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On Reading The Meanings Carried By The Zigzag Design In Islamic Art

Yıl 2019, Cilt: 13 - 21. Uluslararası Ortaçağ ve Türk Dönemi Kazıları ve Sanat Tarihi Araştımaları Sempozyumu Bildirileri, 781 - 800, 01.10.2019

Öz

This presentation suggests that this design carried a series of religious meanings when employed within an Islamic context. That the “zigzag” design was “read” in the literal sense,
in the combination of the written Arabic numbers 7 and 8 joined together. These, when added together total 15, with these two numbers summed, thereby a repeat design read as representing the repetition of the number 6. The number 6 representing the letter wav meaning “and”, as in “and Allah”; and, as also representing the sum of the total number of Sura in the Holy Quran, 1+1+4=6. The repeat of the number 6 being read as both representing and repeating the numerical equivalent of the Name Allah, 66, visually read as zikr, wav=6 +Allah (66), as also reminding of the traditional total number of letters forming the Holy Quran, 6,666. Further, there is the association of this design with light, as it has been employed to represent the reflection of sunlight from the surface of water, as also employed to represent the reflection of light from a polished mirror, as also a design on candlesticks, thereby reminding of the relationship between sun and sunlight and The Light of the Almighty, employed by the designers-nakkaş as a sign, to remind in this temporal world of the nur illahi of the Light of the Almighty. Hence the use of this design on the Kaba kiswah, on minarets, as on flags and tombs as on tomb coverings etc.

Kaynakça

  • S.O.D.3 The Shorter Oxford Dictionary. I, II, Ed. C. T. Onions, third ed., Oxford, Oxford University Press.
  • Allen, T. (2004). Islamic Art and the Argument from Academic Geometry, CA, Solipsist Press.
  • Allen, T. (1986). A Classical Revival in Islamic Architecture. Wiesbaden, Dr. Ludwig Reichert Verlag.
  • Arabī, M. Ibn (2010). Divine Sayings 101 Hadīth Qudsī, Mishkāt al-Anwār. Trans. S. Hirtenstein & M. Notcurr, Oxford, Anqa Pub.
  • Arık R., & O. Arık (2008). Tiles, Treasures of Anatolian Soil: Tiles of the Seljuk and Beylik Periods. İstanbul, Kale Group.
  • Atasoy, N. (2015). Swordsman, historian, mathematician, artist, calligrapher: Matrakçı Nasuh and his Menazilname. İstanbul, Masa.
  • Behrens-Abouseif, D. (1994). Egypt’s Adjustment to Ottoman Rule: Institutions, Waqf and Architecture in Cairo, 16th and 17th Centuries. Leiden, Brill Academic Pub..
  • Behrens-Abouseif, D. (1989). Islamic Architecture in Cairo: An Introduction. Leiden, Brill. B o n -ner, J. (2017). Islamic Geometric Patterns: Their Historical Development and Traditional Methods of Construction. New York, Springer.
  • Burckhardt, T. (2001). Mystical Astrology According to Ibn ‘Arabi. Louisville, KY, Fons Vitae.
  • Burgoyne, M. H. (1987). Mamluk Jerusalem: An Architectural Study. London, World of Islam Festival Trust.
  • Burton, R. (1893). Personal Narrative of a Pilgrimage to Al-Madinah and Meccah. Vol. 2, Dover reprint of 1893 Memorial edition, New York, Dover.
  • Brown, R. (1876). The Countries of the World. London-Paris-New York, Cassell, Petter, Galpin & Co.
  • Cannon, G. H. & Kaye, A. S. (1994). The Arabic Contributions to the English Language: An Historical Dictionary. Wiesbaden, Otto Harrassowitz Verlag.
  • Chittick, W. C. (1983). The Sufi Path of Love: The Spiritual Teachings of Rumi. New York, SUNY Press.
  • Creswell, K. A. C. (1979). The Muslim Architecture of Egypt. Vols. I, II, New York, Hacker Arts Books.
  • Crichton, A. (1852). History of Arabia and its Peoples. London, Nelson.
  • Critchlow, K. (1976). Islamic Patterns: An Analytical and Cosmological Approach. New York, Schocken Books.
  • Dankoff, R. (2004). An Ottoman Mentality: The World of Evliya Çelebi. Leiden, Brill.
  • Das, S. (2010). Ardour and Anxiety in, Ed. H. Liebau, K. Bromber, K. Lange, D. Hamzah & R. Ahuja, The World in World Wars: Experiences, Perceptions and Perspectives from Africa and Asia, Leiden, Brill.
  • Déroche, F. (2013). Qur’ans of the Umayyads: A First Overview. Leiden, Brill.
  • Duggan, T. M. P. (2013). “Review of, J. M. Bloom, The Minaret, Edinburgh Studies in Islamic Art, Edinburgh, 2013”, Mediterranean Journal of Humanities, MJH, III/2, 2013, 357-365.
  • Duggan, T. M. P. (2006). “The motifs employed on Rum Seljuk 13th century eight pointed star tiles from Antalya Province and elsewhere in Anatolia: an interpretation”, ADALYA IX, 149-219.
  • Ettinghausen, R. & Graber, O. (1994). The Art and Architecture of Islam 650-1250. Newhaven & London: Yale University Press.
  • Fehvari, G. (2000). Ceramics of the Islamic World. London, I. B. Tauris.
  • Fehvari, G. (1998). Pottery of the Islamic world in the Tareq Rajab Museum. Kuwait, Tareq Rajab Museum.
  • Fernando-Amilbangsa, L. (2005). Ukkil: Visual Arts of the Sulu Archipelago. Manila, Ateneo University Press.
  • Forkl- Kalter-Leisten-Pavaloi 1993 Die Garten Des Islam. Hrs. H. Forkl, J. Kalter, T. Leisten, M. Pavaloi, Hansjörg Mayer, Stuttgart, London, 1993
  • Fowler, W. C. (1857). The English language, in its elements and forms. London, William Kent and Co. Al Ghazali, M. (1992). The Ninety-Nine Beautiful Names of God: al-Maqsad al-asna fi sharh asma’Allah al husna. Trans. D. B. Burrell & N. Daher. Cambridge, The Islamic Texts Society.
  • Ipek, S. (2011). “Dressing the Prophet: textiles from the Haramayn”, Hali 168: 59-61.
  • Ipek, S. (2006). “Ottoman Ravza-i Mutahhara Covers Sent From Istanbul To Medina With The Surre Processions”, Muqarnas 23, 289-316.
  • Issa, A. M. (1994). Islamic art terms: (lexicon: explained and illustrated). Istanbul, Research Centre for Islamic History, Art and Culture (IRCICA).
  • Keser-Kayaalp, E. & Wheatley-Irving, L. (2017). Late Antique Architectural Sculpture at the Mayyafariqin Mosque (Silvan Ulu Cami) 125-152, Central Periphery? Art, Culture and History of the Medieval Jazira (Northern Mesopotamia, 8th–15th centuries) Papers of the Conference held at the University of Bamberg, 31 October–2 November, 2012. Ed. L. Korn– M. Müller-Wiener, Wiesbaden, Reichert Verlag.
  • Nawawi Imam (1989). Gardens of the Righteous-Riyadh as-Salihin. Trans. Khan, M. Z., London, Curzon Press.
  • Khoury, N. N. N. (1996). The Meaning of the Great Mosque of Cordoba in the Tenth Century. Muqarnas 13, 80-98.
  • Krabbenhöft, N. (2011). A Veneer of Power: Thirteenth-Century Seljuk Frescoes on the Walls of Alanya and Some Recommendations for their Preservation, School of Social Sciences, Koç University, Istanbul, Turkey, unpublished thesis
  • Kurtulus, T. (2017). Topkapı Saray Müzesi’nde Korunan Memluk Dönemi Tekstil Örnekleri 421-439, XVIII Ortaçag ve Türk Dönemi Kazıları ve Sanat Tarih Arastırmaları Sempozyumu 22-25 Ekim 2014, Bilderiler, Aydın.
  • Lyons, M. C. (2015). Tales of the Marvellous and News of the Strange. Trans. M. C. Lyons, London, Penguin Random House.
  • Madrus, J. C. (1996). The Book of the Thousand Nights and One Night rendered into English from the literal and complete French translation of Dr. J. C. Madrus by P. Mathers. IV, London, Routledge.
  • Mansel, P. (1998). Sultanların Ihtisamı, 1869-1945 Orta Dogu Hükümdarları. Istanbul, Inkılâp.
  • McWilliams, M. & Roxburgh, D. J. (2007). Traces of the Calligrapher: Islamic Calligraphy in Practice, c. 1600-1900. Boston, Museum of Fine Arts.
  • Melikian-Chirvani, A. S. (1994). The Light of the World, 146-155, Ed. R. Hillenbrand, The Art of the Saljuks in Iran and Anatolia. CA, Mazda.
  • Murray, C. (2003). Key Writers on Art: From antiquity to the nineteenth century. Oxford, Psychology Press.
  • Muslu, C. Y. (2014). The Ottomans and the Mamluks: Imperial diplomacy and warfare in the Islamic world. London, I.B. Tauris.
  • Nicholas, P., Yeager, S. (2012) Remembering the Crusades: Myth, Image and Identity. Baltimore, The Johns Hopkins University Press.
  • Özdural, A. (2017) Preliminaries, in Ed. G. Necipoglu, The Arts of Ornamental Geometry: A Persian Compendium on Similar and Complementary Interlocking Figures. Leiden, Brill, 163-178.
  • Özdural, A. (2000) Mathematics and Arts: Connections between Theory and Practice in the Medieval Islamic World, Historia Mathematica 27, 171-201.
  • Papadopoulo, A. (1979). Islam and Muslim Art. New York, H. N. Abrams.
  • Pendergrass, R. (2015). Mythological Swords. Lulu.com
  • Porter, V. (2012). The Art of Hajj. London, British Museum Press.
  • Redford, S. (2005). “A Grammer of Rum Seljuk Ornament,” 283-310 in, Mésogeios.
  • Redford, S. (2000). Landscape and the State in Medieval Anatolia. Oxford, BAR 893.
  • Redford, S. (1996). “Seljuk pavilions and enclosures in and around Alanya”; AST XIV. I (1996) 453-464.
  • Riegl, A. (1992). Problems of Style: Foundations for a History of Ornament. David Castriota Translation, Princeton, New Jersey, Princeton University Press.
  • Ruiz, R. A. (2004). El Ribat Califal: excavaciones y estudios (1984-1992). Alicante, Casa de Velázquez.
  • Rumi, J. (1982). The Mathnawi of Jalalud’din Rumi. Book III. Trans. R. A. Nicholson. Cambridge, Gibb Memorial Trust.
  • Saliba, G. (1999). “Artisans and Mathematicians in Medieval Islam.” Review of the Topkapı Scroll: Geometry and Ornament in Islamic Architecture by Gülru Necipoğlu, JAOS 119, no. 4: 637-645.
  • Schimmel, A. (1984). Calligraphy and Islamic Culture. London & New York, New York University Press.
  • Shipley, J. T. (2001). The Origins of English Words: A Discursive Dictionary of Indo-European Roots. Baltimore, Maryland, John Hopkins University Press.
  • Shoshan, B. (2002). Popular Culture in Medieval Cairo. Cambridge, Cambridge University Press.
  • Spiro, S. (1895). An Arabic-English Vocabulary of the Colloquial Arabic of Egypt: Containing the Vernacular Idioms and Expressions, Slang Phrases, Etc., Etc., Used by the Native Egyptians. Cairo, Al-Mokattam printing office.
  • Steenbergen J. van (2016). Caliphate and Kingship in a Fifteenth-Century Literary History of Muslim Leadership and Pilgrimage: al-Dahab al-Masbūk al-Dahab al-Masbūk fī Dikr man Hağğa min al-Hulafā’ wa-l-Mulūk, Leiden, Brill.
  • Tabbaa, Y. (2008). “Andalusian Roots and Abbasid Homage in the Qubbat al-Barudiyyin in Marrakech”, 133-146 in Muqarnas: Frontiers of Islamic Art and Architecture: Essays in Celebration of Oleg Grabar’s Eightieth Birthday; the Aga Khan Program for Islamic Architecture Thirtieth Anniversary Special Volume, Leiden, Brill.
  • Tabbaa, Y. (2002). The Transformation of Islamic Art during the Sunni Revival. London & New Yourk, I. B. Tauris.
  • Treiger, A. (2011). Inspired knowledge in Islamic Thought: Al-Ghazali’s Theory of Mystical Cognition and its Avicennian Foundation. London & New York, Routledge. Vandenbroeck, P. (2016). Antwerp Royal Museum Annual 2013-14.
  • Walker, A. (2010). “Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites,”Muqarnas 27 (2010): 79-101. http://repository.brynmawr.edu/cgi/viewcontent.cgi?article=1053&context=hart_pubs
  • Zarnecki, G. (1992). Further Studies in Romanesque Sculpture, London, Pindar Press.

İslam Sanatında Zikzak Deseni ve Anlamları Üzerine Bir Okuma

Yıl 2019, Cilt: 13 - 21. Uluslararası Ortaçağ ve Türk Dönemi Kazıları ve Sanat Tarihi Araştımaları Sempozyumu Bildirileri, 781 - 800, 01.10.2019

Öz

Bu bildiri “zikzak” motifinin İslami bağlamda kullanıldığında bir seri dini anlam taşıdığını önermektedir. Motif “metin” olarak okunduğunda Arap rakamları olan 7 ve 8’in birleşiminden
oluşur. Bu sayılar toplandığında 15=6 sayısını verir ki Arapça 6 sayısını gösteren şekil aynı zamanda “ve” anlamına gelen “wav” harfinin de şeklidir. “Wav” “ve Allah” olarak okunabileceği gibi,
aynı zamanda Kur’an’daki surelerin sayısının da toplamına da işaret eder (1+1+4=6). Allah’ın adının rakamsal ve görsel tekrarı olarak kabul edildiğinde zikzak motifi (wav Allah=66) zikir olarak
okunabileceği gibi sayısal olarak tekrarı da Kur’an’ı oluşturan harflerin toplamını (6666) betimliyor olabilir. Öte yandan, zikzak motifinin su yüzeyinden ya da aynadan yansıyan ışığa benzerliğinden
yola çıkarak ışıkla bağlantısı da kurulabilir, ki motif şamdanlarda sıklıkla kullanılmıştır. Güneş ile Allah’ın ışığı bağlantısından yola çıkarak, motifin nakkaşlar tarafından geçici dünyada Nur’u
İllahi’yi sembolize etmek üzere tercih edildiği önerilebilir. Bu okuma ile desenin Kabe Örtüsünde, minarelerde, sancaklarda ve mezar örtüleri gibi dini bağlamlarda kullanılması açıklanabilir.

Kaynakça

  • S.O.D.3 The Shorter Oxford Dictionary. I, II, Ed. C. T. Onions, third ed., Oxford, Oxford University Press.
  • Allen, T. (2004). Islamic Art and the Argument from Academic Geometry, CA, Solipsist Press.
  • Allen, T. (1986). A Classical Revival in Islamic Architecture. Wiesbaden, Dr. Ludwig Reichert Verlag.
  • Arabī, M. Ibn (2010). Divine Sayings 101 Hadīth Qudsī, Mishkāt al-Anwār. Trans. S. Hirtenstein & M. Notcurr, Oxford, Anqa Pub.
  • Arık R., & O. Arık (2008). Tiles, Treasures of Anatolian Soil: Tiles of the Seljuk and Beylik Periods. İstanbul, Kale Group.
  • Atasoy, N. (2015). Swordsman, historian, mathematician, artist, calligrapher: Matrakçı Nasuh and his Menazilname. İstanbul, Masa.
  • Behrens-Abouseif, D. (1994). Egypt’s Adjustment to Ottoman Rule: Institutions, Waqf and Architecture in Cairo, 16th and 17th Centuries. Leiden, Brill Academic Pub..
  • Behrens-Abouseif, D. (1989). Islamic Architecture in Cairo: An Introduction. Leiden, Brill. B o n -ner, J. (2017). Islamic Geometric Patterns: Their Historical Development and Traditional Methods of Construction. New York, Springer.
  • Burckhardt, T. (2001). Mystical Astrology According to Ibn ‘Arabi. Louisville, KY, Fons Vitae.
  • Burgoyne, M. H. (1987). Mamluk Jerusalem: An Architectural Study. London, World of Islam Festival Trust.
  • Burton, R. (1893). Personal Narrative of a Pilgrimage to Al-Madinah and Meccah. Vol. 2, Dover reprint of 1893 Memorial edition, New York, Dover.
  • Brown, R. (1876). The Countries of the World. London-Paris-New York, Cassell, Petter, Galpin & Co.
  • Cannon, G. H. & Kaye, A. S. (1994). The Arabic Contributions to the English Language: An Historical Dictionary. Wiesbaden, Otto Harrassowitz Verlag.
  • Chittick, W. C. (1983). The Sufi Path of Love: The Spiritual Teachings of Rumi. New York, SUNY Press.
  • Creswell, K. A. C. (1979). The Muslim Architecture of Egypt. Vols. I, II, New York, Hacker Arts Books.
  • Crichton, A. (1852). History of Arabia and its Peoples. London, Nelson.
  • Critchlow, K. (1976). Islamic Patterns: An Analytical and Cosmological Approach. New York, Schocken Books.
  • Dankoff, R. (2004). An Ottoman Mentality: The World of Evliya Çelebi. Leiden, Brill.
  • Das, S. (2010). Ardour and Anxiety in, Ed. H. Liebau, K. Bromber, K. Lange, D. Hamzah & R. Ahuja, The World in World Wars: Experiences, Perceptions and Perspectives from Africa and Asia, Leiden, Brill.
  • Déroche, F. (2013). Qur’ans of the Umayyads: A First Overview. Leiden, Brill.
  • Duggan, T. M. P. (2013). “Review of, J. M. Bloom, The Minaret, Edinburgh Studies in Islamic Art, Edinburgh, 2013”, Mediterranean Journal of Humanities, MJH, III/2, 2013, 357-365.
  • Duggan, T. M. P. (2006). “The motifs employed on Rum Seljuk 13th century eight pointed star tiles from Antalya Province and elsewhere in Anatolia: an interpretation”, ADALYA IX, 149-219.
  • Ettinghausen, R. & Graber, O. (1994). The Art and Architecture of Islam 650-1250. Newhaven & London: Yale University Press.
  • Fehvari, G. (2000). Ceramics of the Islamic World. London, I. B. Tauris.
  • Fehvari, G. (1998). Pottery of the Islamic world in the Tareq Rajab Museum. Kuwait, Tareq Rajab Museum.
  • Fernando-Amilbangsa, L. (2005). Ukkil: Visual Arts of the Sulu Archipelago. Manila, Ateneo University Press.
  • Forkl- Kalter-Leisten-Pavaloi 1993 Die Garten Des Islam. Hrs. H. Forkl, J. Kalter, T. Leisten, M. Pavaloi, Hansjörg Mayer, Stuttgart, London, 1993
  • Fowler, W. C. (1857). The English language, in its elements and forms. London, William Kent and Co. Al Ghazali, M. (1992). The Ninety-Nine Beautiful Names of God: al-Maqsad al-asna fi sharh asma’Allah al husna. Trans. D. B. Burrell & N. Daher. Cambridge, The Islamic Texts Society.
  • Ipek, S. (2011). “Dressing the Prophet: textiles from the Haramayn”, Hali 168: 59-61.
  • Ipek, S. (2006). “Ottoman Ravza-i Mutahhara Covers Sent From Istanbul To Medina With The Surre Processions”, Muqarnas 23, 289-316.
  • Issa, A. M. (1994). Islamic art terms: (lexicon: explained and illustrated). Istanbul, Research Centre for Islamic History, Art and Culture (IRCICA).
  • Keser-Kayaalp, E. & Wheatley-Irving, L. (2017). Late Antique Architectural Sculpture at the Mayyafariqin Mosque (Silvan Ulu Cami) 125-152, Central Periphery? Art, Culture and History of the Medieval Jazira (Northern Mesopotamia, 8th–15th centuries) Papers of the Conference held at the University of Bamberg, 31 October–2 November, 2012. Ed. L. Korn– M. Müller-Wiener, Wiesbaden, Reichert Verlag.
  • Nawawi Imam (1989). Gardens of the Righteous-Riyadh as-Salihin. Trans. Khan, M. Z., London, Curzon Press.
  • Khoury, N. N. N. (1996). The Meaning of the Great Mosque of Cordoba in the Tenth Century. Muqarnas 13, 80-98.
  • Krabbenhöft, N. (2011). A Veneer of Power: Thirteenth-Century Seljuk Frescoes on the Walls of Alanya and Some Recommendations for their Preservation, School of Social Sciences, Koç University, Istanbul, Turkey, unpublished thesis
  • Kurtulus, T. (2017). Topkapı Saray Müzesi’nde Korunan Memluk Dönemi Tekstil Örnekleri 421-439, XVIII Ortaçag ve Türk Dönemi Kazıları ve Sanat Tarih Arastırmaları Sempozyumu 22-25 Ekim 2014, Bilderiler, Aydın.
  • Lyons, M. C. (2015). Tales of the Marvellous and News of the Strange. Trans. M. C. Lyons, London, Penguin Random House.
  • Madrus, J. C. (1996). The Book of the Thousand Nights and One Night rendered into English from the literal and complete French translation of Dr. J. C. Madrus by P. Mathers. IV, London, Routledge.
  • Mansel, P. (1998). Sultanların Ihtisamı, 1869-1945 Orta Dogu Hükümdarları. Istanbul, Inkılâp.
  • McWilliams, M. & Roxburgh, D. J. (2007). Traces of the Calligrapher: Islamic Calligraphy in Practice, c. 1600-1900. Boston, Museum of Fine Arts.
  • Melikian-Chirvani, A. S. (1994). The Light of the World, 146-155, Ed. R. Hillenbrand, The Art of the Saljuks in Iran and Anatolia. CA, Mazda.
  • Murray, C. (2003). Key Writers on Art: From antiquity to the nineteenth century. Oxford, Psychology Press.
  • Muslu, C. Y. (2014). The Ottomans and the Mamluks: Imperial diplomacy and warfare in the Islamic world. London, I.B. Tauris.
  • Nicholas, P., Yeager, S. (2012) Remembering the Crusades: Myth, Image and Identity. Baltimore, The Johns Hopkins University Press.
  • Özdural, A. (2017) Preliminaries, in Ed. G. Necipoglu, The Arts of Ornamental Geometry: A Persian Compendium on Similar and Complementary Interlocking Figures. Leiden, Brill, 163-178.
  • Özdural, A. (2000) Mathematics and Arts: Connections between Theory and Practice in the Medieval Islamic World, Historia Mathematica 27, 171-201.
  • Papadopoulo, A. (1979). Islam and Muslim Art. New York, H. N. Abrams.
  • Pendergrass, R. (2015). Mythological Swords. Lulu.com
  • Porter, V. (2012). The Art of Hajj. London, British Museum Press.
  • Redford, S. (2005). “A Grammer of Rum Seljuk Ornament,” 283-310 in, Mésogeios.
  • Redford, S. (2000). Landscape and the State in Medieval Anatolia. Oxford, BAR 893.
  • Redford, S. (1996). “Seljuk pavilions and enclosures in and around Alanya”; AST XIV. I (1996) 453-464.
  • Riegl, A. (1992). Problems of Style: Foundations for a History of Ornament. David Castriota Translation, Princeton, New Jersey, Princeton University Press.
  • Ruiz, R. A. (2004). El Ribat Califal: excavaciones y estudios (1984-1992). Alicante, Casa de Velázquez.
  • Rumi, J. (1982). The Mathnawi of Jalalud’din Rumi. Book III. Trans. R. A. Nicholson. Cambridge, Gibb Memorial Trust.
  • Saliba, G. (1999). “Artisans and Mathematicians in Medieval Islam.” Review of the Topkapı Scroll: Geometry and Ornament in Islamic Architecture by Gülru Necipoğlu, JAOS 119, no. 4: 637-645.
  • Schimmel, A. (1984). Calligraphy and Islamic Culture. London & New York, New York University Press.
  • Shipley, J. T. (2001). The Origins of English Words: A Discursive Dictionary of Indo-European Roots. Baltimore, Maryland, John Hopkins University Press.
  • Shoshan, B. (2002). Popular Culture in Medieval Cairo. Cambridge, Cambridge University Press.
  • Spiro, S. (1895). An Arabic-English Vocabulary of the Colloquial Arabic of Egypt: Containing the Vernacular Idioms and Expressions, Slang Phrases, Etc., Etc., Used by the Native Egyptians. Cairo, Al-Mokattam printing office.
  • Steenbergen J. van (2016). Caliphate and Kingship in a Fifteenth-Century Literary History of Muslim Leadership and Pilgrimage: al-Dahab al-Masbūk al-Dahab al-Masbūk fī Dikr man Hağğa min al-Hulafā’ wa-l-Mulūk, Leiden, Brill.
  • Tabbaa, Y. (2008). “Andalusian Roots and Abbasid Homage in the Qubbat al-Barudiyyin in Marrakech”, 133-146 in Muqarnas: Frontiers of Islamic Art and Architecture: Essays in Celebration of Oleg Grabar’s Eightieth Birthday; the Aga Khan Program for Islamic Architecture Thirtieth Anniversary Special Volume, Leiden, Brill.
  • Tabbaa, Y. (2002). The Transformation of Islamic Art during the Sunni Revival. London & New Yourk, I. B. Tauris.
  • Treiger, A. (2011). Inspired knowledge in Islamic Thought: Al-Ghazali’s Theory of Mystical Cognition and its Avicennian Foundation. London & New York, Routledge. Vandenbroeck, P. (2016). Antwerp Royal Museum Annual 2013-14.
  • Walker, A. (2010). “Middle Byzantine Aesthetics and the Incomparability of Islamic Art: The Architectural Ekphraseis of Nikolaos Mesarites,”Muqarnas 27 (2010): 79-101. http://repository.brynmawr.edu/cgi/viewcontent.cgi?article=1053&context=hart_pubs
  • Zarnecki, G. (1992). Further Studies in Romanesque Sculpture, London, Pindar Press.
Toplam 66 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

T. M. P. Duggan

Yayımlanma Tarihi 1 Ekim 2019
Gönderilme Tarihi 17 Aralık 2017
Yayımlandığı Sayı Yıl 2019 Cilt: 13 - 21. Uluslararası Ortaçağ ve Türk Dönemi Kazıları ve Sanat Tarihi Araştımaları Sempozyumu Bildirileri

Kaynak Göster

APA Duggan, T. M. P. (2019). İslam Sanatında Zikzak Deseni ve Anlamları Üzerine Bir Okuma. Akdeniz Sanat, 13, 781-800.

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