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I THE MOSQUEl Consonant with the character of Islam, which welds together the secular and the sacred and expresses them by means of a unified and rigid behaviorial doctrine, its house of worship has been the center of social life for all Muslim communities throughout their history. Hence, in
: ''Yahya Pa§a, you gave your life for dervish riches,"168 1168 [1754-55]. [Ahmed Efendi] composed the chronogram and then, three days after he died, the abovementioned pasa was appointed to Tirhala. Subsequently, after coming and taking possession of it, he passed away. The abovementioned mosque has a
men placing a bet on how many mawnds of dates the bulimic calligrapher could eat.26 Of Mawlana Sultan Muhammad Khandan, he notes his predilection for the good life: living in Herat, he “sometimes deigns to produce examples of calligraphy.”27 Notices on court painters sponsored by Sultan Husayn Mirza
reference to Urfa in early twentieth– century academic literature, for instance, was motivated by the significant role the city played in the early stages of Christianity.4 More recently, because of a new approach to studying early Islamic history, several scholars have successfully worked on a
case study of interpretation and textual analysis. Three main stories form the focus: a scene from the courtly life of the Timurid prince Baysunghur, involving his artist Khalil; the Chest of Witnessing, a wooden box containing portraits of the prophets, created by God for Adam and copied by Daniel
, with only a percentage, at the discretion of the state, returned to the waqf system.32 On the other hand, the regulation of urban life, which had been the respon- sibility of kadis, was entrusted to the municipality (×ehremaneti) in 1855. Urban administration as well as preservation thus broke
-Baghdadi had in 952 when he came from Mecca to Jerusalem, which prompted him to settle there for the rest of his life. In the dream, the Prophet and a group of his Com- panions moved from the Dome of the Rock (al-ªakhra) to this stairway (al-maq¸m al-qiblº), where the Prophet prayed with raised hands at
, cross over from literature into daily life and spectacles, from legal to political discourses. Th e figure’s continued presence from the medieval period into the sixteenth and seventeenth centuries suggests its use as a commonplace, as a motif with a number of fixed meanings that are put to work
tenth century, and come after a long journey of investigation, which was begun with the fi rst excavations of the site in 1911.1 This new contribution has not been motivated by an extension of the excavations of the palace, which covers basic ally the same area as established during the work of
antiquities even as he championed the ideals of a grand vision of a sweeping multidisciplinary mandate for the scientifically controlled study of prehistoric Iran.49 Especially in comparison to Pope, Herzfeld was highly motivated by a serious scholarly intent. Many of his clusters of acquired artifacts were