate and articulate evidence on the role of Central Asian elites (more specifically, religious elites) in the early Mughal period. It also contributes to the socio-historical contextualization of Mughal paintings on the basis of the inscriptions contained in them and stimulates further discussion on the origins of Mughal portraiture.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47912721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P013
Mehran Matin, Moujan Matin
The Risāla dar tafṣīl-i sākhtan-i chīnī (A Treatise on Porcelain Manufacture) is a Qajar-period manuscript in Persian, housed at the Sipahsalar Library in Tehran. It is the only known source that details the modern technology of porcelain production in the Qajar era (1789–1925). According to the information in the colophon, the scribe, Masih ibn Muhammad Baqir al-Firuzabadi, completed the manuscript in the year 1284 (1868). The text mentions that it is the translation of a French work, but no further reference to the original book is given. The purpose of this essay is to introduce and review the Persian manuscript, to reveal its relation to the three-volume Traité des arts céramiques ou des poteries (Treatise on Ceramic Arts or Potteries) by Alexandre Brongniart, a nineteenth-century scientist and director of the Sèvres Porcelain Factory, and to underline its importance to the history of art and technology in Qajar Iran.
Risāla dar tafṣīl-i sākhtan-i chichn ā(《瓷器制造论》)是一份卡扎尔时期的波斯手稿，收藏于德黑兰的Sipahsalar图书馆。这是目前所知的唯一一份详细记录卡扎尔时代(1789-1925)现代瓷器生产技术的资料。根据抄写本中的信息，抄写员Masih ibn Muhammad Baqir al-Firuzabadi在1284年(1868年)完成了手稿。文中提到这是一本法语作品的翻译，但没有进一步提及原著。本文的目的是介绍和回顾波斯手稿，揭示其与亚历山大·布朗尼亚特的三卷本《陶瓷艺术或陶器专著》的关系，亚历山大·布朗尼亚特是一位19世纪的科学家和s维尔瓷器厂的厂长，并强调其对伊朗卡扎尔艺术和技术史的重要性。
{"title":"A Preliminary Study of a Nineteenth-Century Persian Manuscript on Porcelain Manufacture in the Sipahsalar Library, Tehran","authors":"Mehran Matin, Moujan Matin","doi":"10.1163/22118993_03501P013","DOIUrl":"https://doi.org/10.1163/22118993_03501P013","url":null,"abstract":"\u0000 The Risāla dar tafṣīl-i sākhtan-i chīnī (A Treatise on Porcelain Manufacture) is a Qajar-period manuscript in Persian, housed at the Sipahsalar Library in Tehran. It is the only known source that details the modern technology of porcelain production in the Qajar era (1789–1925). According to the information in the colophon, the scribe, Masih ibn Muhammad Baqir al-Firuzabadi, completed the manuscript in the year 1284 (1868). The text mentions that it is the translation of a French work, but no further reference to the original book is given. The purpose of this essay is to introduce and review the Persian manuscript, to reveal its relation to the three-volume Traité des arts céramiques ou des poteries (Treatise on Ceramic Arts or Potteries) by Alexandre Brongniart, a nineteenth-century scientist and director of the Sèvres Porcelain Factory, and to underline its importance to the history of art and technology in Qajar Iran.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46763823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P007
M. Taner
This paper focuses on an early seventeenth-century illustrated genealogy (Museum of Ethnography Ankara, No. 8457), which is stylistically attributable to Baghdad, and is iconographically and textually pro-Safavid at a point when Baghdad was under Ottoman rule. Taking the format of the illustrated genealogy, which was widespread in the Ottoman realm from the mid-sixteenth century onwards, the Ankara manuscript adapts the Ottoman genealogical tree tradition with a particularly Safavid tenor. In its immediate visual graspability and use of the genealogy as a methodological tool to claim legitimacy, this manuscript represents contested identities in the frontier province of Baghdad.
{"title":"An Illustrated Genealogy between the Ottomans and the Safavids","authors":"M. Taner","doi":"10.1163/22118993_03501P007","DOIUrl":"https://doi.org/10.1163/22118993_03501P007","url":null,"abstract":"\u0000 This paper focuses on an early seventeenth-century illustrated genealogy (Museum of Ethnography Ankara, No. 8457), which is stylistically attributable to Baghdad, and is iconographically and textually pro-Safavid at a point when Baghdad was under Ottoman rule. Taking the format of the illustrated genealogy, which was widespread in the Ottoman realm from the mid-sixteenth century onwards, the Ankara manuscript adapts the Ottoman genealogical tree tradition with a particularly Safavid tenor. In its immediate visual graspability and use of the genealogy as a methodological tool to claim legitimacy, this manuscript represents contested identities in the frontier province of Baghdad.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46368552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P012
Yves Porter
The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAlaʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.
{"title":"The Shahi ʿIdgah of 1312 at Rapri (Uttar Pradesh): A Landmark in Indian Glazed Tiles","authors":"Yves Porter","doi":"10.1163/22118993_03501P012","DOIUrl":"https://doi.org/10.1163/22118993_03501P012","url":null,"abstract":"\u0000 The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAlaʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49529177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-03DOI: 10.1163/22118993_03501P003
J. Navarro, Fidel Garrido, I. Almela
The Agdal is a royal estate located south of Marrakesh, founded by the Almohad caliph Abu Yaʿqub Yusuf (r. 1163–84). Its current walled perimeter contains 340 hectares, mostly orchards that have been cultivated uninterruptedly, and more than 40 preserved buildings, with numerous archaeological remains scattered throughout its interior. This article is a continuation of one published previously in Muqarnas 34 (2017), which focused on the history of the estate and provided an analysis of the written sources. In this second part, we present an archaeological and architectural study of the Agdal from the material record that we documented in two archaeological surveys carried out in 2012 and 2014. We discuss the complex hydraulic system that has sustained the estate, the internal organization of the enclosures and plots, its diverse agricultural production, the configuration of palatine architecture and spaces for animals, as well as the successive historical transformations of the Agdal.
{"title":"The Agdal of Marrakesh (12th to 20th Centuries): An Agricultural Space for Caliphs and Sultans. Part II: Hydraulics, Architecture, and Agriculture","authors":"J. Navarro, Fidel Garrido, I. Almela","doi":"10.1163/22118993_03501P003","DOIUrl":"https://doi.org/10.1163/22118993_03501P003","url":null,"abstract":"\u0000 The Agdal is a royal estate located south of Marrakesh, founded by the Almohad caliph Abu Yaʿqub Yusuf (r. 1163–84). Its current walled perimeter contains 340 hectares, mostly orchards that have been cultivated uninterruptedly, and more than 40 preserved buildings, with numerous archaeological remains scattered throughout its interior. This article is a continuation of one published previously in Muqarnas 34 (2017), which focused on the history of the estate and provided an analysis of the written sources. In this second part, we present an archaeological and architectural study of the Agdal from the material record that we documented in two archaeological surveys carried out in 2012 and 2014. We discuss the complex hydraulic system that has sustained the estate, the internal organization of the enclosures and plots, its diverse agricultural production, the configuration of palatine architecture and spaces for animals, as well as the successive historical transformations of the Agdal.","PeriodicalId":39506,"journal":{"name":"Muqarnas","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45215585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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