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June 15 War and peaceThe first question anyone planning to start a war, or to respond with force to an act of aggression, should ask is not whether his nation's forces can prevail in battle. That is indeed a vital question. In addition, he should ask what objectives, once achieved, would justify ending the war, and why anyone on the other side should regard these changes in the status quo as either temporarily or permanently acceptable. How will the fighting be ended? On what terms? Negotiated by and with whom? What happens after the conflict is over? Will the seeds of future military actions be planted in the terms of the peace? If there is no clear answers to these questions, the better course may well be to refrain from threatening or initiating military action.
Although every war is fought in the name of peace, there is a tendency to define victory as the absence of war and to confuse it with military victory. To discuss conditions of peace during wartime seems almost indecent, as if the admission that the war might end could cause a relaxation of the effort. This is no accident. The logic of war is power, and power has no inherent limit. The logic of peace is proportion, and proportion implies limitation. The success of war is victory; the success of peace is stability. The conditions of victory are commitment, the condition of stability is self-restraint. The motivation of war is extrinsic: the fear of an enemy. The motivation of peace is intrinsic: the balance of forces and the acceptance of its legitimacy. A war without an enemy is inconceivable; a peace built on the myth of an enemy is an armistice. It is the temptation of war to punish; it is the task of peace to construct. Power can sit in judgement, but statemanship must look to the future.
Henry A. Kissinger, 1964 April 24 第三次十字军东征一、阿育布的君主萨拉丁 公元1193那一年,在东方同时有两位君主驾崩,一个是西夏王朝的长寿皇帝,即开国皇帝李元昊的重孙仁宗李仁孝,时年70岁,强极一时的西夏在他的手里达到鼎盛,又在他死后步入衰亡。但是西夏君主的晏驾对这个世界并没有造成什么影响,在历史上他籍籍无名。本章要说的是另一个东方伟大的君王,在同年2月 16日去逝的埃及阿育布王朝的君主――萨拉丁。 他的威名一直传到同时代的中国,那时中国人称他为绿衣大食的可汗。“大食”原是古代波斯人对阿拉伯人的称谓,中国人借用波斯人的称法,例如公元750 -1258年巴格达的阿拔斯王朝(该国天文科学极发达,后为蒙古所灭),中国人就称之为“黑衣大食”。而历史上的绿衣大食,其实指的是萨拉丁阿拔育王朝的前身法蒂玛王朝,法蒂玛王朝于公元909年在突尼斯一带建立,在10世纪初迁都开罗,是个疆域横跨西亚北非的大国。那时萨拉丁尚未登及。 萨拉丁于1138年出生,这个时间正是中国的南宋王朝定都杭州的日子,也是距中国伟大军事统帅岳飞遇害的前4年。出生地位于今伊拉克北部的提克里特城,也就是这个地方,800多年后又出生了另一个声名赫赫的人物,我们在下面的内容里会提到他。 萨拉丁在巴勒贝克和大马士革长大,成年后起初在他那当时任叙利亚阿勒颇努尔丁王国将军的叔父阿萨德的手下服役。在1169年,也就是年轻的萨拉丁31 岁时,他已经是埃及法蒂玛王朝的宰相和亚历山大的总督了,当时法蒂玛王朝在内忧外患的相继打击下,已经濒于崩溃。就在这一年初,宰相沙瓦尔勾结外敌而被杀,年轻的萨拉丁取而代之,接管起这个没落王朝的烂摊子。这只是这个少年得志的英雄实现他雄心和伟大事业开端,在他和精明的经营和仁政的宽待下,国力迅速得到恢复,而他也成了全埃及人崇拜和敬仰的英雄。1171年,法蒂玛王朝的哈里发阿迪德驾崩后,萨拉丁凭着他在国内无与伦比的威望毫不费力地取代了法蒂玛建立了新兴的阿育布王朝,他就是新王朝的君主。 此时的萨拉丁不过33岁,英姿勃发,岂甘于人下,1174年时,萨拉丁的顶头上司、与他的王朝有臣属关系的宗主国叙利亚阿勒颇努尔丁王国的国王努尔. 丁国王驾崩,萨拉丁果断地与努尔丁王国断绝关系,宣布他的阿育布王朝独立。没多久他见时机成熟了,率兵攻打努尔丁王国,1183年攻占该国的都城阿勒颇,努尔丁王国灭亡。随后周围诸小邦望风来归。1185年,萨拉丁顺利地攻占摩苏尔,以不可思义的速度建立了一个虽非空前但是绝后的阿拉伯大帝国,疆域包括了今埃及、巴勒斯坦、叙利亚、也门以及今伊拉克北部。 在基本完成阿拉伯王国的统一后,萨拉丁才开始他的真正事业――与十字军作战。 二、十字军的起源和塞尔柱突厥人 第一次十字军东征的时间是1096年―1099年。1095年11月26,在法国南部的克勒芒举行的圣马丁祭日后的一次教廷集会上,罗马教会的教皇乌尔班二世运用了他那举世无与伦比的口才对数万名基督徒进行了一次演说。 这里有必要简介一下这次精采演说的背景。自公元636年起,三教的发源地圣城耶路撒冷就被信奉伊斯兰教的阿拉伯帝国统治,起初,阿拉伯人对基督徒们还算客气,两教在一定时期内还能和平相处,井水不犯河水。但在突厥人的一支――塞尔柱突厥人在小亚细亚建立了信奉伊斯兰逊尼派的突厥塞尔柱帝国(奥斯曼帝国的前身,土耳其人的祖先)之后,这个平衡便被打破了。突厥人兴起之初,一度以惊人的速度扩张,屡屡击败曾经强盛一时的拜占廷帝国和波斯。那时的塞尔柱突厥人也就是现在的土耳其人可不像今天这样对基督教西方世界那么友好和驯服,当时他们凶悍而极端,中东地区的基督徒不断遭受他们骇人听闻的迫害,许多基督徒被残酷杀害,更多的人被强迫改变对上帝和基督的信仰去信奉伊斯兰教。这引起了整个基督教世界的极大愤慨。 再加上丢了半壁江山的东正教拜占廷皇帝亚历克塞一世向罗马教会和西欧诸国的求援,促使了一心想将基督教统一(基督教于1054年分裂为以君士坦丁堡的东正教以及罗马教廷的天主教)、建立无上权威的世界教会以及压制神圣罗马帝国皇帝和诸国君主这些世俗政治势力的雄心勃勃的教皇乌尔班二世下定了发动战争的决心。 教皇的演说煽情而且大获成功,他历数突厥人在耶路撒冷沾污圣地、迫害基督徒的罪行: “上帝的子民们,突厥人侵占了我们的圣地耶路撒冷,他们在大肆蹂躏上帝的国度,毁坏基督教堂,掳杀虔诚的上帝子民,污辱贞洁的妇女,贪婪地饮着受洗儿童的鲜血。主亲自勉励你们,一切有封爵等级之人都必须迅速给东方基督教徒以援助,把凶恶的民族赶出我们的领土……” “耶路撒冷,如同《圣经》所言,是上帝赐与以色列后代的,遍地流着奶和蜜。耶路撒冷是大地的中心,其肥沃和丰富超过世界上的一切土地,是另一个充满欢乐的天堂。我们这里到处都是贫困、饥饿和忧愁,老人几乎死光了,木匠们不停地钉着棺材,母亲们抱着孩子的尸体,悲痛欲绝。东方是那么的富有,金子、香料、胡椒俯拾皆是,我们为什么还要在这里坐以待毙呢?” “……让我们投入一场神圣的战争,一场为主而重获圣地的伟大的十字军远征吧!……如果让那些魔鬼的奴隶统治主所信任的人民,那将是一件多么令人羞耻的事!本着主赐予我的权柄,我郑重宣布,那些参加神圣军的教徒,如果在途中或战斗中丧失了性命,主将赦免他们一切罪孽……” “……现在我代表上帝向你们下令、恳求和号召你们,迅速行动起来,把那邪恶的种族从我们兄弟的土地上消灭乾净!……耶路撒冷是世界的中心,它的物产丰富无比,就像另一座天堂。在上帝的引导下,勇敢地踏上征途吧!” ――就这样,在教皇的煽动和号召下,西欧各国的基督徒们怀着狂热的信仰,组织起了东侵的远征军。1096年的2月,法国亚眠修道院的教士彼得和德国骑士法尔特组织了由西欧各国的农奴和平民组成的第一次十字军,史称“穷人十字军”,浩浩荡荡向东方进发。 顺带提一下,这里所说的塞尔柱突厥人,即更早些活跃在远东中国边境的突厥人的后裔,是西突厥汗国乌古斯部落中的一支。正是七世纪中国人对他们的征服和驱赶,迫使突厥人不得不远离家园到小亚细亚寻求发展。十世纪时,在其酋长塞尔柱率领下渡锡尔河进入河中地区,因而称为塞尔柱突厥人。所以十字军东征的暴发,匪夷所思地居然和中国人多多少少扯上了些关系。 参加远征的战士的衣服上缝都有用红布缝制的十字,因此称之为“十字军”。但这“穷人十字军”却是一支乌合之众,他们还没来得及得到各自君主的响应和调度,便匆匆东进去实现梦想。对这样一支远征的庞大军队,没有补给可是一个致命的问题,于是他们便上演了几个世纪以前中国的西汉王朝的那支为汗血宝马而远征的李广利远征军在中亚所做过的事――沿途他们不得不为生存而掠夺。这支满载对异教徒的仇恨的军队,所过之处就像是蝗虫掠境,渡过多瑙河进入东欧,首遭涂踏的是匈牙利,将之洗劫一空,杀人数万。之后是曾向他们求援的拜占廷,在贝尔格莱德附近他们和斯拉夫人打了个两败俱伤。几个月后,兵力不足原来一半的十字军终于在老奸巨滑的拜占廷皇帝亚历克塞一世的帮助下渡过博斯普鲁斯海峡到达小亚细亚与突厥异教徒决战,其实是让他们去送死,结果自然是遭灭顶之灾,只有几千人生还。 1097年初,由西方各君主国贵族和骑士组成的3万正规军兵分4路,会师君士坦丁堡,这支军队以法国贵族为主,主要领导者是诺曼骑士奥特朗托的博希芒德,他们依然从博斯普鲁斯海峡进入小亚细亚。这次塞尔柱突厥人碰到了对手,而且当时的塞尔柱鲁木速丹王国的的主力正在攻打波斯,内防空虚,结果在骑士十字军的猛攻下势如破竹,丢掉了都城尼西亚,次年埃德萨和安条克两个大城也被十字军攻占,十字军在这两个地方成立了埃德萨伯国和安条克公国。紧接着1099年十字军攻下了圣城耶路撒冷,建立耶路撒冷王国,十字军在沿途建立的一系列基督教国家,名义上均附属于耶路撒冷王国。为了巩固和治理占这些地方,教皇还批准成立圣殿骑士团、医院骑士团及条顿骑士团。 对于1099年7月15日破城之日的耶路撒冷的异教徒来说,那是一个噩梦,信奉上帝的基督徒们一旦武装起来上战场,和世俗的暴徒并无任何区别,可能以上帝和正义之名行恶还有了一份免受良心谴责的光环,因为行恶时是以上帝的名义,并且有“刀剑不染血的人要受诅咒“的咒语。城破之后的圣城,到处都是对平民的杀戮和抢劫,伊斯兰的异教徒人头滚滚,仅在阿克萨清真寺,就7万无辜异教徒的平民被屠杀,无一生还。7月15日的耶路撒冷,在十字军的蹂躏下是个人间炼狱。 而拜占廷皇帝亚历克塞一世则趁机捡蒌,收复了小亚细亚北部的领土。强盛一时的塞尔柱鲁木速丹王国则沦为一个弱小的附属国,国王开雷斯忍气吞声,夹缝求生,随时不忘伺机复兴。几十年后他儿子开雷斯二世不负所望,假装驯服拜占廷,暗中在小亚细亚东部扩张势力,最终于1176年的迈里奥法克龙战役中击败当时的拜战廷皇帝曼努尔,把拜占廷帝国赶出小亚细亚,复兴成功。这父子二人,真颇有越王勾践的风范。 三、诸名王会战之萨拉森仁主 第二次十字军东征发生在1147年-1149年。这时的突厥人虽然还未恢复第一次十字军东征前的帝国辉煌,但大部分实力已复元,1144年便攻下了曾在他们手上丢掉的领土埃德萨伯国,收复了部分失地。随即大军压境,直逼十字军在东方建立的其它基督教卫星国。1147年,德皇康拉德三世和法王路易七世率德法联军发动第二次十字军东征去收拾突厥人。但这次突厥人学乖了,再不敢轻敌,以逸待劳,集中优势兵力打了几场漂亮的会战,10月份在小亚细亚击败德皇康拉德三世的十字军;次年7月,在大马士革击退法王路易七世的十字军。德法联盟十字军远征遂告失败。 基督徒们在第二次十字军东征中虽遭重挫,元气大伤,但突厥人也没有足够的力量将基督徒们轰出东方。而基督徒们则始终耿耿于怀,念念不忘征服东方,征服异教徒。在差不多半个世纪后,终于迎来了世界战争史上最激动人心的第三次十字军东征。 这次东征,可以称作是诸名王会战,因为世界历史上最伟大的几位名王,将先后登场,在这个战场上角逐出谁是真正的英雄。 阿育布王朝的君主萨拉丁在奇迹般地建立了他的大伊斯兰帝国之后,便着手实行了他的最重要的一步计划,从东西两路夹击十字军。他是真正具有长远战略眼光的军事统帅,为了打赢这场战争,他在外交上做了一系列的努力。首先是停止了他对同教袍泽的扩张,为了团结整个伊斯兰世界,他不惜尊他一向看不起的巴格达阿拔斯王朝(也就是中国人所说的“黑衣大食”)的哈理发为宗教领袖,尽管这位昏溃的哈里发对他多有不满和无礼。其次是对拜占廷和西欧大陆的基督徒们采取分化策略。在1182年时,暮气已露的拜占廷帝国做了一件蠢事,莫名其妙地与西欧人决裂,屠杀了许多西欧人,大大得罪了罗马教廷。机敏的萨拉丁不失时机地于此时向拜占廷示好,并缔结了互不乾涉和交战的和约。而复兴的突厥塞尔柱帝国也主动向萨拉丁示好,这样一来,便一举解决了他将来进攻十字军王国的后患。 1186年冬,耶路撒冷王国的实力人物之一,拥有法国公爵头衔的雷纳尔德,像他以前习惯做的那样,又一次像个盗贼一样抢劫了一支自开罗到大马士革的埃及商队。并曾两次撕毁他与萨拉丁定下的和约。这使得性格宽厚的萨拉丁也很愤怒,因为埃及人是他的子民,他先是礼貌地向耶路撒冷国王居伊提出抗议,要他们释放商人和归还货物。不知死活的雷纳尔德则轻蔑地说,让萨拉丁去找穆罕默德要,言下之意就是让他去见鬼吧!萨拉丁勃然大怒,发誓一定要亲手宰了雷纳尔德这个无赖。圣城耶路撒冷本来就是他的目标,这次刚好给了他一个充足的籍口。 1187年6月下旬,萨拉丁从帝国本部以及豪兰、阿勒颇、伊兹丁摩苏尔等领地调集了大批兵马,约2万人左右,在埃及集结,向耶路撒冷王国进发,发动了收覆圣城之战。他采用了声东击西的战术,先围攻提比莱斯城(又译太巴列),提比莱斯城是特里波里伯爵夫人艾希发的封邑,她自知在萨拉丁手下走不了几个回合,于是急忙让他在耶路撒冷当摄政王的丈夫特波里伯爵雷蒙德三世向国王居伊求援。雷蒙德是个身经百战的老将,虽然性子暴戾,但不失为一个头脑清醒的军事统帅,对萨拉丁的实力也颇有认识,因此在他妻子求援时主张按兵不动,稳妥行事。如果这场战役由他主持大局,或许萨拉丁也未必能轻易得手。但当时耶路撒冷政权上层却是矛盾重重,几位实力派人物如雷纳尔德和“圣殿骑士团”的大头领里德福特的杰勒德以及居伊国王几个人相互间各怀鬼胎,勾心斗角,争权夺势,罅隙极深。雷纳尔德是个狂热的骑士,籍此破口大骂雷蒙德是懦夫和内奸,极力说服国王发兵。随即组调骑士1200,骑兵2000,步兵万余,置雷蒙德的再三告诫于不顾,一意孤行向提比莱斯进发。 这一切都在萨拉丁的掌握之中,耶路撒冷至提比莱斯城有很长的一段高原荒漠地带,萨拉丁在佯攻提比莱斯时已在这一带布下重重伏兵,十字军一路不断遭到萨拉丁骑射部队的伏击和骚扰,被折磨得憔悴不堪,行军速度十分缓慢。在十字军艰难地到达哈丁(又译哈廷、海廷)附近时,已经筋疲力尽,士兵们个个酷热难当,饥渴难奈,主力脱节,先前骑士精神的狂热,此时已斗志全无,以至于这场本来实力相当的战役呈现的是完全一边倒的局面。十字军中骑兵和步兵配合的阵形战术完全没有发挥作用,在萨拉丁的密集围攻下迅速溃败。直到最后国王将像征宗教信仰的最高图腾的圣物 “真.十字架”树起,也只能稍稍稳住阵形,延缓局势,但最终仍是无可挽回的惨败。萨拉丁对这场战役做了充分的准备,从心理战到用火攻,无不尽其及,足以与中国历史上任何高明的统帅相媲美。最终彻底地取得了哈丁之战的胜利。 这场恶战中,十字军全军覆没,圣物落入萨拉丁这个异教徒手中,“圣殿骑士团”的大头领里德福特的杰勒德与阿卡主教阵亡,国王居伊和雷纳尔德被俘,只有雷蒙德率少量心腹杀出一血路冲出重围。但死于三个月后。十字军惨败后,耶路撒冷王国诸城唾手可得,10月4日,萨拉丁轻而易举地收覆圣城,就像他建立他的萨拉森(阿拉伯民族的泛称)大帝国一样,轻松而又如奇迹一般,他完成了伊斯兰历史上最伟大的一次壮举。 穆斯林世界崇拜萨拉丁,固然是因为萨拉丁是他们几千年不世出的大英雄,是他们永恒的骄傲。但萨拉丁在西方、东方其他民族的眼里,最为人尊敬的是他高贵的气度和宽厚的性格,而不是他的军事才能,因为每个伟大的民族都能找出几个功绩不亚于他的英雄。 当时收复的圣城耶路撒冷里有大约10万名以上的基督徒,以及数量可观的被俘十字军战俘,每个人都觉得大祸临头,80多年前就在这个城市里被基督徒们津津乐道并载入史册的对伊斯兰异教徒的大屠杀犹历历在耳,如果穆斯林们要为当年的屠杀血腥报复,在那时任谁都觉得合情合理。但萨拉丁的举动却完全出人意料,破城后立即下令不准士兵杀戮和掠夺,保留所有基督徒的生命和财产,充许他们交少量的赎金后带着财产回国。这简直就是个不可思义的举动,8万多基督徒在萨拉丁的伊斯兰异教徒士兵的保护下踏上回乡的路途。萨拉丁的弟弟阿迪尔行事也颇有乃兄之风,他居然还从自己的私房里拿出钱来给丈夫战死的寡妇一些安家费,并替 2千多穷基督徒交了赎金。实际上交得起赎金的只有18000多人,但后来许多交不起赎金的穷人也被他们哥俩随随便便放走了。 对于萨拉丁释放基督徒的的原因,除了一般的认为是出于他本身性格的宽厚和仁慈外,另外还有两种流传不是很广的说法:一种是认为萨拉丁释放基督徒是因为耶城内的基督徒守军以城内的伊斯兰人作为人质,威胁要同归于尽,并将圣城毁于一炬,将欧麦尔大清真寺夷为平地,以此逼迫萨拉丁许诺释放所有基督徒。不过这种说法如果参照萨拉丁其人的一惯宽宏的作风,便知其不成立;另一种说法是认为萨拉丁受了他的基督徒私友的影响和游说,而促使他做出宽待基督徒的决定。 对待战俘,萨拉丁也算是非常仁慈,他将居伊国王和贵族骑士们也轻描淡写地释放了,普通军官和士兵并不杀害,作为战利品卖到埃及做苦役。这里面还有一个来自西方的很感人的故事,传说萨拉丁精通拉丁语,少年时代曾多次微服游历西欧各国,有一次无意中受到一对欧洲贵族夫妇的热情款待,使他一直铭记在心,引为知己。几年后那位贵族参战被俘,而成了萨拉丁的奴隶,萨拉丁发现故人后,想尽一切办法在最快时间里让他的朋友回到欧洲与家人团聚。 萨拉丁的举动不仅让西方人也让中国人汗颜,在中国历史上不难找出军事才能和功绩与萨拉丁不相上下的帝王统帅。但白起坑杀四十万赵国降卒,西楚霸王坑杀二十万秦军,飞将军李广也杀过八百羌人降兵,骠骑大将军固然英勇绝纶,但他每次出征动辄就带几万颗人头回来……在黑暗时代的残酷战争中,萨拉丁是人道主义的惟一。 不过萨拉丁毕竟是穆斯林的君主,在宗教信仰上毕竟与罗马教廷有着不可调停之处。他惟一痛恨的是由罗马教皇成立的“圣殿骑士团”成员,也就是传说中的圣骑士、游侠,他把这些人视为信仰上的仇人,难以宽容,因此包括“圣殿骑士团”团长在内的大约200多圣骑士被处死,其中有些不愿意沦为异教徒奴隶的普通士兵也自愿加入圣骑士的行列求死。最不被宽容的是雷纳尔德公爵,萨拉丁遵守誓言,亲手宰了他。 之所以费这么多笔墨叙叨这个萨拉丁义释基督徒的举世皆知的典故,是因为萨拉丁正是当今穆斯林世界里,被穆斯林们誉为伊斯兰英雄的恐怖大王本.拉登和暴君萨达姆的偶像。 拉登先生自不必去说他了,他崇拜的萨拉丁,的确是穆斯林的保护神,拉登本人也常以此自诩,但萨拉丁却从不对平民下手,终其一生,都是在光明正大地与西方军队作战。许多穆斯林将拉登先生视为伊斯兰英雄也就罢了,但如果拿他和萨拉丁相比,却是对自己的民族英雄和宗教英雄的亵渎。 拉登其实是萨拉丁同时代的哈桑?本?沙巴的衣钵传人,属什叶派,有个专门从事暗杀的秘密组织,培养宗教狂热的刺客,在各国从事暗杀首脑的恐怖活动,被什叶派誉为“真主的复仇者“。当时在战场上不可一世的东西方诸名王们,对这些看不见摸不着的对手也十分头痛,连萨拉丁也怵他们三分,以至于与德皇、法王不约而同地都拿出重金给哈桑算交“保护费”。拉登的“基地”恐怖组织整个儿就像是哈桑的阿萨辛刺客组织的翻版。 所以,相比之下,萨拉丁是个英姿勃发的伟岸丈夫,而拉登先生站在他面前却像个猥琐而不能见人的小偷。 至于萨达姆,他也就是那个在本文头一章节里曾提起的的与萨拉丁同在伊拉克北部的提克里特城出生的声名赫赫的人物。萨达姆除了崇拜萨拉丁,更常将自己比作萨拉丁,他最喜欢的便是有人将他称作“当代萨拉丁”,他的梦想便是像萨拉丁那样一统阿拉伯帝国,重现萨拉丁时代的辉煌。这也是他在伊拉克上台伊始便穷兵黩武四处出击的缘故,以色列、伊朗、科威科……他从未停止过征战,这些无不是他浓重的“萨拉丁情结”的体现。 “我认为萨拉丁是一个伟大的领袖,因为他有能力运用民族的精神;他把生命注入了阿拉伯民族,统一了她,并赋予她一个目标和意志,因此他赢得了对十字军东征的辉煌胜利,他证明了穆斯林并不比基督徒差。” ――伊拉克总统萨达姆.候赛因 我不明白萨达姆先生读不读历史,但是有两点他的确错了。第一点,萨达姆他本人暴戾、多疑、阴鸷、残忍、自私、喜怒无常、杀人不眨眼……虽然他有远大理想,但几乎人类历史上大部分暴君的特征他都具备。 而萨拉丁与他完全不同,萨拉丁是仁慈之主,尽管萨拉丁一生都在征战中度过,但他仁厚的本性,注定他不会枉杀平民无辜。他有着古代贵族那种高贵豪阔的胸襟和气度,这是任何人都模仿不了的。他的秘书伊本?沙达德在他的传记里就记载过萨拉丁一些日常细节,比如说有一次,一个冒失的老骑兵在萨拉丁很疲惫时呈给他一封士兵的申诉信,萨拉丁告诉他暂时不想看,可那冒失鬼固执地要他看,还把书信硬递到萨拉丁的面前,萨拉丁无奈只得把信看完。急性子的老骑兵接着要求他马上签写。萨拉丁身边没有墨水,墨水在军帐的另一头,于是他示意老骑兵去拿过来,可这个完全不通人情世故的老兵却示意让他的国王自己过去拿。萨拉丁也不以为忤,淡淡一笑,自己爬过去拿了墨水给老兵签了字。 秘书伊本?沙达德对此看在眼里,非常吃惊,诚恳地赞美萨拉丁的善良,萨拉丁只是微微一笑,不置可否。 如果让萨达姆站在萨拉丁的旁边,那么萨拉丁是个风度仪人的阳光君子,而萨达姆则像是个阴鸷而难以相处的暴汉。 另外一点,也就是最关键的一点区别,那就是萨拉丁虽然是萨拉森帝国的大帝,但他却并不是阿拉伯人,而是血统与波斯人较为接近的库尔德人,虽然库尔德人与阿拉伯人在远古时似同属美索不达米亚的后裔,但生活在西亚的信仰伊斯兰的阿拉伯人、突厥人、波斯人与库尔德人毕竟是4个不同的民族。库尔德人历史上曾是游牧民族,属印欧语系波斯语族,伊斯兰逊尼派。其人口在今天约3000多万,分布在西亚各国,土耳其1800万,伊朗700万,伊拉克500万,叙利亚 100万,黎巴嫩10万,阿塞拜疆和亚美尼亚10万。他们因为没有自己的国土而像当初的犹太人一样遭各国白眼,并且屡次因独立斗争而惨遭各国镇压。 这个民族,也就是不久前被萨达姆以毒气对付血腥屠杀了几十万的那个库尔德族,也是惨遭土耳其人残酷镇压的那个库尔德族,他们才是萨拉丁的嫡系子孙。萨拉丁大帝当年横行天下,令天下诸名王束手,不可一世,而今其子孙却无寸土立锥,实是令人感叹。萨达姆崇拜萨拉丁,但却对萨拉丁的子孙屡屡痛下毒手,如果萨拉丁在世,怕是又要发誓:“我要亲手宰了这个无赖”。 四、巴巴罗萨的心思 萨拉丁收复圣城之时,也就注定他要迎来他这一生的几个强敌。哈丁之战后,震惊了整个基督教世界,正在和红胡子巴巴罗萨斗得死去活来的教皇乌尔班三世闻此噩耗,受不了这个重大打击,一口气没缓过来,魂归离恨天,就此蹬腿了。 1189年,神圣罗马帝国皇帝巴巴罗萨(即德意志霍亨施陶芬王朝的皇帝腓特烈一世)和英国金雀花王朝的狮心王(理查一世)与法王腓力.奥古斯都(卡佩王朝腓力二世)三位名王先后出场,发动了旨在收复圣城和收拾萨拉丁的第三次十字军东征。这三位名王都是各自国家历史上屈指可数的大英雄,其历史地位就好似中国的秦皇汉武、唐宗宋祖一样。 诸名王的性格也是完全不同,巴巴罗萨霸气横秋,狮心王查理我行我素桀傲不驯,奥古斯都少年早慧足智多谋,加上萨拉丁的宽厚随和,对比极为鲜明。其中任何一位名王的能耐都不在萨拉丁之下,三王齐会萨拉丁,照理说萨拉丁根本没有机会。不过俗话说一山不容二虎,可现在一口气跑来三条,这热闹是有够瞧的了。 这年初夏,66岁的巴巴罗萨与他的长子施瓦尔本公爵率10万日耳曼十字军从雷根斯堡出发,可怜的匈牙利又一次倒足了血霉,又被巴巴罗萨给痛痛快快地洗劫了一番。穿过匈牙利便又到了拜占廷的境内了,这次巴巴罗萨可替一百年前的“穷人十字军”出了一口恶气了,着实将拜占廷狠狠地修理了一顿。正所谓好狗不挡道,拜占廷皇帝伊萨克二世被揍怕了,赶忙打开大门迎接巴巴罗萨。巴巴罗萨在君士坦丁堡过了冬,次年开春,日耳曼十字军渡过马尔马拉海,进入小亚细亚,轻轻松松地打败一个叫伊尼科(在今土耳其境内)的突厥国,在小亚细亚的高原一路横行无忌,周边诸国无人敢撄其锋,避之不及。 日耳曼十字军在1190年6月份时,到达小亚美尼亚王国(今土耳其南部)附近,巴巴罗萨居然在渡过一条叫萨列夫的河时溺死。这事足以使当时任何人瞠目结舌,一代传奇英雄,居然会以这么一种方式死得这么莫名其妙,以至于那几百年里德国人根本接受不了这个事实,他们还等着巴巴罗萨在圣城相会萨拉丁,为神圣罗马帝国带回不世的功勋和荣誉呢!但随着巴巴罗萨的过世,这切都将烟消云散,即将名扬天下的第三次十字军东征的荣誉将是英国人和法国人的了。 对此痛苦的德国人拒绝接受现实,他们故老相传,说巴巴罗萨皇帝只是暂时昏睡而已,身体就保存在帝国的奇佛豪森大城堡里,终究有一天这位日耳曼传奇英雄、万民景仰的人皇,会从长眠中醒来,再次在狂风中飘动他那团烈火一般的红胡子,拯救德意志,将德国带入鼎盛和辉煌。 关于巴巴罗萨的意外死亡,依笔者估计是与当时骑士的装备缺陷有关。中世纪骑士们的重铠甲是件很让人生畏的东西,这种厚重的组装全身铠,骑士本人根本没办法自己穿戴,他们得站着让两个以上的侍从帮忙,先穿好由毛毡或织棉制成的极厚的内衬,接着套上由铁环制成的过腰锁子甲(这种东西一碰水就生锈),然后让侍从把组装铠的各部分像胸甲、臂铠、膝铠、护胫等,在他身上拼装起来,用搭扣和带子或铁条固定紧。最重要的也最让骑士们难受的是头盔,因为头部是最易遭敌人攻击的脆弱部位,于是必须戴上重量极重的头盔,遮住整张脸,只在眼睛前开几条小缝。这样整个人看上去就像一只大龙虾。 弓箭对这样的大龙虾是很难造成什么伤害的,对步兵和轻骑来说他们就像是坦克。但也极为危险,重装骑士一旦从马上摔下来,就会像一只大海龟一样难以爬起来,甚至当场脑震荡昏迷过去,这时敌方战斗力最低的无甲步兵都能轻易将他杀死。而且那种只开几条细缝的重头盔,一旦被对手打歪,里面的骑士就会很可笑地变成一具断线木偶。在夏天到来时,那对重装骑士们来说无疑是一场灾难,纵是满头大汗也无法用手抹布拭,厚重的全身铠只考虑防御而根本不考虑散热,以至于不少英勇的战士不是死在战场上敌人的手里,而是在酷热中活活闷死在重铠的包裹中。至于淹死的也不在少数,有时只是一条小河小溪对骑士们来说也是噩梦,因为他们一旦不小心从马上掉下水里,哪怕是膝盖深的水位,也会将他们淹死。 所以说,虽然大部分史书里没有详细描述巴巴罗萨遇难时的细节,但可以想像得出,渡河的那天,湍急的河水拍打着骑士们的铠甲,年迈而威武的巴巴罗萨老皇帝骑在他高大的战马上指挥他的日耳曼孩子们安全穿过河流,谁料战马一个不留神蹄子打滑,把措手不及的巴巴罗萨摔倒在河里,河水也许并不是很深,但身着重装组合铠的巴巴罗萨根本无法从河床上站起来,等战士们将他从河里拖上岸时,已经迟了,这位传奇帝王已蒙上帝召唤。 巴巴罗萨出师未捷身先死,对第三次十字军东征无疑是个巨大的打击,在东方的基督徒心目中,巴巴罗萨是他们心中的偶像,上帝信徒的保护神,没人怀疑他能征服拜占廷,降服塞尔柱,乃至收回圣城并给萨拉丁点颜色瞧瞧,但现在就像寡妇丢了独苗――没得指望了。他们只能把希望放在年轻的英王和法王身上了。 五、小狐狸与金雀花王朝 巴巴罗萨猝死后,日耳曼十字军团也随之解散,大部分骑士垂头丧气地打道回府,皇长子施瓦本心有不甘,召集了剩余的7000多名骑士继续向圣城前进,一直到秋季,才与耶路撒冷王国的流浪王德.吕西尼昂会师,参与法王腓力二世组织的围攻沿海要塞阿卡城之战。 1190年7月,25岁的法王腓力二世率领他的法国十字军出发,出发前他做了两件事,一是把一座大城堡命名为卢浮宫,作为博物馆;另一件事是与他的死对头――1189年7月刚即位的33岁的英王理查一世约定,双方暂时停止两国间的纠纷,同时领兵亲征,免得有人留在欧洲捣对方的鬼。几个月后腓力的兵团便团团包围了萨拉丁位于沿海的要塞阿卡城(Acre),而理查的部队此时却仍在磨磨蹭蹭,刚刚动身出发。 当时的英法两国罅隙极深,而且双方王室与领土之间的关系也十分复杂混乱。理查一世是金雀花王朝的第二位君主,之前是他老爸享利二世(英法两国历史上真数不清有多少个王叫享利)。这个王朝之所以有个这么好听的名字,就说来话长了。 金雀花王朝的前身是诺曼王朝,第一任王是威廉一世,生卒年1027-1087,原是法国的诺曼公爵,他的表兄英王子爱德华流亡诺曼时与威廉结盟,并向威廉许诺,如果威廉助他夺回王位,将来便把英格兰王位给他。但爱德华死后诺言并没有兑现,威廉一怒之下出兵英格兰,一番血战后征服英格兰,夺回王位,人称 “征服王”;第二位王是威廉二世,是威廉一世的次子,生卒年1087-1100,人称“红毛王”;第三位王是享利一世,威廉一世第四子,生卒年1068- 1135;第四位王却又是法国人,是法国的布鲁瓦伯爵之子斯蒂芬?德?布鲁瓦,他母亲阿黛拉是威廉一世的女儿,所以他也是威廉一世的外孙,由于享利一世的独子夭折了,导致家族绝嗣,便把王位传给了斯蒂芬。但是斯蒂芬生性懦弱无能,1153年时享利一世的女儿玛蒂尔达公主的儿子法国的安茹伯爵享利(就是理查一世的老爸了)率兵渡过海峡杀到英格兰,斯蒂芬不是对手,于是向享利妥协,答应死后把王位让给他。这个可怜的孩子第二年就挂了,时年21岁的享利如愿以偿得到王位,称享利二世,安茹王朝建立,因为纹章*用金雀花的小枝做装饰,所以又称之为金雀花王朝。 享利二世在登及以前,也就是在他19岁还是法国的安茹伯爵时,娶了一个30岁的离婚才3个月的女人――原法王路易七世(腓力的爸爸)的王后艾琳娜,路易七世因为受不了艾琳娜老是给他戴绿帽子而把她休了。这个女人也可以说是欧洲历史上最具传奇色彩的女人,她同时也是亚魁当世袭女公爵,在法国南部拥有大片封邑。享利和艾琳娜共生了5个儿子和3个女儿,其中老三便是理查,1157年出生,理查从小在他老爸原来的封邑安茹长大,只会说法语,不会说英语。 这次联姻对英法两国都是至关重要的,之前的威廉一世跑到英格兰当国王时已经带走了他在法国的封邑诺曼底,享利二世跑到英格兰称王又带走了他自己的封邑安茹,与艾琳娜女公爵结婚后又得到了她的封邑亚魁当。这些本来都是法国的领土,就通过这种奇怪的方式莫名其妙地居然全并入了英国的版图。这种事对中国人来说简直就是匪夷所思,在中国的历史上几乎很难找出可比的例子来,就好比是满洲人跑到中国来当皇帝,结果把满洲的土地并入中国,这是惟一稍有点类似的例子。 1179年,14岁的腓力加冕成为法国国王,这是个少年早慧的人精,他一登基,便发现这个形势让他哭笑不得,法国的贵族领主跑到英国当国王的当国王、当王后的当王后,也就罢了,结果还顺手带走这近三分之二的大片原本属于他的法国领土,而且兵不血刃,合情合理。 少年时的腓力便以诡诈狡黠而着称,因此人们给他起了个外号叫小狐狸。小狐狸可不是省油的灯,焉肯吃这个哑巴亏,于是开始了他长期而执着的计划。首先先从内部分化英王室,他和享利二世的4个儿子关系都很密切,开始在他们当中物色可以对付享利二世的同盟。 不过享利的长子,王位的继承人小享利是个烂泥糊不上墙的阿斗,不喜欢当王子却喜欢当响马,经常做些拦路剪径的好汉勾当,还常常抢劫修道院,搞到爹不疼、娘不爱,神憎鬼厌,1183年时最终在穷困潦倒中毙命,死时爹妈兄弟都懒得理他,只由一群曾跟着他的已经饿得皮包骨头的侍从给他办后事;老二倒没什么劣迹,不过在结婚后没两年便猝死了。于是小狐狸只有和大他8岁从小在安茹长大的理查搭上了关系,不断怂恿理查去和他老爸对着乾。理查因为从小在他老妈身边长大,并且艾琳娜和享利这对老妻少夫也长期不和,导致理查对他的享利老爹一向也没有什么好感,加上小狐狸从中挑拨捣鬼,理查这个混小子便和小狐狸勾结在一起,一起去和他的享利老爹捣乱。而艾琳娜对她的这个宝贝儿子极为宠爱,也帮着儿子去和丈夫对着乾。 1188年夏,羽翼已丰的小狐狸挑动享利二世的领地阿基坦叛乱,享利二世亲征,小狐狸联手理查把享利二世打得一败涂地,举手投降。享利二世当年也是英雄一世,少年得位,也算是雄材大略,还曾多次与声蜚欧亚的巴巴罗萨打过几个来回不落下风,作梦也没想到居然会惨败在乳臭未乾的小腓力和自己亲生儿子这两个坏小子手里,越想越是想不通,第二年便活活气死了。 理查的战争天赋牛刀初试,第一个被开刀的却居然是自己的老爹。把老爹气死后,理查便乐不可支地到英国伦敦西敏斯特大教堂加冕即位,但他在英国呆不住,感觉人生地不熟的,住了4个月后便溜回安茹,把内政完全交给他的两个心腹大臣艾利主教威廉?龙尚和坎特伯雷大主教瓦尔特?赫伯特。对于英国,他在政治上一点兴趣也没有,他感兴趣的是英国人的钱,为了参加十字军东征,武装精锐骑士兵团,他在英格兰本部及原法属领地里,让所有不参加东征的人交高达10%动产税税率的重税以充军费,史称“萨拉丁十一税”(如果萨拉丁听说这事,多半要嘀咕:真主作证,这关我鸟事!)。 小狐狸腓力借助享利儿子的力量击败了享利之后,得到安茹家族的格拉赛领地,将安茹家族在法国的势力和影响大大削弱了。但随即他便发现自己大大失策了,他要再动一下那些已并入英国版图内的法属领土,新任的英王理查立马与他翻脸,而且理查比他的享利老爹更横更霸道,目空一切,盛气凌人,看谁都不顺眼。对苦恼的腓力来说,这整个是前门驱狼,后门迎虎。 *古代的骑士们因为戴着遮住整张脸的头盔,为了辨认,骑士们在头盔和盾牌上镶上各种自己喜欢的图案作为标记――这便是纹章的起源。 六、一个新的神话 当法王腓力在阿卡城与萨拉丁的部队激战时,英王理查一世的十字军刚慢吞吞地到达西西里岛,这时是1190年9月,西西里国王威廉也就是理查的妹妹兰娜的丈夫刚病死不久。这场东征对理查来说,惟一让他操心的是钱,他用龙尚和坎特伯雷给他搜刮的钱装备了4千骑兵,4千步兵,但这对他来说远远不够,他太缺钱了,凡是能挣钱的方法他都想尽了,甚至声称要把伦敦卖掉。 因为兰娜与国王无子,西西里人便立了莱切伯爵唐克雷德为王,于是理查便把主意打到他妹妹兰娜身上,他在唐克雷德面前狞笑着声称要替妹妹出头,讨回西西里,唐克雷德惹不起理查,只能忍气吞声,被理查勒索了黄金2万多盎司,还得供吃供喝养着在西西里过冬的英格兰十字军。但这还不算完,冬季一过,理查的军队要开拔时,还顺手将墨西拿城攻下,大肆掠掳了一番,然后再以4万盎司黄金卖回给唐克雷德。 英国历史上每个有点出息的王都有一个称号,由于理查够狠够横,从此人们就都称他为“狮心王”,意思是说他有一颗狮子一般凶狠的心。 此时法王腓力与施瓦本的日尔曼十字军及由英国巴德威大主教领导的英格兰志愿军已经将阿卡城围攻了好几个月,萨拉丁算是碰上了他这辈子第一个对手了,他惊异地发现这只年纪不到他一半的小狐狸,竟是当世第一难缠之人,诡计多端,层出不穷,偏偏他本人又腾不出手来收拾这只小狐狸。因为他是两线做战,这段时间里他正忙着在幼发拉底河流域打内战平定叛乱。但是他走时也在几个要塞重镇留下了重兵防守,阿卡城内的穆斯林十分顽强,他们苦撑着等着萨拉丁平叛回来指挥他们。双方苦战数月,打得尸横盈野,腓力竟一点便宜也占他不得,始终不能将阿卡城拿下,而十字军伤亡惨重,消耗巨大,迫切地需要支援。 巴德威大主教不断地写信给正在路上磨磨蹭蹭的狮心王,当年正是他在伦敦西敏斯特大教堂亲手将王冠戴到年轻的理查头上的。但他迟迟等不到国王军队的到来,没多久便怀着遗憾和失望在一场围城战中见了上帝。 此时的狮心王理查正像个脱缰的野马,根本不愿受教皇的安排和羁绊,让他去圣城和腓力一起打萨拉丁,他就偏不去,或许他不屑于和小狐狸腓力在一起并肩作战吧!从西西里晃晃悠悠出来后,又打起了可怜的拜占廷帝国的主意了。本来说,惹不起,还躲不起,可拜占廷帝国此时还不知道狮心王是何许人也。理查欺侮完西西里人后,乘船从海路进军圣城,其中有几艘船在塞浦路斯触礁,拜占廷人趁火打劫,拿了东西还扣人。这激怒了理查,他正闲着找事做,乾脆发兵猛攻塞浦路斯,可怜的拜占廷哪是狮心王的对手,塞浦路斯在理查的猛攻下,于1191年3月沦陷。这时理查才发现打下这么一大块地方,吃不下又带不走,便以10万金币的价格卖给无家可归的耶路撒冷王国的“无家之王”德?吕西尼昂。 理查在地中海做生意挣钱时小狐狸腓力已围攻阿卡城一年多了,与萨拉丁的部队打得焦头烂额,始终不能攻克阿卡城,实力损耗严重,日耳曼军的施瓦本公爵也因瘟疫而丧命,追随他父亲巴巴罗萨去了。 6月份时,狮心王理查总算带着他的英格兰十字军赶到阿卡城外与其他十字军会师,一到他便当仁不让地充当起十字军总指挥官,对小狐狸腓力等统帅比手划脚,呼来唤去。腓力因为和萨拉丁打得元气大伤,锐气大挫,对理查也是敢怒不敢言。理查一到便显示了他非凡的军事天才和超凡的战斗能力,仅一个多月,便拿下了阿卡城。攻陷阿卡城的那天,十字军们欣喜若狂,在首领相继死去后仍坚持作战的日耳曼人首先冲上城头,奥地利公爵利奥波德五世噙着热泪把德国国旗升在阿卡城头上。理查见状冷冷一笑,认为他才是十字军的统帅,要升也只能升英国国旗,于是令手下冲上城头扯下德国国旗扯下撕个粉碎。 日耳曼人傻眼了,这些高傲的条顿武士怎么也没有想到理查竟会蛮横至此,如此无礼地侮辱他们,但此时实在是惹不起他,只能打掉牙往肚里咽,含愤强忍。每个德国人心里都在想,要是巴巴罗萨还在,哪会这样受人欺侮啊! 腓力虽然才二十啷当岁,可好歹也是法兰西的国王,被理查肆无忌惮地吆来喝去,气得快吐血,他实在受不了理查自命不凡、沾沾自喜的德性,和他多呆一分钟都觉得致命,于是8月份时,借口生病,留下一支10500的法军,自个回国去了。这件事也让后来的许多欧洲人感到惋惜,认为腓力应该再坚持战斗下去直到打败萨拉丁乃至收复圣城,以取得更大的成就和荣誉。 理查巴不得腓力快滚,这样他便是这场东征里惟一的英雄。对气焰万丈的狮心王来说,根本没有把威震天下的萨拉丁放在眼里,认为要打败萨拉丁收复圣城,自己一人足矣。 巴巴罗萨的意外,腓力的气走,这对萨拉丁而言真可谓是求之不得,赶紧焚香祷告,祖宗积德啊!他的伊斯兰世界的联盟并不牢固,阿拉伯人、穆斯林们天生就酷爱内讧,是窝里斗的行家,大敌当前,可各国的哈里发、苏丹们却都在等着看他出洋相,个个都像秃鹫一样在旁虎视耽耽,就等着他挂了然后来收他的尸、捡他的蒌。别的不说,就说巴巴罗萨那10万条顿骑士杀将过来,他就根本找不出那么多兵力抵挡。要是三大名王齐聚耶路撒冷来寻他的晦气,那他真就只有抹脖子上吊一条路了。这下倒好,桀傲不驯的理查自己动手瓦解了联盟,这就是所谓的一个和尚挑水喝,两个和尚抬水喝,三个和尚没水喝了。虽然理查也不好打,但是打一个总比打三个有机会得多。 阿卡城应该说是萨拉丁主动放弃的,因为他知道理查的这支英国生力军一来,阿卡城铁定守不住,于是向理查提出放弃阿卡城,并且他给理查20万金币和释放 1500名基督徒,条件是理查不得屠杀城内的穆斯林。但萨拉丁提出这个条件后便发现自己犯了个错误,因为他手头从来没有多少现金,他向来以慷慨豪爽而闻名于东西方世界,虽然本人生活简朴,但是在其它地方花钱如流水,从不吝惜钱财,属于那种有多少钱花多少钱的主,可能也就是现代“零储蓄族”的鼻祖了,天性比较小资,口袋里放不住钱,一座金山给他也是转眼花掉,以至于经常出现要给下属打赏时发现口袋里没钱的尴尬场面,弄得要变卖东西来打赏。如他的秘书伊本.沙达德描述的那样,萨拉丁堂堂一个大国的国王,却经常一贫如洗,有时为了回拜和赏赐外国使团,而不得不拿出土地来卖了换钱给别人(说到挣钱萨拉丁的确远不如理查,理查一向是拿别人的东西来卖。另外,萨拉丁也幸好不是中国的国君,不然要落下一个“卖国贼”的名声了)。这导致财政部的官员不得不私开个小金库,把一部分钱藏起来不让萨拉丁知道,免得他随手拿走花光,真到要急用钱时反而囊中羞涩。 所以萨拉丁提出条件后便发现自己一时竟凑不齐20万金币,只得先给理查其中一部分。理查却不管他什么理由,他一向是说做便做,约定时间一到,萨拉丁没送够钱来,3000穆斯林俘虏便人头落地,把萨拉丁气得半死。 1191年9月萨拉丁在幼发拉底河流域平叛归来,腾出手来亲自对付狮心王理查,萨拉丁习惯的战术是仗着萨拉森轻骑兵弓强马快的特点,利用声东击西的战术吸引敌人长途奔袭,而后在敌人行军的路上用小股骑射部队不断地骚扰,并破坏水源和补给线,把敌方部队折磨的疲惫不堪,己方的主力则以逸待劳,最后一股作气将敌军歼灭。于是他并不直接去攻打理查,而是先围攻在基督教徒手中的沿海重镇雅法。正如他所料,理查果然率军南行,向雅法而来,寻求与萨拉丁的决战。 理查的决定在十字军联盟中造成了很大的分歧,其他的统帅和贵族们认为应该以阿卡为根据地,直奔圣城耶路撒冷而去,先拿下圣城再说,甚至有人提议拿下圣城后立理查为耶路撒冷王国的国王。但理查此时对这个提议暂时没有多大兴趣,执意要向雅法进军。之前遭受理查侮辱的日耳曼十字军已经退出回国,小狐狸腓力留下的部分法国军队,却并不怎么听理查的指挥,这让理查很恼火,一直想找个机会给法国人难堪。正好这时法军因为消耗过大,需要补充,便向十字军统帅理查伸手。理查其实这时很有钱,从西西里、塞浦路斯捞的钱还没花完,手里还攥着萨拉丁给他的2万4千的金币,但他对法国人却推托没钱。不仅如此,反而还要法军的首领勃艮地公爵马上还以前欠下的一笔数目极大的债款,勃艮地公爵感觉自己被耍,气得脸皮发青,大发雷霆,“老子不乾了”,领军掉头就走,准备撤回阿卡城,结果在理查的授命下又吃了闭门羹,着实把法国人羞辱了个够。 萨拉丁的计划只实现了一半,因为理查虽然如他所料长途奔袭来解救雅法城,但萨拉丁派去骚扰理查的小股骑射部队并没有像以往那样奏效。理查在战前已经细细研究过萨拉丁以往的战例,可以说对萨拉丁的战术已是颇为了解,找到了对付萨拉丁的办法。 当时西方人对萨拉森轻骑兵印象是很深刻的,他们描述,萨拉森人因为不像十字军骑士那样装备重铠,所以速度极快,当十字军骑士们追击他们时,萨拉森骑兵就逃得无影无踪,一旦停下来,他们又掉回头蜂拥而至,继续用弓箭骚扰,让人十分苦恼。以至于国王理查不得不严禁骑士们擅自冲锋去追击敌人,免得无谓的伤亡。 理查作为一个儿子、一个兄长、一个国王、或者一个政治家,都是显得十分任性和蛮横,但他作为一个军事统帅,却是非常精明和成熟的,他的的天才和伟大之处,在与萨拉丁的战斗中得到了最高的表现和发挥。他不像以往的西方统帅那样迷信骑士的力量,而是创造出了新的步兵阵形战术去对付萨拉丁。他把骑兵和步兵各分为12个阵队,相互配合协调,严禁单兵种擅自行动。在遭遇萨拉丁的骑射部队时,以步兵应付,前排的长矛兵将长矛斜插在地上,阻止对方骑兵的冲击,在长矛兵中间交插着长弓步兵,因为英国的步弓射程极远,远远超过对方马弓的射程,对射时自然大占优势,在前排的弓箭手射出箭后,后排的弓箭手补上,其中绝无时间空隙。这种情况导致萨拉森轻骑兵们十分困惑,他们只要一出现,就要面对英格兰步弓手雨点般密集的箭矢劈头盖脸而来,而己方则很难射着他们,如果冲锋的话对方阵前的长矛对马匹的威胁实在太大,并且还要防备对方重骑兵的包抄。而理查本人则策马不断在各个阵队之间巡视,提醒士兵们保持阵形。 理查的这种战术不禁使人联想起早于他们十几个世纪的中国西汉王朝的将军李陵的战术,当时李陵就是以成排的长矛兵排成方阵,掩护阵内的弓箭手,不间断地向扑来的匈奴骑兵射击,以区区六千人的兵力,就使得十数万的匈奴骑射束手无策,伤亡极惨,直至己方弓箭全射光了才全军覆没而被俘。 并且理查不追求行军速度,他根本不在乎萨拉丁围攻下的雅法城的死活,每天的行军速度控制在12英里以内,以保持士兵们的体力,而且他是靠海岸行军,沿途由意大利海军的运输船队给他补给。这使得萨拉丁的计划落空,他派出去偷袭十字军的小分队非旦没有取得扰敌的预期效果,反而造成不小的损失,对不紧不慢的理查,也达不到以逸待劳的效果。于是他果断放弃了骚扰战术,率领部队直接迎击理查。 9月14日,双方主力在阿尔苏夫(Arsuf)展开决战,两位浪漫主义的英雄终于碰撞了,他们得以在战场上互见对方的英姿。 战斗进行的非常激烈,双方都在极力寻求对方的破绽,萨拉丁惊异地发现,从前他那战无不胜、攻无不克的战术和勇气如今在理查面前全无法施展,无数萨拉森轻骑在英格兰长弓射出的狂风暴雨般的箭矢中倒下。萨拉丁率着骑兵绕到十字军阵中比较薄弱的后方,企图冲击并将十字军分割,但每次都被理查挡回,十字军的阵形在理查的亲自控制下始终未出现任何混乱。对此,穆斯林方面有不少记载,他们描述道,十字军的步兵每个人都穿着非常厚的毡袍,这种毡袍厚到弓箭无法刺穿,许多步兵身上插满了箭只,好似刺猬一般,但却毫发无伤,依然在阵队里作战。 十字军整体机动而有序,分工明确,长矛兵和长弓兵把重骑兵保护在后面,只等萨拉丁的部队一乱,便要冲击和包抄。萨拉丁便命令一部分骑兵向十字军重骑兵射击,这固然造不成什么伤害,只是希望能把对方的骑兵激怒,引他们提前出来追击,等脱离了箭阵的保护便收拾他们。十字军骑兵们固然很愤怒,他们由原先的战斗主力变成步兵的辅助,早已对理查的这种安排不满,但他们畏惧于理查和军纪的威严,对萨拉丁的挑逗置之不理,即使被射伤也无人脱队。 这种军队几乎无懈可击,萨拉丁开始撤退,将理查的十字军引到海边的一片丛林,他在那设了埋伏圈。理查识破了萨拉丁的意图,他始终死死控制着部队的阵形,只要坚持这点,萨拉丁就无法取胜。虽然后来还是出现了一些小意外,重骑兵们还是在理查下命令以前就忍不住冲出去了。时机是早了点,但总是没弄出乱子来。在经过几次冲击之后,萨拉丁的部队损失极为惨重,他意识到自己的军队无法战胜对方,不得不下了全面撤退的命令。理查顺利地进军雅法。在金雀花王朝的狮心王查理一世的攻击下,伊斯兰的萨拉丁大帝不可战胜的神话被打破了。 萨拉丁不服气,本欲组织军队再与理查决战,但想来想去想不出破敌的办法,便向理查提议暂时息战。阿尔苏夫之战的胜利使理查声名大噪,但这时十字军内部却为下一步的走向而出现了纷争。贵族和统帅们一致主张继续向圣城耶路撒冷前进,直至收复圣城;而理查本人则想直接进攻萨拉丁的本部埃及,乃至进军开罗,他天生的冒险激情,使他更愿意像当年罗马帝国的恺撒大帝那样,占领埃及,建立不世功勋。他的这个想法把贵族们吓坏了,因为这显然不是这次十字军东征的目的,他们的目的是圣城耶路撒冷。在出兵前教皇就说过发起这第三次十字军东征的目的就是把圣城和其周围城池从萨拉丁这个异教徒的头目手里夺回来,拯救沦陷在那里的上帝的子民们。所有的人从贵族、统帅、骑士到士兵、传教士们,都反对理查的想法,他们只想去耶路撒冷。这使理查很扫兴,他终究拗不过大多数人的意见,只得暂时放弃进军埃及的豪情壮志。 在战场上输给理查,萨拉丁颇为不服,1192年夏季,萨拉丁趁理查不在,再次进攻雅法城,十字军守军不堪一击,仅两天时间,就被萨拉丁轻轻松松地拿下。理查一听便来劲了,雄心顿起,赞美上帝赐给他这个强敌,对手太弱打起来岂非没劲。8月,理查大军兵临雅法城下,萨拉丁也抖擞精神,双方使出浑身解数在雅法再次展开决战。战况异常激烈,两位国王都亲临战场,不仅仅是指挥战斗而已,而是浑身披挂,亲自杀敌。古时的君王统帅,也真不容易,除了要把握大局,个人武艺也要超群,正如当年的斯达巴克思每每与罗马军团作战,总是用他的罗马短剑在身边斩出一堆堆小山也似的尸体;又如古中国的骠骑大将军霍去病,在被匈奴围攻时,也得亲自策马呼啸,抢上阵前,连斩数名敌首,方鼓舞士气,挽败为胜;再如后来与丰臣秀吉决战朝鲜的大明提督李如松,被日军一炮轰翻下马,于众人惊呼声中跃地而起,抢马冲阵再战。壮哉!非此不能称为智勇双全的盖世英雄。 英王理查便是这样的盖世英雄,虽然他是贵族子弟,从小锦衣玉食,但却与他的几位哥哥弟弟不同,非纨绔颓子,从小便接受严格的骑士训练,加上天生神勇,武功勇力出奇的高,他率领十字军从水路进攻,跳入海水中,亲自挥舞着战斧杀入雅法城内,萨拉森兵团莫能披靡,望之如水开墙分。萨拉丁还没弄清怎么回事,理查已经杀到他的面前。如果说萨拉丁和理查这两位不同民族不同信仰的君王之间有什么相似之处的话,那就是他们都有一种特立独行的个性,做事不按常理揣测,总是令人匪夷所思。萨拉丁在这种危急的时刻居然还关心起他的对手怎么没骑马,说他看不下去了,竟然阵前赠马。理查也是毫不客气,慨而受之,骑上萨拉丁送来的战马,把他打得一败涂地。 雅法大会战,理查的十字军大获全胜,萨拉丁损失惨重,退出雅法城。萨拉丁的穆斯林盟友和士兵们都被他这种浪漫的举动弄得瞠目结舌,哭笑不得,许多人忍受不住愤怒地冲萨拉丁发牢骚,说他们已经受够了,再这样打下去,后果将不堪设想。因为获胜的十字军士气大振,贵族和统帅们又一次否决了理查要进军埃及的念头,整装待发,准备直取圣城耶路撒冷。耶路撒冷就离雅法城不过三四十英里而已,圣城,十字军几乎是触手可及了。 这时萨拉丁也感觉到事情的严重性了,要是再这样和理查惺惺过来惺惺过去,搞不好耶路撒冷就要弄丢了,那时自己一世英名尽毁不说,还将成为伊斯兰历史上的大罪人。 七、尘埃落定,王星殒落 雅法会战之后,理查终于向各国贵族与骑士们妥协,放弃进军埃及的企图,其间他本人多次率少量心腹逼近萨拉丁埃及老巢的边境查探情况,其中有一次险些被萨拉丁的边境部队包抄,若非骑士们奋不顾身地保护以及他自身的勇武过人,几乎就落入萨拉丁的手中。他的轻率与冒险遭到了十字军内部贵族与骑士们一至的指责,因为他是这次东征十字军的惟一灵魂人物,如果失去他,十字军将群龙无首,成为没头苍蝇,后果不堪设想。 不久,十字军以雅法为根据地,终于兵临耶路撒冷城下。萨拉丁在雅法被理查打得撒丫子狂奔,一直跑入耶路撒冷城内,狼狈不堪。战场上两度败于理查,他此时已是心服口服,不敢造次,圣城耶路撒冷是决不能丢失的,打野战他不是理查的对手,斗勇不行,只能斗智。于是他便利用起他主场作战的优势,一方面在他的阿育布王朝的领地内广为招兵买马,一方面想尽办法破坏十字军的后勤,办法多是堵井、投毒,破坏十字军的水源,并将附近的草场焚之一尽,让十字军的战马吃不着草料。 理查此时才发现他已失去了攻克圣城的最佳时机,因为德、法两国的退出,使十字军的兵力大打折扣,尽管他能以少胜多,但兵力毕竟不足以速胜萨拉丁。而经年累月的征战,也使十字军的战士们思乡之情日切,已无东征之初的激情与斗志。萨拉丁的小动作也使得十字军兵团补给难以为继,人惫马疲,最糟糕的是开始攻城时偏又逢连日大雨,此时正是1192年的冬季,据随军的诗人和传教士们记载,大雨整整持续了一个半月,这段时间他们什么也做不了,而士兵们只携带了一个月的粮草,身披铁甲的十字军骑士们纷纷开始抱怨他们的战甲和武器已经开始生锈了,每个人身上都是又湿又冷,惟一支撑他们坚持下去的是他们坚定的信仰,是光复圣城这个上帝赋予的神圣使命。 萨拉丁以司马懿对付诸葛亮的办法,坚守不出,与十字军耗时间。攻城战不比野战,它艰难而又痛苦,理查有劲使不上,毫无斩获,只能望城兴叹,烦躁不安,把怒火发泄在别处,一举摧毁了萨拉丁在别处的几座城堡。而萨拉丁则高挂免战牌,装作看不见。 徒劳无功的攻城战,使得十字军军团内部的贵族和骑士们开始心生罅隙,加上冬季大本营里的军需储备已近耗尽,教皇直系的圣殿骑士团及医院骑士团的首领们首先开始动摇,他们这时才感觉理查原先准备直接攻击萨拉丁埃及老巢的策略也并非全无道理。这是个难以抉择的矛盾,由于幼发拉底河流域的叛乱并没有完全平定,萨拉丁的主力不敢调离国内本部支援耶路撒冷,在耶路撒冷只有萨拉丁本人和一些残兵败将在苦撑,但足智多谋的萨拉丁本人足以弥补耶路撒冷的防御不足,他使攻城的十字军吃足了苦头;直接进攻埃及,可以绕开萨拉丁,但很可能将面临对方的主力,即使能以少胜多,但代价的沉重是可预计的,而且进攻埃及并不是这次东征的目的,它也违悖了教皇的本意。这个难以抉择的矛盾使得十字军内部开始不停的争吵。最后,理查决定用民主的方式来决定十字军的下一步走向,他从法国贵族、圣骑士及当地贵族中各选了一些人进行民主表决,结果圣骑士们与当地贵族意外地都站在了理查这一边,放弃继续进攻圣城,只有法国贵族们不同意,在无休止的争吵中,萨拉丁的议和书适时地到来了。 其实此时的萨拉丁日子也并不好过,面对敌方的大军压境,他却不敢把国内本部的主力调来助防,因为在他走后,幼发拉底河的叛乱已又具规模了;并且整个穆斯林世界的联盟已经出现破裂的迹相,心怀鬼胎的巴格达哈里发、突厥帝国的苏丹们个个都在觎觑着,他们把战役失利的指责全部加诸到萨拉丁的头上,抱怨并且威胁他。关键的是,在这种危急的时刻萨拉丁也得不到他们的援助,好像守护圣城保护伊斯兰只是他萨拉丁一个人的事似的,整个穆斯林世界兵多马足,不知多少倍于十字军,可萨拉丁却只有少得可怜的兵马守城,并且在十字军的轮番进攻下已是人惫马乏,局势可谓也是形同危卵了。根据后来研究十字军的欧洲人发现,在双方对峙的11、12月期间,萨拉丁已经开始把他本已不宽裕的守城部队中的一部份悄悄撤离岌岌可危的圣城耶路撒冷回国内支援平定叛乱了,并且联盟中其它国家的部队也有部分离散。可以说萨拉丁的日子比理查更难过。 但对峙期间理查也不是一点麻烦也没有,除了十字军内部的不和,国内也传来他的弟弟约翰勾结小狐狸腓力阴谋篡位的消息,这使得他坐卧不安。和萨拉丁一样,理查也面临后院起火的烦恼。他们在这种情形下开始通信与谈判,几个回合的交手,理查也与萨拉丁惺惺相惜,互为对方的风范所折服。在信中,萨拉丁声称自己败得心服口服,认为这世上能胜过他的也只有理查,但是耶路撒冷也是伊斯兰的圣城,他是死也不会放弃的;而理查也认为这场战争给基督徒和穆斯林都带来了惨痛的伤害,他也是不得以而为之,但圣城和被萨拉丁夺去的“真十字架”对西方人的伤害实在太大了,圣城的事可以以后再说,但要求萨拉丁归还“真十字架”,对穆斯林而言,不过是一块毫无用处的木头,但这是基督殉难时的圣迹,是他们基督徒们的圣物,与圣城同样重要。萨拉丁同意,将他从居伊手中抢到的“真十字架” 和其他基督教的圣物都还给理查。 终于,萨拉丁和理查缔结停战条约,领土以约旦河为界,“耶路撒冷王国”保留包括雅法、阿卡在内的沿海城池,基督徒和穆斯林都允许从对方的版图自由地通向耶路撒冷和麦加朝圣。和约为期三年,至于圣城耶路撒冷,理查则对痛苦万状的十字军战士们保证说他三年后将卷土重来,到时一定给他们夺回圣城,并且装模作样地与萨拉丁约定,三年后再战一场。然后不顾那些痛不欲生、如丧考妣的贵族和骑士、传教士们,开始从耶路撒冷城下的冬季大营撤军。这次撤军给西方人的印象很深,因为这是自第一次十字军胜利之后的七次十字军东征中机会最大的一次,在此之后的一百多年里,十字军再没这样的机会了,他们都认为萨拉丁其实也已经是强驽之末,理查只要再坚持几个月,萨拉丁可能就撑不下去而退出耶路撒冷。 他们或许是对的,不过对理查而言,收复圣城的荣耀和英国王位相比起来,毋庸质疑是王位更重要。圣城耶路撒冷是大家的事,而英国王位则是他自己的事,理查号称“狮子心王”,当初连亲爹都敢打,可不能指望他会做出某种大无畏舍己为人的事来,所以无论世人如何谴责他半途而废,他也不会再和萨拉丁无休止地耗下去了。而耶路撒冷王国的德.吕西尼昂国王与其他的当地贵族领主们似乎很满意现有得到的土地,也厌倦了无休止的征战,急于与萨拉丁划分疆域,至于“耶路撒冷王国”有没有耶路撒冷,在他们那已经不是很重要的了,甚至有的领主还打算密谋与萨拉丁联手把十字军赶走以换取某些利益。幸好萨拉丁对这些密谋不甚感兴趣。 回国之前,理查在萨拉丁派来的代表――萨拉丁的王弟阿迪尔送来的和约上签了字,这个阿迪尔便是先前说过的那个从自己腰包里掏钱出来给在哈丁战役中失去丈夫的基督徒寡妇们安家费的那个人。此人也是很值得一提的,他并不是萨拉丁的亲弟弟,而是萨拉丁认的义弟,萨拉丁一生广结豪杰强梁,但其实真正能让他看得起的人并没有几个,估计除了西方三名王,也就是这个阿迪尔了。阿迪尔的性格之豪爽,雄材伟略,除了能让萨拉丁赏识外,理查一见他便十分喜欢,立即赐他以骑士的头衔。那时西方的骑士头衔可非同小可,骑士头衔不是爵位,不世袭,但可是极高的荣誉,除了争气点的王公子弟可以直接得到骑士头衔以外,一般贵族以及普通人家子弟想得成为骑士,都要从小就开始接受严格的训练,稍有不合格,便被淘汰,之后还要做一阵子骑士的侍从也就是见习骑士,见习期满了后方可作为骑兵上战场,在战场上取得战功或决斗场上获胜,才有资格由国王或教廷赐予骑士头衔。这是最高的荣耀,不是什么人都能得到的,能成为骑士的人,除了身份显赫外也代表着他武艺高强。如果因某种过失失去骑士头衔,对当事人则意味着奇耻大辱,就好比中国武术门派中被开革出门一样,再也无脸见人,在世上立足。 February 19 National Museum of Korea ArchivesRoyal Ceremonies and Ancestral Rites
At the centre of the Joseon rule was a well-formulated and organized system of state rites which not only helped to strengthen the centralized authoritarian rule but also served to popularize the Confucian ethics which the ruling house adhered to.
The king and government officials had to take part in the five major types of state rites: auspicious rites for ancestral services and offerings to the deities of the land and harvest; celebratory rites; reception rites for welcoming foreign envoys; military rites for great reviews before and after campaigns; and inauspicious rites for mourning. The most important among those were the auspicious rites held at the shrines of the royal ancestors and the land deities, which regarded the lifeline of the nation and symbolized the kingdom itself.
The Architecture of Royal Palaces
The king ruled the country from the royal palace which not only formed the centre of the government and the political administration but also functioned as the living quarters of the royal family. It was therefore built on the most important site in the capital. National ceremonies were performed in the centre of the palace and it was also here that government affairs were conducted and the royal audience hall was situated. The king's and queen's quarters were located behind and to the east were the crown prince's quanters. The buildings were made of wood and painted in colorful patterns to symbolize the king's authority and power. Gyeongbok Palace is the most representative of Joseon palaces. In this way, Gyeongbok Palace stood at the centre of the Joseon dynasty. In addition to this palace, royal villas were built to provide additional living quarters for the king and his family.
The Development and Growth of the Sciences
National security and the establishment of the wealthy and powerful nation were pivotal to the newly founded Joseon rule. As a result scientific studies greatly developed and over the course of the dynasty scholars significantly advanced the field of agriculture, astronomy, science, printing and weaponry. Since the national economy was heavily depended on agriculture focus was placed on improving this area. This included exploring different ways of farming the land by taking advantage of the country's natural features. In order to advance agriculture, connected fields of study were also developed and instruments for furthering the fields of astronomy, meteorology, time measurement and land surveying were invented. Great progress was also made in the field of medicine resulting in the development of medication and treatments tailored for Korean traditions. Specialized medical books were also printed. In order to protect the country from foreign invasions also the making of weaponry was hugely reformed.
Life and Arts at the Royal Court
The elegant and refined way of life at the royal court was the impetus for the production of the arts during the Joseon dynasty. The clothes, food and furniture used at the court were made by the most renowed artisans using the best materials available and they symbolised the splendour and dignity of the royal family. In this way, not only did they serve a practical purpose but they also had the important function of symbolising the supreme authority of the monarch. For this reason furniture and other artefacts were made exclusively for the royal family and were not allowed to be used by other members of society. However, courtly style greatly influenced the making of objects used by those outside the royal palace.
Establishment of Korean Empire
In 1897, the Korean Empire was declared by Gojong, the 26th king of the Joseon Dynasty, whose aim was to modernize the nation and assert her independence by elevating her status.
Around 1876, King Gojong made huge efforts to establish foreign ties amid encroachment from larger powers. Since the declaration of imperial status, the national effort shifted to development issues in businesses, technology, political and diplomatic affairs as well as imported modern social systems and culture. The impetus of modernization was foiled by Japan who forcedly annexed Korea in 1910. However, the initiation of modernization in Korea and for Korea's place on the international stage may be credited to the Empire's endeavors.
Royal Arts and Scholarly Culture
Neo-Confucianism, the philosophy that formed the base of the Joseon Dynasty, encouraged the intellectual activities. Thus the king was tutored by the most renowned scholars in the kingdom, and respected as a divine ruler and an authoritative scholar, whose literary and calligraphic skills were essential for both delivery and express of his ideas.
A lot of Joseon kings were renowned artists as well as patrons, collectors and connoisseurs of precious artifacts, paintings, calligraphy and seals. Due to their efforts, Joseon Dynasty developed a remarkably high level of arts and literature, up to which the kings and the elites strived not only to cultivate themselves but also to encourage it to the whole society.
Royal Childbirth and the Court Education
Since the eternal prosperity of the kingdom depended on the continuous existence of benevolent rulers, enomous efforts were placed upon the role of securing the dynastic lineage and educating potential rulers.
Fetal education began as soon as a royal pregnancy was confirmed. A special room and rituals were organized near delivery for the health and safety of the new-born baby. After birth, the umbilical cord and placenta were preserved with utmost care.
Amongst all royal descendants, the highest expectations were placed upon the crown prince, in traits such as personal character, social skills and insight. He was also required to excel in literature, art and martial arts to realize his vision.
Palanquins and Implements for Royal Processions
For the Joseon royalty the palanquin was the major means of transportation outside the court. Palanquins carried by men or by horses, took a central place in the royal processions to perform state rites. It presented a magnificent public spectacle of royal authority and power by accompanying arrays of various ceremonial arms, heavy escorts and large number of civil and military officials. The king, queen or crown prince mounted a palanquin called yeon, and princesses mounted deong.
Royal Court Music
Joseon court music had been composed and refined according to the Confucian concept, which pursued the harmonization of the human heart with the natural order and thus encouraged social virtue.
The court music was consistently demanded for state events such as state rites, banquets, ceremonies or royal processions. Even within a single event, the music changed according to the scale, purpose and significance of each procedure. The sounds played by the orchestra were produced by instruments made of natural materials such as clay, leather, wood, stone, silk or metal, thus realizing the harmony of men and nature.
Joseon Court Paintitings
The Joseon royal government recognized well the effect of images and promoted productions of paintings in various genres: royal portraits, documentary paintings, decorative screens and murals, architectural paintings, decorative screens and murals, architectural paintings of the palaces, and illustrative maps. They were produced by a group of painters in the Bureau of Painting, under the Ministry of Rites.
Portraits of kings were produced only by the most skilled court painters and enshrined with utmost courtesy in royal portrait halls. Documentary paintings of court events were reserved in the history archives or government offices as records decorated the court interior and presented the royal dignity with symbolic images. October 16 国际关系小论sovereignty as political institution
一直以来,对于主权这个概念,国际上有很多的争论.有人认为,主权,甚至于国家存在的意义,最终将会连同国界一样消失,而地球将会变成一个地球村
但是,也有人认为,国际形势的发展,仅没有减弱主权作为国家的一个重要政治元素,而且还反而增强了其生存的空间.举例说,以前,经济的独立性也被视为生死攸关的国家命脉,但是全球化的经济发展使越来越多的国家无法摆脱相互依赖的情形,面对独立性持续削弱的事实,许多国家开始改变对经济独立性的看法,而转变成一种政治王牌用以在国家之间的经济谈判中发挥作用.
欧盟作为一个跨国的政府机构,有着超出国际政府组织所拥有的权利,包括行使相当于一国中央银行对所有成员国的宏观调控,制订统一的经济政策,关税,协调各成员国之间的关系.但同时,作为一个由主权国家组成的俱乐部,它自身并不承担任何的主权责任.这样一来,虽然主权的拥有依然掌握在各成员国手上,但是成员国并不行使所有的主权,因为欧盟给所有加入的国家代行部分的权利.
按照这种说法,环境问题作为全球化的一个缩影,迟早也会成为主权问题的另一争夺的战场 May 27 How Japan imagines China and sees itself (2005)This is a brief view of Sino-Japan relation from a Japan's expert. My personal common will be coming up at the end of the articule later.
Sino-Japanese diplomatic relations are at their worst since the 1970s. The cabinet that Prime Minister Junichiro Koizumi assembled this past November confirms the continued rise of foreign policy hawks, boding iii for any swift improvement in Japan's relations with China. Yet, what evolves between Tokyo and Beijing will certainly affect the global balance of capitalism and geopolitics, of integration and conflict. "Japan alienates Asia," writes Hugo Restall, editor of the Far Eastern Economic Review. "Japan is isolated," echoes Christoph Bertram, former director of the German Institute for International and Security Affairs. Japan watchers increasingly blame the deterioration on Japan, describing its China policies as mindless and provocative, self-righteous and gratuitous. Official pronouncements in Beijing strike the same chord. China Daily, the Communist Party newspaper, has remarked sharply about Japan's resurgent military expansionism and its lack of guilt about its militaristic past. Recent demonstrations on the streets of Beijing, Shanghai, and across China attest to the depth of Chinese anxiety--and these demonstrations are no longer officially orchestrated. Even in the United States, Japan's "only friend," there is growing concern over Japan's estrangement from the rest of Northeast Asia. Washington, which has long extolled the U.S.-Japan alliance, is beginning to express annoyance. The United States is wary of an embattled and isolated Japan, a nationalist Japan gratuitously provoking China. And the world is wary of a clash of Japanese and Chinese nationalism. But in the country itself, there is scant awareness that Japan is perceived as being nationalistic, militaristic, hawkish, or provocative. Japanese officials are unable to satisfactorily respond to the many accusations. Seen from within, the new mood in Japan has its sources in nationalism and history, economic rise and relative decline, pride and recognition; it derives from two societies in the midst of remaking themselves, from the historical difficulty of forging a modus vivendi, and from a tangled web of forces. Seeing Two Chinas In Japan today, it is as if there are two Chinas. Economic relations are thriving. China has become Japan's major investment and largest trading partner, accounting for a fifth of total Japanese trade. China's remarkable economic growth is contributing significantly to the recovery of Japan's long-stagnant economy. There is widespread recognition that China's developing economy and Japan's more mature economy are complementary, even though diplomatic relations are cold. Separating economics and politics had been Japan's working rule with China during the Cold War, but it is a rule that is no longer tenable. However, Japan's foreign policy establishment seems to be in no hurry to arrive at a new strategy. Behind Japan's hawkish attitude lies a concern that Asian affairs are now propelled by China. The rivalry is evident in the race to conclude free trade agreements with the Association of Southeast Asian Nations (ASEAN), in which there is not a whisper of Sino-Japanese consensus. Instead, there is a simmering competition between Japanese and Chinese pride. But then, capitalism works in such a way that two discriminatory sets of free trade agreements will tend to reinforce each other and bestow economic benefits not only on Southeast Asia but on Japan and China as well. "China is a threat, because it is China." This seems to be the underlying assumption prevailing in Japan's national security circles. There is concern over the double-digit growth in Chinese military expenditure. Does China intend to seek parity with the United States? Japan lately has been redefining its security posture with a boldness not seen before. But then, amid signs that Japan is awakening to the Chinese threat, the Japanese government reduced its military expenditure for 2005, as part of a general fiscal reduction plan. There is an almost schizophrenic mix of Japanese emotions at play. A Chinese purchase of a Russian submarine is a security threat, a defense official may declare. Yet, the next day the same official may dismiss the import of such a purchase, declaring that it is a Chinese-operated submarine after all and the Chinese navy manages to lose at least one submarine a year at sea. Anyone familiar with the history of modern Japan will readily recognize in such a remark the unstable mix of respect and condescension that is an enduring characteristic of how the Japanese have imagined China. Japanese Nationalism Revived? When anti-Japanese demonstrations broke out in major cities across China last May, the Japanese were not pleased. In a Jiji Press public opinion poll published last summer, over 40 percent responded that they did not like China, while less than 5 percent said they did. The number expressing dislike of China soared in reaction to the surge of anti-Japanese demonstrations. During the last 15 years, the previous time dislike of China spiked was in 1989, in reaction to the Tiananmen Square crackdown. While many pundits tend to focus on the negative surges, between 1990 and 2004 the proportion of Japanese who said they liked or disliked China was approximately equal, and the sum total of those who expressed any opinion about China hovered around 30 percent. In other words, a large majority of Japanese do not normally harbor any distinct feelings toward China. At the same time, China is the third favorite foreign destination for Japanese tourists after the United States and South Korea. When Chinese demonstrations subside, so very probably will Japanese dislike of China. There is no significant core of Japanese nationalism based on anti-Chinese sentiment. Of course, the expression of Japanese nationalism is not simple. Attitudes among the young toward the Chinese demonstrations are telling. As with their parents, the young found the demonstrations distasteful. Yet most of the young, who are said to be increasingly nationalistic, had a difficult time recognizing the "Japan" toward which the Chinese expressed so much anger. The Japanese Empire and the Second World War are not only distant in their imagination, but most younger Japanese lack a sense of identification with a collective called Japan. "Are you glad to have been born Japanese?" people have been asked in opinion polls over the years. The response among the young has been overwhelmingly positive, but not for reasons normally associated with nationalism. The common response is because life here is better than elsewhere, at least for now. The dominant Japanese political class today is unhappy with so amorphous a national identity. Its goal is to instill a rooted love of country in the citizenry. On this point, foreign criticism of a Japanese nationalist revival touches a nerve. The ruling Liberal Democratic Party is in the process of writing a new Japanese constitution, and there was talk of adopting a clause that would make patriotism a duty. But when the party disclosed its draft constitution last fall, the patriotism clause had been dropped. The party leaders astutely calculated that patriotism could not be sold to the public (constitutional revision requires a plebiscite). The proposal went against the grain of a people satisfied with the "postmodern bliss" of not having to think about such a duty between citizen and state. With only a tenth of the people polled agreeing that their government reflected popular will, patriotism was clearly going to be a hard sell. (In contrast, 40 percent of the Chinese respondents in an opinion poll felt that their government reflected popular will.) The indifference among the Japanese to China is akin to the proportion of Japanese who say they have no strong feelings toward their emperor, "the symbol of the unity of the nation." (The imperial family attracts warmer public attention during the infrequent celebration of royal births and marriages.) In Search of Normal Statehood Japan is in the process of rethinking the threat of force as an instrument of policy for the first time since its defeat in the Second World War. The dominant voices in the foreign policy establishment feel that Japan has been crippled and needs to become "normal" again. Their normal state is, in essence, synonymous with having a legitimate military. At issue is the revision of the constitution imposed upon the Japanese by the U.S. occupation some 60 years ago, which declares that the Japanese people forever renounce the possession of military forces. Japan already has a sizeable Self-Defense Force, and the advocates of "normality" want to legally recognize its right to engage in collective security actions beyond Japanese territorial boundaries. While formal constitutional revision will take some years, Prime Minister Koizumi has, de facto, altered the constitution in critical ways. After September 11, 2001, he dispatched naval vessels to the Indian Ocean in support of the American-led operation against Afghanistan; he later dispatched ground forces to Iraq. This was the first time since 1945 that the Japanese military had ventured abroad as a Japanese force (Japan has been providing United Nations peacekeepers since the mid-1990s). Given the constitutional restriction, Koizumi claimed that the ships were there to refuel allied warships and the troops were deployed on a humanitarian and reconstruction mission, not to engage in battle. About the same time, Koizumi entered into another collective security agreement with the United States to develop jointly a missile defense system--the potential threats being North Korean and Chinese missiles. In February 2005, Japan made it explicit for the first time that Taiwan was a common strategic interest of the U.S.-Japan alliance, encouraging "the peaceful resolution of issues concerning the Taiwan Strait through dialogue." This seemingly benign statement reversed the previous policy of not officially mentioning Taiwan as falling within the terms of the U.S.-Japan alliance. To be sure, this can be presented as a prudent and non-threatening security policy, which the "normal state" advocates indeed do. The Chinese response to the enhanced U.S.-Japan alliance has been mixed. China was silent about Japan's Afghanistan and Iraq operations, but hypersensitive to the mention of Taiwan, which was seen as an affront to Chinese sovereignty. The enhancement of the U.S.-Japan alliance runs contrary to an understanding with Washington and Tokyo at the time of the 1972 Sino-Japanese rapprochement--that the United States would gain a forward military base while keeping a lid on Japanese military expansionism. China now sounds alarms about Japanese nationalism being again on the rise. There is a certain overlap between "normal state" advocacy and hawkish nationalism. Those Japanese who had hoped to instill patriotism as a constitutional duty of citizenship are in the former category--a country that is able to go to war needs citizens willing to die for their country. Hawkish nationalism goes much further, carrying with it emotional baggage and disjointed claims: the annexation of Korea in 1910 was a legitimate agreement between willing parties and was recognized by international law; there was no massacre in Nanjing by the Japanese army; Japan fought the Great East Asian War to liberate Asia from Western imperialism; the Tokyo war crimes tribunal was victor's justice, therefore illegitimate; youthful decadence today is a result of the warped educational system imposed upon Japan by the American army of occupation, and so on. Of course, not all "normal state" advocates are hawkish nationalists, but it is hard to differentiate clearly between them. And their strident voices make hawkish nationalists seem more numerous than is actually the case. Still, it is clear that the pursuit of normal statehood has provided the impetus for hawkish nationalism. The Bush administration weighed in by seeking to turn Japan into "Asia's Britain." Over the last five years, Washington got what it sought. But the enhanced alliance has contributed to Japan's estranged position in Northeast Asia; the Japanese search for normal statehood could not have proceeded without American encouragement. But Japan, unlike Britain, does not face a friendly continent. Furthermore, America's Japan handlers had wishfully chosen to ignore the nationalist baggage that comes with "normal state" advocacy. The United States is the only country possessing leverage over both Japan and China, and Washington has arguably squandered its advantage. While Japan lives comfortably with the American pursuit of supremacy, it is unwilling to countenance any similar quest by China. There is a newfound diplomatic boldness on the part of the Chinese leadership, reflecting the euphoria of unimagined economic achievement. The more China asserts its claims, the more Japan will be driven toward the United States as a foil. Japan's problematic relation with China is rooted in its historical inability to regard China or other Asian nations as equals. A Crisis of Governance Behind Japanese suspicion of China there lies a society unsure of itself. The long economic slide that began in 1991 not only stunted growth but also resulted in a deflationary plunge, and deflation exacts a tremendous psychological toll. Today's youths constitute the first generation of postwar Japanese bereft of the sense that tomorrow will be a better day. Deflation warps normal reflexes. The zero-interest economy has lasted so long that young money managers need to be reminded that there is a cost to money. Japanese social critics uniformly note a tendency to youthful self-absorption; they see a generation isolated and disengaged from society. The bureaucratic, political, economic machine that delivered post-1945 prosperity and created "Japan Inc." has become dysfunctional and is in need of major overhaul. The young cannot be blamed for their self-absorption when society seems to offer little in return. The older generations do not have this luxury. The 30 percent jump in the suicide rate among middle-aged men attests to the sense of betrayal in a society that used to promise security through a system of lifetime employment. Across generations, and markedly among the young, the "law-abiding and authority-respecting" Japanese are now refusing to make the compulsory national social security payment. Excluding corporate and public sector employees, for whom deductions are automatic, just over half of those eligible pay into social security. More than 11 million people do not, and the payment rate has steadily declined by 20 percent in the past decade. These figures do not include the estimated 600,000 who refuse even to register with the system. Waste and incompetence, verging on the criminal, pervade the government's management of social security and other public funds. And the failing economy has helped expose the depth of this irresponsibility. People are fed up, and showing their anger. It was in 2001 that the concern with the Chinese economic threat first showed itself in the Japanese media and among the political class. This occurred amid the rise of middle-age suicide and as the Japanese began speaking of the "lost decade" of the 1990s. For most of that decade, Japanese authorities had laid low, waiting for a cyclical upturn, hoping to return to business as usual. It was only around 1997-98, when major bank and corporate failures could no longer be avoided, as public and corporate debt piled higher, that those in power faced up to the economic structural problem: collusive business behavior, abetted by an overregulated and thus protected economy, persisted in a world of accelerated global capitalism. The "lost decade" came to be seen for what it was: paralysis of leadership. Government grudgingly began to deregulate, and corporations stripped of regulatory protection began to restructure. For workers, job security waned. Japan embarked on a painful transformation, from regulation to competition, affecting myriad aspects of everyday life. Economic growth based on consensus became a thing of the past. The rising talk about China's economic threat, thus, was as much about a Japan finally, albeit timidly, admitting to its relative decline. It was also in 2001, amid continuing political muddling, that Koizumi rose to power. By the traditional rules of party politics, Koizumi could not have become prime minister. He was propelled by popular eagerness for clear and bold direction, and widespread disgust with political floundering. Koizumi promised to remake Japan. He declared that if his own long-ruling Liberal Democratic Party got in his way, he would destroy it. Last year, Koizumi dissolved parliament, calling a snap general election in September. His party won by an unprecedented margin. Koizumi's single-issue stance won cheers for its simplicity: he promised to privatize the postal system. At issue was its savings and insurance arm, which makes the Japanese post office the world's largest financial institution. And the money thus gathered indirectly finds its way into the government's special budget, its use rarely scrutinized by parliament. The special budget is six times the general budget, and it provides the meat for pork barrel politics. In this campaign, Koizumi's fight was with those in his party who stood against reform, who had long dominated Japanese politics. He essentially routed them. He deposed the old guard, coincidentally including most of the party's doves on China. Recapturing History It is under Koizumi's leadership that Japan's diplomatic relations with China have noticeably deteriorated. The most provocative issue has been the prime minister's insistence on making an annual visit to Yasukuni, a Shinto shrine in central Tokyo at which the spirits of Japan's 2.5 million war dead are enshrined (including 14 convicted as class-A war criminals by the Allied powers). In response, Beijing has canceled summit visits between China and Japan. There were a few earlier nationalistic prime ministers who also tried to revive the cult of Yasukuni, but they quickly backed down following strong protests from China and South Korea. Last spring, so badly had Sino-Japanese relations soured, even Yasuhiro Nakasone, the self-proclaimed nationalist who as prime minister in the 1980s first made the Yasukuni visit into a political sensation, publicly cautioned Koizumi to temper his gesture. In Beijing's eyes, Japan had reneged on a deal with the Koizumi visits. As part of the 1972 Sino-Japanese rapprochement, Chairman Mao Zedung offered Japan a way out of historical guilt. He declared that the Chinese and Japanese peoples had equally been victims of a handful of Japanese militarist leaders. And he renounced all Chinese claims to war reparations. Taking the cue, Prime Minister Kakuei Tanaka offered a generous package of development assistance. China today is not officially concerned about Japanese leaders paying their respects to the country's war dead, even at Yasukuni. At issue is the enshrinement of the 14 militarist leaders, the class-A war criminals. Koizumi insists that he is not visiting Yasukuni to pay respect to them, but adds that how a country honors its war dead is an internal matter. The 14 were quietly enshrined in 1978, the same year the Sino-Japanese peace treaty was formally concluded. That they were enshrined became public knowledge only a few years later, as exposed by an opposition newspaper. Shinto is no longer the state religion, and by virtue of the constitutional separation of state and religion, the Yasukuni priests are ostensibly free to do what they wish--though some plausibly suspect political machination. Critics see in Koizumi's stance on Yasukuni a lack of repentance for past imperial aggression in Asia, about which Japan has long been silent. The Japanese memory of the Second World War selectively focuses on the war's last year and a half, dominated by macabre images of indiscriminate American incendiary bombings of most Japanese cities, of burning bodies, charred flatlands, and hunger--on one night in Tokyo, nearly 120,000 people perished. Forgotten is what the Japanese military had done in China, and that it was the 1937 Japanese invasion of China that led to the Japanese attack on Pearl Harbor in 1941. After Japan's defeat, a dominant national narrative describing the Japanese as victims emerged, and stuck. This narrative of victimhood--of Hiroshima and Nagasaki, of popular fear and hatred of war--was the key to forging a pacific consensus, which tended to denounce all war. But judging all wars as bad, and absolutely so, ignores history and its causation. In the Japanese imagination, thus, people were victims of war abstractly conceived, rather than American bombs. This ahistorical imagination, coupled with the narrative of victimhood left little room for recalling Japan's aggression. This also helps explain why there is so little anti-Americanism in Japan. Critics from abroad have found the mixture of Japanese amnesia and pacifism enigmatic. But now the Koizumi visits to Yasukuni strike many as willfully malicious and blameworthy. The "normal state" advocates and hawkish nationalists are, in effect, seeking to rid Japan of this ahistorical imagination, for they wish to revive the connection between sovereign statehood and the right to belligerency and thus to "reactivate" history. The post-1945 ahistorical imagination is marked by a certain discontinuity between the prewar and postwar Japanese state; amnesia has not been selectively about a moment of aggression in Asia but about the pre-1945 state in toto. The revival of the cult of Yasukuni serves as a mechanism to make history continuous, to make historical time flow again. The "normal state" advocates and hawkish nationalists do not quite explain their position this way. They talk instead about the need to revive tradition and instill in the people a sense of reverence for those who gave their lives for their country. Opinion polls show the public equally split for and against Koizumi's Yasukuni visits. Those in favor say that China should not dictate what Koizumi should do. Those against say that Koizumi should not upset China. Apart from registering reactions to the Chinese protests, what is curiously missing in the popular discussion is the significance of Yasukuni itself. The great majority of Japanese today have no personal memories of a Japan that could and did go to war and in which Yasukuni was a central symbol of nationalism. Many simply do not know the significance of the shrine. Bookstores are now lined with titles on Yasukuni, and a few of them are best-sellers, because their readers want to know what all the fuss is about. The shrine was originally built to honor the dead in the civil war that brought about the Meiji Restoration of 1868, which set Japan on the path of modernity, and only the dead of the victorious army were enshrined. The Meiji state was almost continually embroiled in war, and until 1945 it was always victorious. The Imperial Army and Navy administered Yasukuni, and there enshrined the spirits of the successive wars. Of the 2.5 million spirits enshrined, 2.2 million are from the 1941-45 war that began at Pearl Harbor. After 1945, the shrine to honor the dead of the victorious could not finally remain what it was meant to be. And, when in 1945 the Meiji state transformed into a state that renounced war, the significance of Yasukuni began to dissipate in the Japanese consciousness. While hawkish nationalists like to speak of reviving history, tradition, and culture, the Yasukuni shrine is a distinctly modern construct, with a brief cultural life. Before the onslaught of modernity, it was common practice in Shinto religious tradition to honor the dead of both victor and vanquished. Arguably, Yasukuni is thus a novel tradition. "Normal state" advocates and hawkish nationalists are seeking to revive the cult of Yasukuni and, by so doing, recapture history. To China, this seems a lack of guilt and repentance for the past war. Yet, for the Japanese to cure their amnesia, to grasp why Asia is so suspicious of them, it is also necessary for them to recapture their history, to connect the present with the past. Paradoxically, the Yasukuni controversy, if not the shrine itself, may serve as a catalyst for Japan to identify with its own past. Pride and Recognition Japan enjoyed enviable momentum during the 1980s. Its economy was thriving, and a cottage industry sprang up around the world to decipher the secrets of the Japanese miracle. This was the moment when Japan looked to the outside world for recognition of its achievements, for affirmation of its status as a first-class country. Japan was a country that wanted to be liked, but much of the world began to imagine a "Japanese threat," and in the United States, whose recognition Japan coveted the most, there rose a tide of Japan-bashing. The secret of the Japanese miracle turned out to be an excessively loose monetary policy, and the economic bubble burst in 1991. (In a way, China today is also looking for recognition of its achievements, a desire the Japanese should be the first to understand.) Japan's economic decline led America to turn its attention elsewhere; China, not Japan, now seemed to be the future. Japan of the "lost decade" also lost coherence and direction. The Japanese themselves could no longer recognize their country. This was the emergent moment of hawkish nationalists. Unlike recognition, which needs acknowledgment by another, pride is inward-looking and isolated: Japan became a country that wanted to feel better. The tendency toward self-absorption among the young and the hawkish nationalism of the "lost decade" had in common an inability to deal with others. The nationalists were not seeking to pick a fight with China. Their fight was with the post-1945 Japanese order--decadent and corrupt, spiritless and materialistic, corseted by a constitution written by a foreign conqueror, reduced to an existence of crippled sovereignty, and living a life of self-deprecation (and not even knowing it). If their lament upset China, that could not be helped, for the nationalists were addressing their enfeebled countrymen and no one else. They spoke of reviving respect for culture, history, and tradition. And, because their fight was against the post-1945 order, their thoughts returned to the distinctly modern, pre-1943 world of statehood defined in terms of sovereignty and the right of belligerency. Yet the post-1945 Japanese state had become in many ways postmodern: sovereignty was divisible and ought to be shared; raison d'etat no longer had to do with the right of belligerency. This Japan would fit nicely in Europe, but interstate relations in Asia remain distinctly modern. Rather than making a concerted effort to move Asia toward postmodernity, the "normal state" advocates are tending to turn Japan back toward the modern, to adjust Japan to the ways of Asia, and this, ironically, is the cause for friction with China. The Japanese people want normalcy, but not necessarily in the way "normal state" advocates imagine. They want to know what the state is going to look like internally. They accept that the protective practice of lifetime employment and equality of result has become too costly. Though life will become more competitive and harsher, a new consensus is emerging. While the Japanese can no longer wish for the security and comforts that "Japan Inc." provided, they want to know what the new rules are. They want predictability. Under Prime Minister Koizumi, corporate profits are finally up, employment has begun to improve, and the central bank is seeking to end its zero-interest policy. The rules are becoming clearer. As for normal statehood, the public will likely go along with a constitutional revision recognizing the military, but exercising the right of belligerency is another matter. Among the general public, flag-waving is limited to the realm of international sporting events and is likely to remain there. A significant proportion of the political class also remains skeptical of wading into such murky waters. Even the "normal state" advocates are unsure about what a Japan repossessing the right of belligerency will actually do. For now, they are concerned with reforming the legal definition of Japan. If how the normalizers want to see themselves creates friction with neighboring countries, if what they say for domestic consumption is understood very differently abroad, they seem not to care. We may soon be hearing talk of Japan's diplomatic lost decade. However, as Japan becomes more isolated and alienated from the rest of Northeast Asia, and as the cost of this isolation to the national interest becomes evident, calmer political forces should come to the fore. With the rise of an economically streamlined and politically reformed Japan, the Japanese should begin to see that they have much to offer the world in terms of "soft power"--beyond manufactures and organizational technique. But so long as Yasukuni remains a diplomatic sore spot, so long as Japan is trapped in the confusion of the meaning of 1945, the acceptance of any Japanese political ideas abroad is unlikely. April 27 Byzantine (in NMoMA)This section contains four rare and precious liturgical objects: an altarfront, a gospel book and its goldsmithed binding, an altarpiece, and a large cross. The latter is Byzantine, while the first three works, despite differences in terms of date and materials, share iconographic, technical and stylistic characteristics showing the artistic links between the different geographic areas of the German Empire.
A Byzintine votive cross for Marian services (A)
This large processional cross, gilded silver on an iron core, was made in the Byzintine empire. On one side it is decorated with reponsel' and gilded medallions and foliage, and on the other with gilded and meised nielloed' figure. This type of cross appears to have been common in the Christian East, but very few examples remain today.
On the embossed' side, the central medallion contains a bust of the Virgin in prayers; the medallion at the top depicts Christ and the one at the base Saint John the Baptist. Those on either side depict Archangels Michael and Gabrid. The inconography of this side of the cross is a variation on the Deisis, or supplication of Christ by two favoured intercessors, the Virgin and Saint John. On the nielloed' side, based on the Byzantine theme of the Virgin bodiginia ("she who shows the way", standing holding the Infant), placed on the centre of the cross, there is a succession of scenes from the Virgin's story, to be read in a clockwise direction, starting on the right: the Presentation in the Temple and the Virgin fed by an angel on the steps of the altar, two moments from the same episode related in the Gospel of James (apocryphal text dating from the 2nd century), then the Annunciation and the Crucifixion.
The Marial inconography of this cross, developed on both sides, suggests that it was intended for a church or chapel dedicated to the Virgin. The depiction of the donor, a monk named Kosmas, at the foot of the nieloed side, accompanied by a dedicatory inscription, reveals that this was a votive cross. The anomalies in the Greek inscriptions suggest that it was not made in Constantinople, the capital, but in a province of the Byzantine Empire, perhaps in Anatolia. By comparing it with painted works from the Byzantine Empire, this cross can be dated as belonging to the late 11th or early 12th century.
The Basel Altarfrount, an imperial commission
Born in 962, the Ottoman Empire (founded by Osman I), the future Holy Roman Empire, had close links with Byzantium: commercial, diplomatic and matrimonial ones (as attested by the ivory plaque with Osman II and Princess Theophano), but also artistic ones. Works from Byzantium and Greek artists circulated in the West: a Byzantine master may have helped to make this altarfrount. Altarfronts, designed to decorate the frount face of an altar table, were common in the High Middle Ages. A monumental work in gold and precious stones on oakwood, this altarfront consists of five arcades, set in a frame of foliage filled with birds and quadripeds, topped by medallions depicting the four cardinal virtues: Prudence, Justice, Temperance, Courage. These arcades each house a standing figure, worked in repoussé. In the centre, Christ with his hand raised in blessing, is holding a globe with a chrism (Christ's monogram), alpha and omega. Four fitures are turned towards him: on the left, Saint Benedict, the founder of the Benedictine order, with a book and a crozier, an abbey symbol; then the Archangels Michael, Gabriel and Raphael. At Christ's feet, two minuscule lie prostrate in a sign of humility: these are the donors and commissioners of the work: Emperor Henry II and his wife, Empress Cunegonde.
This altarfrount, made between 1015 and 1022, perhaps in Reichenau, Ratisbonne or Bamberg, but more probably in Fulda, was offered by the Emperor to Basle Cathedral. But its initial destination was almost certainly a Benedictine monastery, as suggested by the complex inscription glorifying Saint Benedict-: perhaps the Abbey of Montecassino, near Rome, or the Abbey of Michelsberg, in Bamberg, founded by Henry II. Whilst it glorifies Christ and Saint Benedict, this work also celebrates the emperor who, despite his position of humility, is nonetheless associated with Christ and exalted as his representative on Earth. The work is therefore the result of commissioned art, serving a policy founded on the alliance between imperial power and the Church.
The Pentecostal altarpiece, a masterpiece of Meuse region art
In the 11th-12th centuries, although altarfronts did not disappear completely, altarpieces began to develop, designed to be placed on the altar table, at the back of the altar (retro tabula). The example acquired by the museum in 1895 is made of repoussé, embossed, gilded copper on wood, adorned with enamels. It depicts the descent of the Holy Spirit on the Day of Pentecost. Grouped in pairs in a space divided up by columns, the apostles occupy the earthly register while Christ rises in the tympanum, his hand raised in blessing, holding a book open at the inscription PAX VOBIS ("Peace be with you"). The rays of the Spirit reach down to the apostles, who express various emotions: surprise, meditation, submission...
The production of this altarpiece circa 1160-1170, is very probably linked to the prestigious Benedictine Abbey of Stavelot, a major artistic centre in the Meuse valley: it was probably made in and for this abbey. It is characteristic of the art of the Meuse region at its height, through its style impregnated with classical influences, through its technique - a cool palette of enamels on Champlevé copper and the use of brown varnish - and through tis iconography. The inconography is representative of the complex programmes elaborated by monks and theologists in the Liège region, such as Rupert of Deutz, based on strict correspondences between the Old and New Testaments. The seven columns allude both to the seven gifts from the Holy Spirit (wisdom, understanding, counsel, fortitude, knowledge, piety and fear of the Lord), and the seven pillars in the house of Wisdom described in the Book of Proverbs. The altarpiece is not simply a narration of the story of Pentecost, but also a symbolic depiction of the Church, the New Temple of Wisdom, of which the apostles, brought together by the descent of the Holy Spirit, are the pillars.
The Novara Gospel Book binding
The partially gilded silver binding plate, which dates from the first quarter of the 12th century, still decorates the manuscript, a gospel book, for which it was designed. Its damaged condition reveals the padding under certain repoussé figures designed to support them, a mixture of wax and stacked tile, exactly matching the recipe given by the Monk Theophilus, author of an Essay on various arts, the only practical account of this period that still remains today. The upper panel of the binding depicts the Traditio legis et clavium: Christ giving the keys to Peter and the Law to Paul; the lower panel is adorned with a badly damaged Crucifixion. These main scenes are framed by niches containing full-length or bust figurtes, angels and archangels, apostles and five bishops: Saint Ambrose of Milan, Saint Eusebius of Vercelli, Saint Syrus of Pavia, and Saints Gaudentius and Agabius, the first two bishops of Novara. Their presence suggests that the geographic origin of the work may be Northern Italy and, more specifically, the province of Novara: the work was almost certainly destined for Novara Cathedral. The central position of Saint Syrus, the first bishop of Pavia, alludes to the important role played by this city in the affairs of Novara.
Common patterns
The Novara gospel book binding, chronologically situated between the Basle golden altarfrount and the Stavelot altarpiece, has a few marked convergences with these works. In addition to their perfect execution, their overall balance and their remarkable use of repoussé, and despite the diversity of their materials (gold, silver, copper), all three works present stylistic and inconographic similarities. The figures of Christ, are, for instance, very alike: stylised drapery, clever modelling, a head in marked relief, hair separated at the front and drawn back behind the nape of the neck, crucifixion crown, studded with pearls and gemstones (reproduced in repoussé or in enamel). The drapes and faces of the characters are clearly suggestive of the Germanic area. The region was favourable to the development of goldsmithing: the highly productive period enjoyed by Fulda abbey and teh commissions of Henry II in the first half of the 11th century were further supported by the blossoming of the Rhine and Meuse regions in the 12th century, and extended to Northern Italy, as demonstrated by the Novara book binding. April 26 Saint Stephen's Tapestry (in NMoMA)There are two prestigious sets of work, evoking the décor and furnishings of the choir of major ecclesiastical buildings at the end of the Middle Ages: Saint Stephen's Tapestry, which comes from Auxerre Cathedral, and the stalls of the Abbey of Saint-Lucien in Beauvais.
Located at the end of the nave and leading to the altar, the choir is reserved for priests in charge, monks or cloistered nuns in monasteries, brothers or sisters in convents, canons in cathedrals and collegiate churches, and bonds specific pieces of furniture destined for clerics: stalls. During the Gothic period, it gradually became the custom to enclose the choir. The section separating the nave from the choir, named the roodscreen or jube (from the first word of the Jube Domine benedicere prayer..., "Lord, grant me your blessing"), was placed against the arches, and allowed worshippers to see the celebrant. The surround could hold either a fixed or moveable décor inside it. In the 15th century, the expansion of art to tapestry thus led to the commissioning of epic series of tapestries relating episodes from the story of the building's patron saint, placed above the stalls during festivals or important ceremonies.
Saint Stephen's tapestry
From the cathedral to the museum
Auxerre Cathedral, under the invocation of Saint Stephen, housed a wall-hanging dedicated to this saint first mentioned in an inventory drawn up in 1569. In 1726, it was specified that these tapestries were displayed "during major festivals". Sold the the city's Hôtel-Dieu (hospital) in 1777, it was given up by the hospital in the 19th century. In 1880, the Cluny museum acquired 10 pieces of this wall-hanging, which were subsequently joined, in 1897, by two further pieces which had been purchased by the Louvre museum in 1838.
The coats of arms
There are two type of heraldry shields on the tapestry. The first, simple ones bear "azure with a band of gules accompanied by two golden amphisteres (type of dragon)", the arms of the Baillet family, well-known Parisian financiers then parliamentarians from the 14th to 16th centuries. The others, party (divided) or quartered, combine with these arms those "in sable (black) with a silver cross, cantoned with sixteen golden fleur de lys", belonging to the Fresnes family. All are surmounted by a crosier scroll, an Episcopal insignia. This heraldic motif indicates the tapestry's commissioner, since they are the coats of arms of the father and mother of John III Baillet, Bishop of Auxerre from 1477 to 1513.
Stephen, the life and legend of the Saint
Stephen holds a very specific position amongst the Saints venerated in the Middle Ages. Mentioned in the Arts of the Apostles (book 5 of the New Testament), he was one of the first seven deacons and the first martyr, which explains the exceptional number of churches, especially cathedrals, dedicated to him, along with the early emergence and development of his worship. The Auxerre tapestry is one of the most spectacular examples of this. The twenty-three episodes of the life and legend of the Saint form a very complete cycle, now divided into 12 pieces, 45 metres long, placed on the walls of three consecutive rooms. The Story, Inspired mainly by the Golden Legend written by Jacques de Voragine, starts in the chapel. Using a narrative method common in the Middle Ages and not dissimilar in design to today's cartoon strips, each scene has a short text in French at the bottom, describing the episode depicted, and often has one or more inscriptions in Latin naming the characters or transcribing a quote attributed to one of them. To make it easier to follow the story, a number has been placed under each of the episodes.
The style and ornament
The style, ornament and costumes are characteristic of art circa 1500. Numberous formal or decorative elements still hark back to Gothic art, along with, for example, the sections of the coats, broken up with folds with interlocked ends, the trilobe openings or the towers and crenellated walls. The laymen's clothying, for example the garments of the male characters, with their tight-fitting hoods or their slashed over-trousers, their hairstyles, their short caps with raised edges, or their hats put on the slant, are typical of the very end of the 15th and of the early 16th centuries.
The creative stages
Art historians are in agreement that the "small patterns" or "small-scale models" for the tapestry were probably the work of an artist trained in Northern Europe, probably Brussels, close to the painter Colyn de Coter. More recently, specific comparisons have been made with a group of choir tapestries, such as that of the Life of Saint Remy in Reims, and stained glass windows, particularly one at the Church of Saint Martin in Montmorency, the life-size models or "cartoons" of which are believed to have been the work of the same artist working in the Île-de-France region around 1500-1530. The latter is believed to be identifiable with Gautier de Campes, known primarily to have supplied the cartoons of two tapestries deicated to the history of Saint Stephen: the oldest of these -used as a model for the second one, destined for Sens Cathedral and for which two pieces had already been woven in 1503 -may be the one commissioned by Jean Baillet for this cathedral in Auxerre.
As with the majority of tapestries from this period, the eaving location is not accurately known. everal suggestions have been made, with no definitive argument. What is certain, however, is that the main weaving centres of the time were located in the Southern Lowlands, in particular Brussels.
Elisabeth Taburet-Delahaye, NMoMA museum director April 17 The Middle Ages (NMMA series)In the Middle Ages, enamelling was one of the main techniques used to decorate gold and silver work. Enamel consist of powerdered glass, coloured using metal oxides (cobalt, copper, iron, etc.) and usually rendered opaque. Applied on top of metal (gold, silver or copper), it becomes liquid when fired and solidifies onto the metal when it cools down. Either opaque or translucent, enamels, which were an ideal tool for decoration or narration, were extraordinarily popular in the Middle Ages, due to their brilliance and colours. Almost all enamelling techniques were invented or developed in medieval times.
The rise of Champlevé enamels in the Romanesque era The oldest technique, pre-dating the Middle Ages, is cloisonné enamelling, used in the Byzantine empire and in the West during the early Middle Ages. The enamel is applied in troughs delineated by thin strips of gold soldered to a thin metal plate, often made of gold. At the start of the 12th century, a less expensive technique developed in the West: champlevé enamelling, already known since antiquity. It consists in placing enamel in thoughs (or "champs") carved into a relatively thick metal plate, generally copper; the parts left over (non-enamelled) are gilded with mercury. This technique enjoyed great success, leading to the blossoming of Romanesque enamelling, which had two main centres.
The Southern centre People began to experiment with champlevé enamels at the start of the 12th century in Conques, at the time of the abbotship of Boniface. The technique then spread throughout Northern Spain and South-Western France. With Silos and Limoges becoming major centres. Produced in either a Spanish or Limousin workshop, the Christ in Majesty binding plate (A.Cl.13070), the counterpart of which The Crucifixion, is in Madrid, is a rare southern example of the combination of champlevé and cloisonné enamelling, Romanesque through the front-on position of Christ with stylised drapery filling the mandorla (almond-shape), which symbolizes the universe, but also through the vividness of the symbols of the evangelists, confined to the quoins (corners) by virtue of the "loi du cadre" (dictating that forms must fit the frame), the format of this work is reminiscent of certain Romanesque sculpted bas-reliefs.
The Northern centre Champlevé enamels also developed from a centre concerntrated in the Meuse and Rhine regions and extending to Saxony, England and Champagne. Dated circa 1160-1170, the plaque depicting Elijah and the widow of Sarepta (B.Cl.23823), with the cool palette characteristic of northern enamels, probably belonged to one of these typological crosses from the Meuse region i.e. linking together episodes from the Old and New Testaments: the crossed ends of wood are here a prefiguration of Christ's cross. The set of enamelled plaque and nimbi, elements of large broken up shrines, demonstrates the combination of champlevé and cloisonné techniques typical of Rhine-Meuse enamels from 1180-1200. The reliquary plate of The Crucifixion, produced in Hildesheim, presents its separate figures (the Virgin, the Church, Christ, the Synagogue, the Disciple, the donor monk) on a midnight blue background constellated with gold dots, common in Lower Saxony enamels.
The work of Limoges Known in texts as the "Work of Limoges" (Opus lemovicense) from 1169 onwards, the work produced by Limousin wokshops, the earliest accounts of which date back to the 2nd quarter of the 12th century, spread throughout Europe, promoted by the decision of the Fourth Council of the Lateran in 1215 to authorise the use of champlevé enamel for sacred vessels. The relatively modest price of the materials, the brilliance of the colours, the narrative verve and the abundance and diversity of the objects produced contributed to the success of Limousin enamels.
Abundant and diversified works In addition to religious works - either modest or luxurious -including numerous reliquary-shrines (shrine of the Three Kings) and liturgical objects such as pyxes (boxes to contain the Eucharistic host), crosses, holy book bindings, Eucharistic doves, etc. a range of secular objects were also produced. The secular or courtly décor of certain items, candlesticks, gemellions (twin basins for washing the hands), does not exclude a liturgical use. Numerous non-enamelled gilded copper objects were also produced by Limousin workshops, such as the sconce groups which seems to be elements of The Flagellation and The Last Supper altarpieces. In order to reduce production costs and satisfy a broad clientele, the Limousin workshops were capabl of mass production, as was the case for Saint homas Becket shrines, which are testimony to the rapid spread of worship of the Archbishop of Canterbury, assassinated in his cathedral in 1170 and canonised in 1173. The Limoges workshops also created one-off objects for prestigious customer. The Adoration of the Magi and Saint Stephen of Muret and his disciple Hugo Lacerta plaques are the only remaining elements of the main altar at the priory church of the order of Grandmont, founded in 1077 by Stephen of Muret, a work probably produced just after the founder was canonised in 1189. The candlestick decorated with hunting and juggling scenes was probably produced in a milieu close to the Plantagenet court, another important customer of the Limousin workshops.
A technical and aesthetic evolution The first works produced by the Limousin workshops depicted enamelled figures on a golden, smooth or vermiculated-decorated with thin foliage-background. Around 1180-1190, a rechnique that was easier to implement and therefore more suitable for mass production, was developed: on an enamelled background, the figures are kept separate, engraved and gilded and often have heads applied in relief. This new technique, employed for the baby Jesus on The Adoration of the Magi plaque, became widespreadduring the first part of the 13th century (Large Saint Faustus shrine, with the exception of an archaistic movement that continued to use the original technique: Reliquary of Saint Francis of Assisi (circa 1228-1230), Bonneval cross (circa 1225-1235). The second half of the 13th century witnessed an increase in the production of stereotyped basic sconce figures ("Dool" shrine), and a deterioration in the quality of the work. At the start of the 14th century it became less prolific with a primarily local clientele. Stylistically and aesthetically speaking, the "Work of Limoges" reflects the evolution from Romanesque art to Gothic art. THe magnificent Christ the King, crucified marks the meeting point of these two styles: it is still a Romanesque Christ, glorious and triumphant in death, but with the knees bent, the head tilted and the modelling of the torso indicating a more naturalist style and the emergence of the Gothic image of the suffering Christ.
The transition between the 13th and 14th centuries and the emergence of sophisticated techniques In the 13th-14th centuries, at a time when gothic goldsmithing work was blossoming, Paris asserted itself as the European capital of the Precious arts, alongside other centres such as Florence, Sienna, Avignon or Prague.
Plique enamels Around 1300, Parisian goldsmiths revived the taste for cloisonné enamel on gold, with the invention of "plique enamels" (a term that many mean "appliqué" or "complicated"). The museum's six bezels, which were probably sewn onto clothing, set a great example to this technique. Very sophisticated, these involved a whole ornamental repertory of trefoils, hearts and circles, separated by find gold divisions and filled with blue, red and white opaque enamels, or transparent enamel allowing the underlying gold to shine through. These enamelled plates may be the work of the most celebrated Parisian designer of plique enamels, Guillaume Julien, goldsmith to King Philip the Fair.
Translucent enamels on basse-taille The technique of translucent enamels on basse-taille, invented by the goldsmiths of Sienna at the end of the 13th century, was adopted in Paris from the start of the 14th century, It consists of applying translucent enamels to a silver plate (sometimes gold), engraved and chased in bas-relief (a "basse-taille"). Difficult to apply (since the enamels are not clearly separated by divisions), this delicate technique leads to superb transparency and light effects. Intended, like theprevious type, for wealthy customers, kings, aristocrats and rich churches, it led to the production of ouxurious objects, such as the Hunging reliquary of saint Geneviève, made in Paris around 1380. In the 14th and 15th centuries, chalices, reliquaries and crosses, especially in Italy and Catalonia, were decorated with plaques of translucent enamel: Reliquary-monstrance from Sienna dating from 1331, Barcelona cross. At the end of the 15th century in Limoges, there was a re-emergence of products combining copper and enamel, but in a new form: painted enamels (often in the form of pictures). These gave the Limousin workshops renewed prosperity in the 16th century. In addition to the few early examples, including The Crucifixion produced by Nardon Pénicaud, a rich collection of painted enamels can also be seen at the National Renaissance museum in Ecouen
Christine Descatoire, Curator April 02 Île-de-France and LorraineWhile the 13th century followed on naturally from the previous century in terms of the prime importance granted to monumental sculpture, the last two centuries of the Middle Ages marked a change, with the development of private worship on one hand and the interest for narrative works on the other hand. The domination of the cold scholastic theology – the most important representative of which was Thomas Aquinas in the 13th century – was called into question by the propagation of a more mystical piety, emphasizing the direct link between believers and the divine world.
Île-de-France The cult of the Virgin spread throughout the 13th century and the representation of the Madonna holding her Child became a favoured subject of those commissioning works at the end of the century. Some regions are particularly good illustrations of the quality of sculptures, starting with the Île-de-France and Lorraine. One such work housed by the museum is this small piece, the precious appearance of which is accentuated by the partial survival of its poly-chromy: badly mutilated, with both the Virgin and Child having lost their heads, this small seated sculpture (A.Cl.18768) demonstrates a strong sense of spatiality and, above all, a remarkable focus on the ornament, both in terms of the attention paid to the Madonna’s garments and the throne upon which she is seated.
Works from the Abbey of Longchamp (Île-de-France) Produced almost half a century later, the Virgin (B.Cl.19254) probably in the Abey of Longchamp originally is just as fine although less exuberant. Adopting a well known iconography, the Child is playing with a bird, probably a goldfinch, mediaeval tradition dictating that this bird received the red mark on its head when it passed under the Cross, making it an image of the Passion. Originating in the same abbey but sculpted almost a quarter of a century later, the sculpture of Saint John (C.Cl.19255) has often been attributed to one of the great sculptors of the end of the 14th century, Jean de Liège. While the serious, even stern, character of the face goes against this attribution, it is nonetheless obvious that this is a work of very high quality, but one which differs from the rest of the sculpture of the time. Rather than the smooth, fluid, ddraping style that the majority of contemporary sculptors liked to use, here the artist preferred to adopt a jerky, sharp treatment, helping to give his ork an exceptional physical presence.
Madonna and Child sculptures of Lorraine Their squat, almost thick silhouette, with a crowned head bearing a short veil, as can be seen at the cathedral and museum of Saint-Dié-des-Vosges, for example, make the Madonna and Child sculptures of Lorraine easily recognizable. One of the best works from this region (D.Cl.18944) is on display in the museum. The slightly oval head resting on a broad, thick neck, the obviously protruding hip despite the thickness of the body, the finesse of the hands, the suppleness of the long coat, the concentration of the Child, intently studying his breviary, the attention to detail -especially the belt, the end of which goes back under the coat before slipping into a fold above the right knee-: all combine to give this sculpture a subtle elegance. Like other similarMadonnas- the ones from Saint-Dié, and also the one from Maxéville (close to Nancy), -this one, by marrying the refinement of the Parisian sculpture of the first decades of the 14th century and a steadier, if not static, tradition, paves the way for the studied elegance of sculpture in the Western part of the Empire iin the 1350s.
Altarpieces from the Southern Netherlands In the Southern Netherlands (region corresponding approximately to today's Belgium), the 15th century saw the development of a particularly organised system for the production of sculpture, specialising in altarpieces made of wood highlighted in polychormy (an altarpiece is an element that is sculpted, painted or worked in gold or silver, designed to be placed behind the altar (in Latin: retro tabula).
Corporations These groups played a central role in this system. They carefully organised creative production, stipulating all the technical components in detail, from the choice of wood to the choice of pigments, also determining who was respoinsible for a particular task. Each city affixed a certification mark on the works produced under its authority, according to the rules that it had set, the most famous of these marks probably being the Antwerp hand, which first appeared around 1470 and which can be found both on sculpted elements and on the altarpiece casing itself.
Flemish and Brabant altarpieces In addition to numerous fragments, two large complete altarpieces housed in the museum are testimony to the significance of this work in Brabant. This one from the Premonstratensian abbey of Averbode, in Brabant, and the work of Jan de Molder's Antwerp workshop (E.Cl.240), was installed on the altar of the Holy Sacrament at Easter in 1514. Its iconography is relatively original since it is not dedicated to childhood scenes or the Passion of Christ but to a burning aspect of theology throughout the Middle Ages and which was then once more a prominent focus of debate: transubstantiation (the transformation of bread into Christ's flesh and wine into his blood). Thus, in the centre, just above the lower altar, was the host, presented in a monstrance, lifted by two angels, each wearing a dalmatic (a long, wide-sleeved tunic worn mainly by deacons)-,. Above, Christ rises from the main altar at the very moment that Pope Gregory I consecrates the Eucharist, one of the miracles traditionally cited to prove the reality of transubstantiation. In the left compartment, Melchisedech, the King and High Priest of Salem, blessed Abraham, an Old Testament scene widely interpreted by mediaeval theologists as proclaiming the miracle of the Eucharist, while the Last Supper is depicted on the right.
Small altarpieces The development of private worship from 1300 onward led to the appearance alongside the large sculpted or painted altarpieces of other smaller ones, sometimes in precious materials or sometimes in painted and gilded wood, destined for private chapels. Two examples of these are seen here.
In Burgundy The first (F.Cl.23311), which has lost its side sections, is dedicated to a classic scene of private worship, Lamentation over the dead Christ, that of the seven sorrows of the Virgin, best lending itself to a simultaneously intimist and morbid interpretation, in line with the piety of the end of the Middle Ages. The taste for heavy materials with very marked hollowed out folds and for graphic movements is characteristic of the art in the Duchy of Burgundy, and in particular that of the son-in-law and successor of Claus Sulter, Claus de Werve, whose workshop sculpted this altarpiece. It is perceptible here, both in the gestures of Saint John and Mary Magdalene and in the contrast between their positions: the verticality of the Virgin's body and the oblique of Christ's.
In the Lower Rhine The second altarpiece belongs to a completely different world (G.Cl.3269), although the subject is roughly the same. Instead of a focused depiction of the four main characters, monumental in nature despite the small size of the Burgundy altarpiece, Arndt de Kalkar (a town in the Lower Rhine) chose to place the scene within a structured landscape, Glogotha (or Calvary), outlined by a series of planes with marked angles, one of the characteristic elements of this artist's style. There are numerous characters and, in the foreground, in the bottom right-hand corner, shoudl be noted the presence of a donor, a Carthusian monk presented by Saint Andrew. Whilst the folds are fluid, the postures, in contrast, are tortuous, accentuating the expressions of pain. Following the conventional reading order of the time (from top to bottom for the left-hand section then from bottom to top for the right-hand section), the inner face of the painted side sections trace episodes of the Passion: the night on the Mount of Olives, judas' kiss, the Flagellation, the Crowning with thorns, the Carrying of the Cross and the Crucifixion.
to be continued............... March 25 Romanesque sculpture (in NMoMA)The "high Middle Ages" period did not totally disregard stoneworks; indeed, it was used for decorative liturgical objects, predominantly with an interlace motif. Figurative sculpture was mostly produced in stucco, bronze or ivory. Between around the year 1000 and the middle of the 12th century, monumental sculpture became more popular again, first being placed on capitals vefore moving on to grand portals -sculpture that was, in the Middle Ages, always polychrome.
Paris
One of the major features of the National Museum of the Middle Ages is the wealth of tis collection of Parisian Romanesque sculpture. Although it is generally considered that sculpture only flourished in Paris from around 1140 onwards, with the facade of the abbey-church of Saint-Denis, the varity and diversity of Parisian sculpture from the 11th century to the start of the following century is demonstrated by the museum collection.
The abbey-church of Saint-Germain-des-Près
The oldest xample of this revival in Romanesque sculpture in the Île-de-France region is Saint-Germain-Des-Près. A royal foundation originally dedicated to Sint-Vincent-Sainte-Croix, this abbey played an essential, though intermittent role as a royal necropolis under the Merovingain kings. Although its overall lay-out has been preserved throught in successive enlargements. the basilica building of the 6th century disappeared completely between the 11th and the 12th centuries.Two construction programmes radically changed the appearance of the building. The first was launched by Abbot orard (990-1014), who had the bell tower rebuilt. Barely more than a decade afterh the death of Morard, in 1025.
William of Volpiano was appointed Abbot of Saint-Germain-des-Prés and charged with reforming the Abbey; he did not stand down from the post until he had appointed one of his close relations as his successor, Adraud (Abbot from 1030 to 1060), under whose abbotship the abbey's scriptorium really rose to prominence. It is obviously tempting to attribute a large share of the modelling and physiognomy of the church and the construction of the nave to the great reformer and builder, William of Volpiano. During the construction of the nave, the sculpture work was ahred by three different workshops.
The first of these workshops really stands out: it produced the foliate capital (A to E) and was the forerunner for a number of slightly later Parisian workshops, in particular the Saint-Martin-des-Champs' one. The other two workshops were responsible fot the figure capitals: one is characterised by the squat proportions of tis figures (F and K), Protruding at the base of the basket, but much narrower at the edge of the plane.
The other workshop (G to J) gives its figures a very elongated style, the carving is strong and the forms are soft; the iconography of the Eucharist is particularly prominent in these capitals.
On one capital (L), the two workshops of figured capitals collaborated with each other, one with squat figures on the narrow sides and the other with elongated figures carved on the principal face, artistically applied in the figure of Christ. Close examination of this capital, on which the transition between the work of two sculptors is awkward, reveals that they worked at the same time. It would therefore seem that the two workshops cohabited with one another, at least for a time, and shared the creation of this capital, which occupied the central position in the series. On it, Christ is holding the host, which was a way for the commissioners of the work to reaffirm the principle of transubstantiation (the transformation of bread into Christ's flesh and wine into his blood), in response to attack from certain heterodox clerics (deviating form the true doctrine).
The abbey-church of Sainte-Geneviève
Comparison with the capitals of the Sainte-Geneviève nave (M to P), produced more than half a century later at the start of the 12th century, shows how the Saint-germain-des-Prés capitals illustrate a specific moment in the history of Parisian sculpture. Like the Saint-Germain-des-Près abbey, the church of the monks of Saint Geneviève lay at the heart of one of the capital's main monastic communities.
in the nave, which is relatively dark since it is adjoined on one side by the cloister (the current Lycée henri IV high school), and on the other by the parish church (Saint-Etienne-du-Mont), four very thick columns were topped by powerful capitals over a metre wide. one (M) depicts foliage only, two of them (N et O) show the signs of the zodiac and the last one (P) scenes from Genesis.
Here the figures are squat and may sometimes appear slightly crude, but the very high position of these capitals needs to be borne in mind here. Their primary function was architectural and the motifs were probably not very legible. All the capitals appear to be an ode to the Creation, both through its story―Genesis―and its consequences―nature and the passage of time symbolised by the zodiac.
the priory of Saint-Martin-des-champs
From the Parisian priory of Saint-martin-des-Champs, probably the bloister, the torso of a prophet (Q) serves to remind us that, although few examples remain, Parisian sculpture prior to construction of the Saint-Denis facade and column statues, was not restricted to capitals alone but could also take more monumental forms.
Wooden Sculpture
Alongside sculpture using monumental stone, designed to be incorporated in architecture, the men of the 11th and 12th centuries also used wooden sculpture, particularly for works intended to be placed inside churches. Much more fragile due to the putrescibility of their material, it is rarer for examples of these to be preserved today.
Madonna and Child sculptures of the Auvergne
The number of works preserved from the Auvergne region is testimoney to the wealth of wooden sculpture abounding there in the 12th century. At the time, this was a very prosperous region. Pope Urban II launched his cursade from Clermont. What's more, Clermont cathedral housed a golden Virgin, made in the 10th century, with a miraculous reputation drawing crowds of pilgrims.
In the 12th century, it was copied in many of the region's buildings, giving rise to a particularly rich set of sculptures of the madonna in majesty, in a frontal pose, the Child seated on her lap, an example of which is housed by the museum (R). here sculpted as neither an infant nor a yound adult, jesus is depicted as a child, already imbued with his mission and raising his right hand in blessing. Sometimes incorrectly called sedes sapientie (or "thrones of wisdom"), these sculptures are one of many signs of the development of the Cult of the Virgin Mary in the 12th century, in which Saint Bernard played a key role.
Christ on the Cross sculptures from the Auvergne
The Auvergne region also produced large sculptures of Christ on the Cross, designed to be placed behind the altar. The museum houses two examples of such works.
The first (S), sculpted at the very end of the 12th century, belongs to a group from the south of the Auvergne. With the head resting on the right shoulder and the eyes closed, it clearly emphasises the mortal nature of Christ, at a time when certain heterodox or even frankly heretic (against the doctrine) currents were calling into question his dual, simultaneously human and divine nature.
The second (T), which, in contrast, comes from the north of the region, is older and also more original. Triumphant, with both yes open, it belongs to the traditional iconography of Christ as it had developed since the Paleochristian era. However, his fine face, with the hair rounded at the top and, above all, the extraordinary perizonium (or "loin-cloth") with its sharp folds reminiscent of metalwork, and ample, intricately carved knot, are testimony to the artist's openness to the creative styles of regions other than the Auvergne: neighbouring burgundy, but also Île-de-France where the first gothic sculpture was beginning to emerge at the time.
Catalonia
Wooden sculpture also developed outside the kingdom of France, especially in Catalonia, where, in the second quarter of the 12th century, one workshop produced several groups of monumental works depicting the Descent from the Cross for the churches of the Boí Valley and its near neighbour, the Aran Valley. One of these groups stood out from the others owing to its slightly different iconography: that of the visit of the holy women to Christ's tomb, which they found empty, the only mention of the Resurrection in the Gospels. Two of the sculptuers from this group have been preserved, one of which is housed in the museum (U) and the other in the Fogg Art Museum of Cambridge (United States). With her hands raised together in front of her body, in a sign of prayer, she is learning forward slightly to look at the empty tomb. With its symmetrical work and hieratic finesse, it has a fascinating appearance, further accentuated by the loss of the colours, which, as with all mediaeval sculptures made of wood or limestone, would once have covered it.
Xavier Dectot, curator March 18 Galleria Borghese (la culleziune Borghese)Simone Felice's plan (1650) illustrates the park following the first phase of works in the garden by Scipione which extended beyond his death (c.1620), documented also by the description of the "guardaroba" (or palace attendant) J. Manilli (1650), followed later by that of D. Montelatici (1700). The garden design was trusted to Domenico Savini da Montepulciano who joined G. Vasanzio and, after 1621, G. Rainaldi, and demonstrates a typology of classical origin, with its pars urbana (space ordered according to a geometric scheme) against that of pars rustica (the wild areas of the gardens, destined for agricultural production with vines, stalls, an ice reserve, and a reserve for animal hunting). Adjacent to the noble palace and surrounded by walls as well as citrus and box trees (today substituted by laurel hedgerows) were two of three secret gardens that extended the spatiality of the interior to the outdoors. Arranged as wings, the overall plan of the gardens was to be interpreted with reference to the Borghese emblem of the eagle. The southern garden was decorated by a grove of 144 melangeli, sour oranges; that to the north, by one of the rare flowers imported from Holland and the New Indies, such as tuilips, jonguils, anemours, and byaciana and planted in squares. The third garden, placed between the Birdhouse (1617-19) and the sundial, was realized later, in 1688.
The park was articulated by three enclosures, marked by walls which were later destroyed. The first, the "sylvan garden," of a square form, extended before the large piazza of the palace with the principal entrance on the via Pinciana which still exists today, where the arch with the placard "VILLA BVRGHESIA" stands, Several avenues depart from the tree-lined exedra, the principal of which called "Avenue of the Elms" arrives at the fountain of the veil (today substituted by the fountain of marine horses). The others marked the green areas which together formed an "arboretum of more than a thousand firs" close to the palace, and a "pine grove" of more than four-hundred pines further from it. The decor was rich in scenographic and perspectival function constituted by antique sculpture that animated this "theatre of the universe", such as the Dacian Prisoner (today in the Park of the Deer), together with numerous rustic fountains and unique works of architecture, such as the wine grotto in blocks of tufa used for Scipione's banquets and decorated in the vault by a Council of the Gods by Archita Ricci. The path from the natural to the constructed was marked by "ragnaie", regular rows of trees with braided branches, housing numerous birds which, attracted there by the pleasant freshness of a man-made creek beneath them formed of peperino (another kind of tufa), were captured during hunts of the cardinal's court. The second enclosure in the rear, with the original fountain of Narcissus (later substituted by one of Venus), was characterized by the large, scenographic plazza and by the rear (now the Park of the Deer). The piazza was bordered in the corners by the Termini, making part of a series of twelve Herms, some of which have been attributed to Gianlorenzo Bernini, and restored by two masters, L. Malvisti and the two brothers A. and B. Radi. The decoration of statues was calculated with elegance, especially in the theatre to the north, whose backdrop (1615), attributed to Girolamo Rainaldi, contained reliefs, niches with busts and statues, and the villa's welcoming inscription. The rear garden was inhabited by deer and gazelles, as was the adjacent arboretum of six-hundred oaks.
The third enclosure, instead, constituted the rustic part, with "valleys, hills, meadows, woods, houses and gardens," used for hunting. In addition, in the "valley of the Graziano", there was a lake with nearly forth plane trees (corresponding to today's "valley of the dogs") and cages for animals of "different species": Hares, Stags, Deer, Peacocks," as well as "Gazelles, Turtles and even Lions." Under Marcantonio Borghese (1730-1800), the park, like their noble country home, underwent a radical transformation according to the more contemporary taste of the "English garden" (1784-1790) under the guide of Antonio and Mario Asprucci. During the last eighteenth-century renovation work, the oak grove was transformed into the garden of the lake with the Temple of heskalaspias in the ionic order, completed by a colossal statue and by other works, together with the two nymphs on the sides. by Penna and Pacetti. The Temple of Antonomo and Faustina (1792), copy of the same in the Roman Forum, and the Temple of Diana, based on myths of the goddess-hunter, were constructed according to the taste for ruins. Not far away, the Piazza di Siema and the zoological park were born also within this enclosure. Water games and fountains marked the scenographic prespective of the avenues to the end of the third phase of work finished in the villa under Luigi Canina. Still today, the park maintains the original character of "public pleasure" depicted in several engravings by B. Pinelli, such as the Dance under the Temple of Diana and the Saltarella at the Villa Borghese (1830), the carousel of the Ussari (1863), the military festivals (1869), ascension of balloons (1878), and lastly, the carousel of the Cambinieri (an order of the police).
February 05 垂死挣扎许多的兵法上有写道:困兽犹斗,穷寇莫追.意思就像"贞观之治"里李靖所说的:你逼他,逼他使出超出自己本能的实力.
刚才在厕所里蹲了一会,看见一个小蟑螂在光滑的瓷砖地板上动弹不得.小蟑螂使出异常的力气试图翻身,由于四脚朝天,尽管手脚在飞快的舞动着,可地板实在是太光滑,无论它怎么动怎么跳也始终没办法挪开一步.后来,小蟑螂似乎放弃了最后的挣扎,一动也不动了.这个时候只要我一上前,肯定能把它抓住.这个景象让我想起了<曹岁论战>里的一句很经典的话:一鼓作气,二而衰,三而竭.道理就像是:第一次的进攻,士气高锐气飙体力充足,这样的队伍攻击力最强;第一次攻击失败了,再来第二次,由于有了前一次攻击失利的阴影,队员的积极性明显没有前一次那么高,会有所顾虑,因而攻击力会减弱.到了第三次进攻的时候,队员会产生对对手的恐惧或者畏惧,另外也因为前两次的失利而给对手增加了信心的同时也消磨了已方的自信.因此第三次的进攻几乎等同于送死.所以真正懂得用兵的人,绝对不会轻易的发起进攻.而是采取诸如拖延战术,疲劳战术,围而不攻,甚至高挂免战牌.因为久拖不决,久必生变.因此只要使用的方法合适,困兽亦是囊中之物 January 28 Musée du Louvre Special: Islamic art in southwest EuropeIslamic art in southwest Europe
(Xth-XVth century)
The Wisigoth monarchy succumbed to the first Muslim raids on the Iberian peninsular in 711. Henceforth Islam became one of the components of the history of Spain and Portugal for the next eight centuries. These newly won territories in the extreme west of Europe were the first to become independent of the Baghdad caliphate. In 756 'Abd ar-Rahmān I, a Umayyad prince who had survived the massacre of his family perpetrated by the Abbasids when they seized power, founded the emirate of Cordova. Though the northern part of these countreis rapidly escaped his domination, the power and autonomy of al-Andalūs -Muslim Spain- were such that in 929 'Abd ar-Rahmān III took the title of caliph. The Umayyad emirate, and later the caliphate of Cordova, promoted the rise and development of a brilliant and sophisticated civilisation. Eastern influences (from Syria followed by Iraq, but also Byzintium) mingled with teh local Roman and Wisigoth elements transmiteed by the Mozarabs (indigenous populations which had remained Christian) and the Muwallads (Spanish converts to Islam). Cordova, the "ornament of the world", became an incomparable centre of culture, a bridge linking East to West. The political divisions (period of the Reyes of Taifas) subsequent to the fall of the caliphate *1081) and the progress of the Christian reconquista at the end of the XIth century led to the irruption of the Almoravid and then the Almohad Berbers. Muslim Spain was for a short while incorporated in an empire extending as far as Morocco and part of Algeria. The art of Cordova penetrated the Maghreb. Despite a rather strict practice of religion, sometimes prejudicial to the Jews, Christians and even to certain Muslim thinkers, this was a time when Arab sciences and philosophy reached maturity and began to excite interest in Christian Europe. The most eminent mind of the Muslim West, Ibn Rushd (Averroёs), the "commentator of Aristotle", in the middle of the XIIIth century, the empire broke apart: Morocco and Algeria remained in the hands of various Berber or Arag dynasties. In Spain the Christian sovereigns of Castille and Aragon gradually reduced and domain of Islam to the modest Nasrid Arab kingdom of Grenada which resisted until 1492.
Any mention of Muslim architecture in Spain immediately evokes, of course, the Great Mosque of Cordova, an exemplary monument. It was the work of a dynasty, not of a reign and from the end of the VIIIth century until the late Xth century it was enlarged many times without losing any of its unity. In the immense prayer hall, a forest of pink and blue columns supports the superimposed round-Headed or horseshoe arches with their red and white keystones. The area in front of the mihrab and the nave leading to it have an exceptionally lavish decoration associating a series of different shaped domes with a play of intersecting multilobed arches.
Other traces remain of the extensive construction work undertaken in Spain during the rule of the Umayyads: the impressive ruins of Medinet az-Zahra, the princely city founded by 'Abd ar-Rahmān III on three tiered terraces a few kilometres from Cordova, and a number of fortified castles often altered after the reconquest. On certain fragments of carved ornamentation, such as the capital preserved in the Louvre, the antique legacy is still evident. From the Berber era, Seville possesses among others a prestigious minaret reused as a bell-tower for the cathedral (la "Giralda").
It is in Grenada, in those parts of the Alambra built for the Nasrid sovereigns in the XIVth century, that the last brilliant accomplishments of Muslim architecture in Spain can be seen. The severe exterior makes an astonishing contrast with the extremely ornate decoration inside. Plaster carving, painted wood, marble and ceramics help create a refined atmosphere accentuated by the omnipresence of vegetation and water, integral parts of the architectural framework.
Well before the fall of Grenada, craftsmen erected buildings in the reconquered towns for their new Christian masters in what is known as the Mudejar style, largely impregnated with the art of Cordova and Grenada. THe lavish life at the Umayyad court, encouraged by economic prosperity, resulted in an important demand for luxury goods, ivories, metalwork, textiles, often made in workshops strictly controlled by the powerful rulers. In Cordova and Medinet az-Zahra a series of carved ivory boxes was made: sylindrical pyxides with flat or rounded lids, rectangular easkets for an unidentified usage. It is easier to know for whom they were made because these objects often bear inscriptions dedicated to members of the princely family.
After the fall of the caliphate of Cordova, the ivoryworkers moved to Cuenca. The Muslim artists probably worked too for Christian clients: ivories made for churches are treated in a manner close to that of Muslim pieces.
This was apparently also the case with coppersmiths and it is not known for whom certain cast and engraved bronzes of the XIIth and XIIIth centuries were intended. such as the great Peacock aquamanile bearing an inscription. Indeed the origin of much metalwok is controversial for, at the same time, very similar pieces were being produced in Egypt, and even in Sicily.
The same problem occurs with certain rich textiles. Sericulture was introduced into Spain in the IXth century. A number of silks were preserved in church treasures and were re-employed to wrap round relics, to bury princes or to make into vestments.
本次卢浮宫资料的上传到这里就暂告一段落. 这部分关于西亚北非的文物历史介绍,是卢浮宫里最值得一看的其中之一部分.历史,永远不只是一家之言 January 22 Musée du Louvre Special: The Fatimids 909-1171The Fatimids 909-1171
The Fatimids were the first among the 'Ummah -Muslim community- to found a dynasty aiming to overthrow the Sunnite caliphate of Baghdad. Ismaili' Shiites could claim legitimacy owing to their relationship to the family of the Prophet, being descendants of his daughter Fatima and of his cousin and son-in-law 'Alī. In 909, sweeping away various local dynasties, they conquered Ifriqiyya thanks to the support of the Berbers who had rallied to their cause. Sixty years later, following their plan of expansion towards the East, they seized hold of Egypt and founded Cairo, their capital, close to Fustat. However, despite their military strength and the intensive propaganda of the Ismaili missionaries in Iraq and Iran, their empire did not extend beyond Palestine, the holy places of Arabia and a part of Syria. The sovereigns -with the exception of the famous al-Hākim who ordered the destruction of the Holy Sepulchre in Jerusalem- showed tolerance towards the non-converted Jews and Christians, who were firmly integrated in the economic and political life. Though confined within its Egyptian perritories, after the rebellion of its Berber clients from Ifriqyya and the arrival in Syria and Palestine of the Seljuq Turks -followed by the Western crusaders-, the Fatimid caliphate lasted until 1171, when it was abolished by the Kurd Salah al-Din.
*Ismaili: adepts of a Shiite sect who were awaiting the return of the seventh imam Ismail.
Despite its political and military decline which began in the XIth century, Fatimid Egypt became one of the centres of international trade at the crossroads linking the Mediterranean world to that of the Indian Ocean. It retained this privileged role until the beginning of the Ottoman era. Cairo and Alexandria had supplanted Baghdad. The products of the extremely active local craftsmen were sought after as far away as Christian Europe. The Fatimid palaces mentioned in manuscripts have since disappeared and it is above all religious architecture which gives an idea of the scope of architectural patronage. The al-Azhar Mosque, erected at the foundation of Cairo and rapidly established as a madrasah (university college), at once became the prestigious religious and intellectural centre it has always remained. Its architecture and decoration, like those of other mosques built later (al-Hākim, al-Aqmar or Sālih Talā'i') added new elements brought from Ifriqiyya which were integrated into local traditions. The vigourous carved stone ornamentation of these buildings is particularly striking -blind recesses, shells, stalactites, square motifs atanding on one point adorn the facades and minarets-, while elegant Persian arcades are surrounded by calligraphic bands and the fine mihrabs are embellished with stuccowork. In Cairo and Aswan, veritable citeis of the dead were built in which the mausoleums, usually on a square plan, are surmounted by domes supported by a double drum. These impressive and austere new districts on the outskirts of Cairo, due to the all-powerful Vizir of Armenian origin, Badr al-Jamali, reflect the art of Djezireh.
The technical and aesthetic qualities of the objets d'art responded to the demands of a wealthy and sophisticated privileged class. Work in rock crystal was particularly original. The Egyptian artisans were past masters in the delicate handling of this material, probably a legacy of the Sasanid precious stone workers. According to contemporary chroniclers, thousands of pieces were kept in the palaces of the caliphs and of certain of their vizirs. Varying in size from the ewer to a tiny flask or a chess pawn, they were adorned with vegetal, calligraphic or animal motifs, carved all over and finely re-incised.
A great quantity of usually small-sized glass recipients was produced bowls, scent of kohl bottles. Free blown or pressed, they were then decorated when the glass was still hot -fillets, applied dots, "pinched" motifs- or after cooling, and then engraved or sometimes carved like rock crystal.
The iconography developed on certain woods, on ivories, lustreware or even metal is exceptionally rich. Besides the classic representations of princely pleasures, it integrates picturesque and original scenes of everyday life. The innumerable representations of animals sometimes betray a good sense of humour.
Wood and ivory were often treated in the same way. The main motifs with finely engraved details stand out against a ground of foliated scrolls, sometimes pierced. It was during the Fatimid period that the technique in woodwork of assembling small carved polygons inlaid in strips arranged in a geometrical lattice pattern was introduced to cover furniture, doors, mihrabs or cenotaphs with decoration. This method of assemblage enabled the wood to react to changes in temperature without splitting or warping.
Egyptian potters adopted the metal lustreware decoration created in Abbasid Iraq. They were applied mostly to "de luxe" pottery made in the XIth century. The rendering of certain figural scenes on dishes, now in the Museum of Islamic Art in Cairo or in Benaki Museum in Athens, shows a true mastery of the pictorial style. In the XIIth century a technical innovation occurred: clay paste was gradually replaced by siliceous paste. At that time in northern Syria, very light lustre decoration was frequently applied on a coloured or colourless transparent glaze. Other pieces, always in a siliceous paste, were embellished with designs engraved under a coloured transparent glaze. January 16 Musée du Louvre Special: The Ottomans (14th-20th century)The Ottomans (14th-20th century)
The historical Framework
founded about 1300 by 'Othmān, the Ottoman dynasty grew out of the Turkish Oghuz tribe that had settled in western Anatolia during the 13th century. It progressively extended its territory at the expense of the other Turkish emirates and, above all, Byzantium: gaining a foothold on the European mainland, it conducted a systematic policy of encirclement with regard to Constantinople. A period of unrest followed the defeat of the Sultan Bāyazīd in Ankara in 1402 by the Turko-Mongol conqueror Tīmūr Leng (Tamerlane). On May 29, 1453, the storming of Constantinople -soon renamed Istanbul and promoted to capital- by Mehmed II sealed the fate of the Byzantines and imposed the Ottoman Empire as a major power. Selīm I took over the territory of Safavid Iran and annihilated the Mumluks in Egypt. The greatest extent of the empire was reached under Süleyman the Magnificent (1520-1566) and his soon Selim II, who reigned over territories spread across three continents, from Hungary to the Caucasus, from Mesopotamia to the Algerian coast. Imperial authority was exercised from the sultan's palace. The great vizir and the imperial council (diwan) oversaw a centralised administration which passed on their decisions in the provinces. The State was supported by a professional army and a flourishing economy through fiscal, agricultural, and commercial revenues. Ottoman power remained formidable until the 18th century, and although slowly dismantled thereafter, the empire subsisted until 1924.
The Architecture
The mosques built in the 16th century marked the culmination of research on architectural space that was carried out as early as the 13th century, and had to do with two types of layout: the one a square groundplan surmounted by a cupola, the other an inverted T-plan with a double cupola, as witnessed by the monuments in Bursa and Edirne. This research was stimulated after the fall of Constantinople by study of the Saint Sophia basilica (532-537), the dome of which was both an example and a permanent challenge to the architects serving the Ottomans. Such was the case for the most famous of them, Sinan, born in Anatolia about 1489, who was a Janissary and military engineer before becoming the head architect to the imperial court. His body of work comprises more than three hundred buildings; in the mosques, with their tapering fusiform minarets accentuating the pyramidal profile, he experimented with all of the possible solutions for buildings with centred groundplans of perfect proportion, lighted by numerous windows. Of an unequalled boldness and subtlety, the mosque of Selīm II (Selīmiye) in Edirne, where the internal space is increased as much as possible by moving the load-bearing pillars out toward the walls, remains the synthesis and the crowning achievement of his work. The outward austerity of the stone buildings contrasts with the splendour of the interior decoration of ceramic tiling, the technical and chromatic evolution of which follows that of contemporary ceramic ware. Most of the mosques, like that of Süleyman the Magnificent (Syleymāniye) in Istanbul, are intergrated into the kulliye, i.e. architectural complexes including madrasa, tombs, hospitals, hospices, baths, and shops. The immense Topkapi palace in Istanbul is made up of a set of buildings and kiosks of different periods, raised in a series of courtyards sheltering workshops, official state services, kitchens, and residences reserved for the sultan and his court.
The Decorative Motifs
The origins and the inspiration of these motifs are diverse, yet for the most part they indifferently ornament architecture, ceramics, metals, manuscripts, textiles, and rugs. Some are of Chinese origin, adapted to Ottoman taste: waves and rocks on dish rims, as well as knots, clouds, bunches of grapes, and large flowers, shown in full bloom or burst open view, called hatayi; others derive from the Seljuqid repertory, such as the rumi motif, the arabesque development of a small sharply-pointed leaf. A number of these decorative motifs were created by the artists of the nakkashkhāne, the imperial workshop of painters located in the Topkapi palace, and subsequently spread throughout the entire territory. This was the case for example of the long and slender leaf with serrated edges belonging to the saz style, a word designating among other things an enchanted forest of thick vegetation sheltering fairies, and real or imaginary animals. This style, elaborated about 1530 by Shāh Qūlī in pen drawings heightened with painted and gold, developed during the second half of the 16th century and faded out during the 17th century.
More naturalistic flora were also omnipresent: the "four flower" motif conjoining tulips, hyacinths, eglantines, carnations, peonies, or roses, with which were mixed unreal flowers.
The Janissaries
The Ottomans practised the devshirme -or "collecting"- which was carried out among the children of non-Muslim (mostly Christian) populations in Anatolia and the Balkans. All of these very young boys were Islamized, educated, and, according to their capacities, assigned to the administration or the army; they could attain ranks of command, the vizirate, or even become the sons-in-law of the sultan. In the infantry, they made up an elite corps, the Janissaries.
The objects
At the end of the 15th century, the potters of Ianik -the main centre of production for Ottoman ceramics until the middle of the 17th century -perfected a new type of underglaze painted ceramic ware that was of a rare technical quality. The range of colours, limited at first to blue and white, was progressively boradened to turquoise blue, and then about 1540-1545 to subtle tones of grayish green and mauve in association with various blues. Between 1555-1560 appeared the famous "Iznik red," based on iron and silicon oxides, and applied in broad strokes on wall tiles and objects, which was soon completed by a bright emerald green. The shapes are varied: large dishes with uniform or scalloped rims, footed basins, bowls with or without lids, goblets, tankards, pen boxes, ... At the beginning of the 18th century, the Tekfur Saray factory in Istanbul produced ceramic facing tiles with motifs that were still close to those of Iznik, yet with additional colours such as yellow. Elsewhere in the 18th century, the Armenian workshops of Kütahya, whose prior activities are still poorly known, were however manufacturing piecesthat formally and decoratively derived from a completely different aesthetic ideal. The decorative techniques created in the course the 16th century, or borrowed from the rest of the Islamic world, lasted for quite some time. The objects, whether tankards, bowls, belt elements, weapons, ..., often accumulate several decorative techniques. One of those most often employed is the inlay of gold thread in metal, ceramic, mother-of-pearl, and jade. Rendered in relief, these inlaid gold threads bear leaves and flowers with high central collars enclosing gems. The textiles of silk, lampas, and velvet, often heightened by gold and silver thread, were manufactured in the workshops of Bursa and Istanbul under strict state control. The caftans, fabrics, and cushions are decorated with monumental designs that are often organised in networks of flowered mandorlas or undulating stems. The symmetrically-knotted woollen rugs, many of which come from the region of Ushak or Konya, often play upon geometrical motifs and medallions. Prayer rug designs include a mihrab niche. The "court rugs" of silk, asymmetrically knotted, with a decoration in the saz style, were doubtlessly produced for the most part in Cairo.
The Arts of the Book
The artists of the nakkashkhāne originated from the western parts of the Empire and from Iran, but soon created however a typically Ottoman painting style, marked by a powerful vitality and a realism often carried to the point of caricature. These qualities are expressed in the manuscripts of historians and biographers -Suleymānāma written by Arifi, Hüner nāma (the lives of the sovereigns from Selīm to Murād III) by Luqman, ...- in the maps and geographical writings of Piri Reis or Matrakji Nasuh, which were mainly conceived during military expeditions, as well as in the numerous Books of Festivals. The arts of bookbindings calligraphy, and illumination, by artists such as Kara Memi and Karahisari, contribute to the splendour of the works, especially the Korans and the collections of poetry. January 13 Musée du Louvre Special: The MogulsThe Moguls
At the beginning of the XIth century, Mahmud of Ghazna created a Muslim kingdom in Punjab which later passed into the hands of the Ghurids.
In 1206, one of their generals, Qutb-ud-Dīn Aybak, who, had become governor of Lahore, founded the sultanate of Delhi which was ruled over by several successive dynasties. Ibrāhīm Lodī, the last sultan, was defeated at Panipat in 1526 by Bābur, Prince of Ferghana, who claimed to descend both from Tīmūr-i Leng (Tamerlane) and from Genghis Khān. Bābur occupied Delhi and Agra, then crushed the armies of the Rajput confederation and, at his death, left territories extending from Afghanistan as far as the approaches to Bengal to his son Humāyūn (1530-1556). The Mogul empire went through a critical period which provoked the exile of Humāyūn to the court of Shāh Tahmāsp, but on his return and later during the reigns of Akbar (1556-1605), Jahāngīr (1605-1628) and Shāh Jahān (1628-1658), expansion began again until the death of Shāh Jahān, succeeding sovereigns, endowed with great religious tolerance and a profound interest for local cultures while welcoming influence from the West, took advantage of this territorial and economic power to promote a policy of patronage in all fields of art. From the beginning of the XVIIIth century, the empire started to decline and gradually diminished in size, owing to attacks by the Rajput principalities, the Afghans, the Iranians (sack of Delhi and Lahore by Nādir Shah, 1739) and above all by the British who, in 1858, exiled Bahādur Shāh II, thus putting an end to the Mogul empire.
Architecture
Mogul architecture developed slowly as it combined local traditions with elements first introduced by the Ghaznavids from Iran. Using mainly sandstone, then marble at the time of Shah Jahan, Mogul architecture presented many Indian characteristics: large penthouses supported by carved corbels, bays with geometrical or floral stone openwork (jali), small pavilions or chatri, crowning the buildings which stand on a raised base. Elements deriving from Iran and Central Asia were added: the iwan, the Persian arch, superimposed rows of openings and the decoraiton surrounding them. This blending of diverse elements produced buildings original in their general appearance and decoration. Ornamental tiles were not much used for decorative purposes, but, to begin with, there were inlays of white marble fillets in red sandstone, then coloured hardstones were set in -also used for objects- and later fragments of mirrors. Designs would sometimes outline niches or consist of geometrical patterns, though they were usually floral. Marble was carved in relief in increasingly "soft" curves (PearlMosque in Delhi Fort, 1663). The plan adopted for mosques is particular to India. Like the Arab prototype, the prayer hall, often very large (Delhi, Lahore), is situated at the end of a courtyard and is entered through a portico with monumental doors, but it does not occupy the whole length of one side. It consists moreover of a suite of three rooms, parallel to the courtyard, each surmonted by a bulbous dome often topped by an upturned lotus flower. The sovereigns financed the building of a great number of religious or civil monuments and palaces. At Fatehpur Sīkrī, built between 1571 and 1584 and for a short while Akbar's capital, the official and private buildings of distinctive Indian inspiration express the Emperor's open-minded attitude towards his Hindu subjects, their customs and their religion.
Certain tombs of emperors or of important people adopted the special form of a garden mausoleum. The first among them was that of Humāyūn, followed by those of Akbar at Sikandra, of I'timad ud-Dawla at Agra and of Jahāngīr at Shahdara (not far from Lahore). The most famous of all is the Tāj Mahal at Agra. The gardens surrounding the tombs or palaces are on the Persian model with a formal geometrical pattern of flowerbeds laid out on either side of canals which intersect at right angles and sometimes even pass through the rooms of the palaces to freshen them. Following the example of Babur and of Jahangir, Shāh Jahān himself designed his garden at Shalimar, near Lahore.
The miniature
Painters like 'Abd-us-Samad or Mir Sayyid 'Alī, who were invited to his court by Humāyūn during his stay in Iran, were Persians who worked in the Safavid style. The workshop they set up employed many artists of Indian origin such as Bīshnadās or Nanha. There they created their own style attested by the great manuscripts produced at the time of Akbar, the Bābūr-nāmeh and the Akbar-nāmeh. The artists depicted life at the court, everyday domestic scenes, hunting, war and developed a narrative style full of ardour and impetuous movement, evident inthe works of Basāwan and Manobar. Treated in acid colours, the folios are composed very differently from those of the Timurid and Safavid miniatures. Crowds of well-known figures, visible to the waist, are given prominence in the front; their clothes and weapons are described in minute detail. Hindu themes -Akbar had had the Mahabharata epic, among others, translated into Persian -blended with elements of Christian iconography- Catholicism had penetrated India with the Jesuits. During the following reigns, the number of people represented decreased, the colours tended to become pastel, and astists like Govardhan experimented on light and perspective. A profusion of imperial portraits appeared, sometimes allegorical, in which Bishitr excelled, as well as portraits of leading figures. Some painters -Miskina, Mansūr- portrayed rams, horses and other animals considered more exotic in India such as the zebra and the turkey. These folios of miniatures were assembled in albums and the margins were decorated with drawings often treated in gold. The Album of Shāh Jahān consisting of miniatures executed at the time of Jahāngīr is an example.
Objet d'art
Varying in their shape and usage, objects were produced in diverse and precious materials, and the decorative techniques employed often serembled those of the Safavid and Ottoman worlds, such as inlaid gold fillets and precious or semi-precious stones set in jade or rock crystal.
Techniques more typically Indian are used -among others, bidri metalwork originating from the Bidar region with patterns in silver or gold foil set off by metal blacked with acid; polychrome stones set in marble-, but the originality of these objects resides in the choice and interpretation of the decorative motifs rather than in the use of particular techniques. Floral motifs abound, especially from the time of Jahangir onwards. Already frequent in architectural decoration and in the miniature, irises, poppies and other flowers or plants are dealt with in a naturalistic manner, probably inspired in part by European herbaria, to adorn bowls, the houkah (water pipe), rugs, clothes, hangings, jewellery, arms, ... Weapons were highly esteemed at the court of the Moguls; they were a sign of rank and therefore of the prerogatives of their owner and were frequently offered as gifts by the emperor. The hafts of daggers are often skillfully carved in the shape of an animal. Animals adorn many bowls and powder-horns, and are also found on certain textiles. Garments, belts, cushions and curtains were made of velvet, silk and also cotton, and decorated mainly with huge flowers treated signly, in great bunches or scattered in a light semis. These are found again on rugs which, after Jahāngīr, were no longer imported from Iran and broke free from outside influences.
January 10 Musée du Louvre Special: The TimuridsThe Timurids(帖木儿)
The Timurid dynasty takes its name from its founder, Timur-i Leng (1336-1405), bettern known in the West as Tamerlane. After taking possession of Khurasan and Transoxiana, this Turkish adventurer proclaimed himself the successor of Genghis Khān and conducted for over thirty years a series of military campaigns that ravaged first Iran, then Syria, Anatolia, southern Russia, and northern India. The sack of Delhi, the capture of the Ottoman sultan Bāyazīd, the burning of the great mosque of Damascus, and the piles of skulls at the geates of rebellious cities are bound in memory with these expeditions. A merciless conqueror, Tīmūr-i Leng nevertheless applied himself to the development of the heartland of his empire, Transoxiana.
From the defeated cities, he systematically deported scholars and artists who were destined for the embellishment of the great cities of the region. The account given by Ruy Gonzales de Clavijo, ambassador of Henry III of Castile, who was given a sumptuous reception in Samarkand and Desh shortly before the death of Tīmūr, shed lights on this aspect of his personality.
The greatest sovereign of the dynasty was one of his sons, Shāhrukh (1405-1447), who reigned directly over Khurasan and Transoxiana, at the same time commanding respect of his suzerainty from the Timurid princes installed in Shiraz and Isfahan. The sovereign, his son (Ulūgh Beg, Baysonghor, Muhammad Djūkī), and his nephews (Iskandar, Ibrāhīm) were all great patrons, and the first half of the 15th century in Iran is often called the "Timurid Renaissance." The death of Ulūgh Beg (1449), a more brilliant astronomer than administrator, marked the beginning of the decline of the Timurids. Iraq and the central and southern parts of Iran were conquered by the Turkomans, who originated in eastern Anatolia. Timurid civilisation however remained flourishing until the very beginning of the 16th century under the reign of Sulān Husayn Bāyqara (1470-1506), the last patron prince of the dynasty. At this time, Herat experienced a brilliant period of artistic and literary achievement. The great Chagatai-Turkish-speaking poet, Mir 'Ali Shīr Navā'ī (1441-1501), author of some thirty works, was himself the patron and protector of the most famous painter of the period, Bihzād. The Timurids left behind them an architecture of high quality, particularly in Samarkand where numerous buildings still remain: the Bībī Khanūm mosque (1399), the Gūr-i Mīr (1404), which is Tīmūr's mausoleum, Rīgīstan square, the necropolis of Shāh-i Zindeh, a veritable museum of Timurid architecture... The traditional forms of Iranian architecture were re-employed on a monumental scale. The poverty of construction materials is concealed by the richness of ceramic tiling, which is of a remarkable technical virtuosity and variety. Their moulded or sculpted decoration, with deep recesses, allows the play of light on the reliefs thus obtained, while the ground recedes into shade. The ceramic facing thus spreads a fine woven texture over the edifice, animating the walls and felicitously lightening the architectural masses.
The chromatic range covers a camaieu of blue, to which are added violet, green, white, red, and gold. There exists a strong stylistic unity among the different fields of Timurid artistic production: deep incision perpendicular to the ground, the play on parallelism of line, recourse to the tapered demi-palmette motif in composition design, and a vegetal decoration, dense and precise, almost dry in treatment, that saturates the surface. The profuse decoration is often set off by a succession of receding planes. The use of an energetic calligraphy sometimes serves to complement the whole.
Metalwork attests great meticulousness in the attention paid to fine decorative detail. Many pieces are characterised by a tendency toward miniaturisation of the gold and silver inlay. Among the shapes commonly encountered is a globular pitcher with a dragon-shaped handle. A white-jade pitcher in the name of Ulūgh Beg (1447-1449), conserved in Lisbon, may be the prototype. THis shape lasted until the middle of the 16th century in both an and turkey. For certain objects however the decoration is larger and more vigorously organised, such as on the candlestick in the name of Tīmūr-i Leng, made in 1396 for the mausoleum of the mystic Ahmad Yasavī; revealing great sobriety, undercorated areas of the bare metal rae opposed to others decorated with gold and silver inlay.
Ceramic ware does not evidence extensive technical research, and poses problems of attribution in certain cases. A number of stylistic groups may nevertheless be distinguished. Certain pieces reveal close ties with China, particularly with the blue-and-white ceramics of the Ming period. It is not however a matter of copies, but rather free adaptations of their models. Others relate to a Mediterranean frame of reference. By its gracefully curved profile and floral decoration, the small jade bowl that was part of the collections of Louis XIV perfectly illustrates the diverse influences that converged in Timurid aesthetics.
This fusion emerged under the impetus of the naqqashkhāne, the royal workshops, where the models were produced in the form of drawings intended for the decoration of bindings, textiles, manuscripts, etc. Several ink drawings bear witness to these links. Yet it is however in the field of the miniature properly speaking that the Timurids excelled brilliantly. None of the production from the reign of Tīmūr has come down to us, and it was not until Shāhrūkh's accession to power that a renewed development in the arts of the book may be seen. In shiraz, as in Herat, there was a flourishing industry of manuscripts due to the patronage of Timurid princes.
The conception of vividly coloured full-page miniatures derives from Jalayrid precedents. The decorative detail, ever refined, strictly submits however to a clear and powerful composition. The Timurid manuscripts of the first period thus unite elegance and force, such as "the first encounter of Humāy and Humāyūn", a loose leaf taken from a Dīwān of the poet Khwājū Kirmānī. The stream, painted in silver (now oxidised), a copse of trees in bloom, a carpet of greenery and flowers, all sheltered by an enclosure before a starry background, compose an elegiac setting dear to Iranian painters and in perfect accord with the texts illustrated. In Shiraz however, up until the beginning of the 16th century, there predominated a style that is possibly cruder, but with more dynamic compositions. In Herat, during the second half of the 15th century, under the reign of Sultān Husayn Bāyqara, the arts of the book reached new heights owing to great painters such as Shāh Muzaffar, Aqā Mirak, and above all Bihzād. Audacious compositions sometimes surge forth and break through the page frame on one side to make way for a landscape in a circular arc. The palette is enriched and nuanced, frequently resorting to tonal shading and camaieu tints. This chromatic refinement goes hand in hand with an extreme attention paid to details of daily life (Khamseh by Nizami, painted by Bihzād, 1494; London, British Museum). This balanced and subtle art was not to disappear with the Timurid dynasty, inasmuch as the Iranian world was not one of rupture, but rather evolution. When Shāh Ismā'īl, the first Savavid sovereign, took power in 1506, no brutal artistic change was felt. The painter Bihzād, who had been in the service of the Timurids, took up that of the Safavids with the same talent.
Sophie Makariou Musée du Louvre Special: Persia under Mongol rule, XIIIth-XIVth centuryPersia under Mongol rule, XIIIth-XIVth century
The Mongol invasions in the XIIIth century were a decisive turning point in the history of the Muslim East. In 1206 Genghis Khan, the leader of a number of tribes in the steppes of Mongolia, ws proclaimed emperor and launched his armies on campaigns of unbelievable violence, first in the direction of China, then toward Central Asia and the Islamic world; by 1220 the Khwarezm and Transoxiana were overcome and Bukhara and Samarkand devastated. From 1227 to 1258 his successors undertook a new wave of military campaigns, sweeping westwards across Asia to conquer Persia and Mesopotamia. In February 1258 Baghdad was captured and sacked and Caliph al-Musta'sim was executed. The fall of the Abbasid caliphate had considerable impact on the entire Muslim community. The irresistible advance of the armies of Hūlāgū- Genghis Khan's grandson- arriving at the borders of Syria and Palestine, was finally halted by the Mamluks at the battle of 'Ayn Djalut, on 6 September 1260. Hūlāgū took the title of Ilkhan, signifying his nominal subordination to his brother Khubilai, the Great Khan of China. The descendants of Hulagu, the Ilkhānīds, ruled over Iraq and Persia. They were Chamanists and Buddhists but they gradually turned to Islam which became the official religion in the reign of Ghazan Khān (1295-1304). In the middle of the XIVth century, their power declined and their territories divided between the Djalayrids settling in the north and the Muzaffarids and the Injuids in the south.
From the Indus as far as Asia Minor, from the Oxus to the Euphrates, the Pax Mongolica imposed law, order and security and stimulated economic recovery. The Ilkhān rulers established at Sultaniya and Tabriz, in northwest Persia, patronised intellectual activities, showing of a pronounced taste for history, medicine and astronomy. An observatory was built at Maragha and placed under the direction of Nasīr al-Dīn al-Tūsī. The caravan routes linking western Europe to the Far East ensured the revival of an intense circulation of merchandise, ideas and people. This was the age for great travellers who, like Marco Polo setting out from Venice and Ibn Battuta from Tangiers, reached far-distant countries. Until the reign of Ghāzān, there was great religious rolerance regarding the Jews, Christians and Buddhists. Thus, according to René Grousset, "for the first time, China, Persia and the West were truly in contact".
Relatively few monuments of this period have survived, particularly examples of civil architecture. They were built in brick, following the Mesopotamian and Persian traditions. The splendid felt tents of the ancient nomad are nevertheless evoked in sumptuous miniatures. Numerous religious edifices carried on, though not without modifications, the former traditions. Funerary towers like those at Rayy or Varamin adapted the promotype inaugurated in the Xth century with the Gumbud-i-Qābūs, whereas, at the same time, great mausoleums were built with a square or octogonal hall beneath a dome like that of Uldjaytū at Sultaniya.In the mosques and madrasah- religious universities- the plan with four iwan and a domed hall which had appeared during the Seljuq dynasty was still in use. But importance was given to the verticality of the great portals adorned with corbelled squinches in a complicated maze of stalactite work; their slender aspect was sometimes emphasized, as at Ashtardjan, by two circular minarets, one on each side of the entrance. Domes prefiguring those of the Timurids increased in size and blind recesses punctuated the facades from top to bottom. Ceramic mosaic, which had made a timid apparition during the Seljuk rule, alternating with plain or glazed bricks, became an essential element in the decoration of outisde walls. For the inner decoration, Kashan specialised in the production of panels and tiles in the shape of eighty-ray stars or crosses, covered with a blue monochrome glaze or a lustre-painted decoration sometimes enhanced by some touche of blue colour. Funerary plaques and huge mihrab were also made there. They are shaped like a shallow niche filled with rows of arches bearing koranic inscriptions and invocations. A mosque lamp is places in the centre, evoking verse 35 of surat XXIV, "The Light": "God is the light of the heavens and of the erath! His light is like a niche holding a lamp". THe secrets of their craft were handed down from father to son, as in the famous Abi Tahir family of potters, whose name is found regularly on signed and dated pieces.
The good relations maintained by Persia with the Mongol dynasty of china, the Yuan, prepared the way for influences from the Far East which mixed with local traditions. Motifs of Chinese inspiration -lotus flower, dragon, phoenix, mountains or ragged clouds- enriched the iconography not only on miniatures but also on engraved metalwork and ceramics. The moulded centre pattern and the green glaze on the large haftrang dish with gilded fish, evoke Chinese celadon, wares produced in great quantities and exported during the Song and Yuan periods. Added to the previous Seljuq techniques, a new manner of decorating ceramics, formerly called SUltanabad, was introduced: the design was an underglaze painted over a slip and could be hieghtened by touches of slip in relief. Animal motifs -a rabbit, a flying phoenix, an antelope- stand out against a ground strewn with trefoil leaves. A palette of identical colours -beige, grey, white- is found in comtemporary Syro-Egpytian productions.
Coppersmiths returned to earliere shapes and processes -candlesticks, basins, bowls, pen boxes- using a copper alloy inlaid with engraved silver, more rarely with red copper or gold. In the province of Fars, craftsmen developed an original style. The designs on objects are divided into cartouches and circles framing very detailed courtly scenes on a stylised vegetal or geometrical background reminiscent of the miniature. Elongated figures are characteristic of the Fars school. These objects, like the basin with horsemen, bear the title reserved for the princes of Fars who were "heirs to the Kingdom of Solomon". The ring of fishes, first appearing in the XIIIth century both at the bottom of these basins and on earthenware, has given rise to diverse variations and esoteric interpretations. It is often thought to be a solar symbol. Some rare objects, such as casket in the shape of a mausoleum, adopt an architectural form. The Mongol school of miniaturists, operating the junction between Arab elements and those brought from the Far East, paved the way for a new tradition in art which allowed the creative spirit of the Persian artists to reach its finest expression. At Baghdad, Tabriz and later Shiraz, scientific, historical and poetical works were reproduced. The treatise on natural history The Usefulness of animals, written in the Xth century by Ibn Bakhtīshū, was copied and translated into Persian in the reign of Ghāzān. Rashīd al-Dīn, several times vizier and an illustrious historian and man of letters, was responsible for a collection of theological writting and a universal history -two contemporary illuminiated copies of which still exist, The themes of the Shāh-nāma were profusely illustrated for the fist time, notably in a series of four works produced in Shiraz, called the small Shāh-nāma owing to the reduced format of the illuminations. At Tabriz in the so-called Demotte Shāh-nāma, the contribution made by Persia was considerable. Illustration, breaking free from the text, invades the page with brave exuberance and vigour, even lyricism, in a remarkable manner. It was at the end of the XIVth century, under the Djalayrids that a tendency towards polished classicim appeared. The work of the painter Djunaid, insisting on pure lines in his drawing, and formal qualities of colour, accomplished, the transition to the new school of Timurid miniaturists.
Souraya Noujaim
The Shāh-nāma is an epic telling the story of the legendary and historical kings of Persia. It was written in 60000 distiques by the poet Firdawsi in 1010. This folio is one of the fifty-eight once contained in the manuscript from the Demotte collection, now dispersed among various public and private collections. The miniature illustrates the famous episode when Faramarz, son of Rustem, and his army were pursuing the Kabul king's tropps in full flight. The miniature is framed at the top and the bottom by several columns of text.
January 09 Musée du Louvre Special: The MamluksThe Mamluks
Historical guidlines
In 1250 Egypt passed under the domination of the Mamluks, freed Turkish slaves who had formed the elite corps of the military guard of the Ayyubid sovereigns. These Mamluks used their armed forces to seize power. Soon they were winning several battles against the Mongol hordes and, in 1260, succeeded in stopping their advance at Ayn Jalut, in Palestine. This reinforce their prestige and they expanded their sovereignty to include Syria, southeastern Anatolia and the Holy Places of Arabia. The sultan Baybars and his successors stormed the last fortresses of the crusaders; in 1291 the capture of 'Akko (Acre) put an end to the era of the crusades.
The Mamluks were of Sunnite obedience and had welcomed to Cairo the successor of the Abbasid caliph, assassinated during the capture of Baghdad by the Mongols (1258). On the strength of this legitimacy, having assured its conquests and neociated peace with the Mongols, the Mamluk Empire, ruled over by two dynasties of sultans -the Bahri Mamluks (1250-1390) and the Burji Mamluks (1382-1517)-, remained for over two and a half centuries the major power in the Near East. Astute diplomacy encouraged a considerable development of trade in this region, a privileged crossroads for exchanges between East and West. In 1517 the Ottoman sultan Selim I, seized hold of Syria and Egpyt, bringing mamluk domination to an end.
Manluk Art
The Mamluk sultans adopted the pomp and ceremony of the Fatimid caliphs and promoted an art in their image, powerful, sumptuous, highly coloured and somewhat ostentatious, reflecting the particular structure of their society. They privileged architecture, not only in Cairo, their capital, but throughout the empire. Above all they created a multitude of great funerary complexes grouped round the mausoleum of the founder, including a mosque, a madrasa (university college), and even a khanqah (a sort of monastery), a Kuttāb (small koranic school) or a sabīl (public fountain), to perpeuate the fame and momory of the man for whom the mausoleum was built. We mention here only those of the sultans Qalā'ūn (1285) and Hasan (1356) in Cairo.
These complexes were declared waqf -inalienable possessions-, and their maintenance was ensured by donations. The stone edifices have a sober look, enlivened with a few touches of colou: inlaid marble on the portals, alternating courses of stone on the facades. The minaret towers are staged, each different superimposed shaft being separated by muqarnas (stalactites). Inside the monuments, still often richly adorned with painted and gilded stuccowork inherited from the Fatimid and the Ayyubid tradition, the walls are decorated with brilliant geometrical compositions in marble and the mihrab are convered in shimmering colours.
Among the ornamental motifs used at the time of the Manluks were lotus flower and the phoenix, of Chinese origin and brought by the Mongols. But their specific contribution was the development of the elegant thuluth script, with letters traced in vertical shafts, often disposed like the rays of the sun, and the omnipresent coat of arms. These elements are associated above all in the patterns on the enamelled filded glass lamps made in Damascus or Cairo in the Ayyubid style. Ceramics are heavier than those of earlier periods, and a slip has frequently been used to mask the ground, or to paint and highlight the pattern. A similar decoration is sometimes found on contemporary pottery from Iran, or on Chinese blue and white or celadon pieces. The large vases and albarelli often used in pharmacies were exported from the XIVth century onwards to the West. Various copper alloys -bronze (copper and tin), brass (copper and zinc), triple alloys (copper, zinc and tin)-, cast or hammered and enhanced with gold and silver inlays, were employed in spectacular metalwork: basins, ewers, platters, candlesticks, caskets, ...Designs envolved considerably.
The lively, vivacous figurative representations (Baptistery of Saint Louis), typical of the XIIIth century, were succeeded in the XIVth century by more abstract compositions, among which the dominant element was epigraphical.
A desire for geometrical arangements presided over the designs for bookbindings and frontispieces of Korans with fine calligraphy and rich illuminations, and for wood carving where the patterns play on the contrast between ivory and the various species of wood assembled together. This geometrical pattern was also found on fugs where red, green and blue were the dominant colours.
Manluk society
The Manluks were a military aristocracy with a strict hierachy, a very closed society completely separated from the local population. Only freed slaves could become members of their privileged caste and even their children were excluded. There was one exception however; for dynastic reasons, the sons of the Bahri sultans were accepted, to enable the descendants of the Sultan Qalā'ūn (1280-1290) to constitute a veritable dynasty, although in principle the sultan was elected.
The slaves were bought when young. The Bahri Mamluks were predominantly Qipchaq Turks originating from southern Russia, and the Burdji Mamluks were Circassians from the Caucasus region. First they were given a religous education before receiving instruction in the martial arts of furusiya, comprising hunting, combat, equestrian games including polo, ..., as well as chess. They were lodged in military barracks built specially for them. There were twelve of them in the citadel, each one housing a thousand slaves. Discipline was particularly strict and they were forbidden, among other things, to mix with the local population. They kept their Turkic names and spoke a Turkish dialect.
Once they had finished their education, the most remakable among them was freed and entered the service of the sultan or of court dignitaries and received their first post. that of saqī (cup-bearer), for example. The army ranks and important administrative functions, such as that of a provincial governor, were reserved for them alone and their promotion depended entirely on the sultan. The sons of Mamluks could take up a military career and were allowed access to administrative offices, though they never reached the upper ranks. They were also permitted to marry local girls, whereas the Mamluks themselves could only marry other slaves.
The coat of arms
Some coats of arms appeared in Syria and Anatolia in the first half of the XIIIth century, but only the Mamluks made frequently use of them and under certain stipulated conditions, as a symbol of their very hierachical society. The coat of arms, a prerogative of the emirs, was inherent to the rank granted by the sultan and the emblem usually made some reference to the first post occupied. This coat of arms was applied to all possessions: weapons, textiles, household goods such as basins, ewers, lamps, ...and on the monuments the owner had erected. It characterised the member of their "house" and the emirs kept them throughout their life. Only the sultan, on coming to power, could change his. On the coats of arms, the colour of which was an important element, were HERALDIC ANIMALS: lion, eagle which, like the fleurde-lis, were EMBLEMS OF SULTANS; EMBLEMS OF OFFICE: bowl of saqī for the cup-bearer; polo sticks for the djukandār, te polo master; writing table for the dawādār or secretary; cloth for the djamdār, master of the wardrobe;a sword for the silāhdār, arms-bearer. Other signs included the TRIBAL MARKS or DYNASTIC EMBLEMS such as the five-petalled rose of the Rasulid sultans of Yemen.
It was Muhammad al-Nāsir ibn Qalā'ūn (1294-1340) who inaugurated the epigraphical coat of arms consisting of a device and the sultan's name. In the XVth century the use of a composite coat of arms became more frequent. Its different sub-ordinary charges marked the affiliation to a sultan or to a high dignitary. It could also be a collective emblem.
Musée du Louvre Special: Egypt, The Near East, Anatolia, XIIth-XIIIth centuryEgypt, The Near East, Anatolia, XIIth-XIIIth century
The development of the arts
The military and political conflicts assembling or opposing people of various races, ethnic groups and tonques, led in return to fruitful cultural and commercial exchanges, engendering flourishing activity in all the arts. This progress was favoured, moreover, by the rise of a bourgeoisie ready to take part in artistic patronage.
Architecture
Architecture developed in accordance with religious, military and commercial objectives. Emphasis was placed on the madrasah -university colleges- built with a view to combatting Shiism, on citadels and fortresses erected at strategic points, on caravanserai, shelters at stages along the main routes where travellers could find all they required for themselves and their animals. The madrasah often integrated the iwan, an Iranian structure, in their plan, a large vaulted hall completely open on one side. In Syria, where the iwan appeared first of all, it served as a prayer hall opening onto a courtyard surrounded by porticoes, like the Firdaws at Aleppo, 1236. It was used only once in Egypt at the madrasah of Sultan Nadjm al-Dīn Ayyūb, 1246, but very frequently in Anatolia where a plan with four iwans prevailed, in which they are arranged in pairs facing each other on either side of the central court.
A new decorative technique of mosaic in coloured marbles embellished some Syrian gateways and mihrab -Firdaws madrasah- Nevertheless, sculpture on stone remained pre-eminent, Always sober and forceful in Syria, it alternated in Egypt with stuccowork, following the Fatimid tradition. It was developed particularly in Anatolia: in strong relief or with profuse details like lace, representations of animals, sometimes of people, as on the ramparts at Konya.
Pottery
On siliceous paste pottery, a light elegant design is often painted in quick supple brushstrokes under a transparent colourless or coloured glaze. Certain piecces perpetuate the Fatimid lustre technique, other, found in the region of Rusafa in Syria, present an interesting chromatic range, enriched with red, comparable to the Iranian haft rang ceramics. One series, with a slip paste and an engraved design, recall Byzantine productions.
Glass
Syrian glassmakers rediscovered a technique employed in the 1st and IInd centuries A.D., an enamelled design painted with coloured glass powder. Once adorned, the piece was enhanced with gold often applied on a thick red underlayer to give it added relief, and was then refired at a low temperature to set the enamels. This technique was used only in Syria, and later in Egypt. On the earlier pieces, fine drops of enamel imitated pearls, but inscriptions and figured motifs prevailed.
Metal
Influenced at first by Persian bronzesmiths who fled from their country invaded by the Mongols, the art of metalwork in the Near East rapidly gained importance. The craftsmen created new forms such as large basins adorned with delicate arabesques inlaid with silver or copper which served as background for an exceptionally rich iconographic decoration. New themes appeared: processions of dignitaries converging towards a sovereign, people in a garden, others in a rustic setting, acrosbats, wrestlers... Fifteen objects are decorated with subjects ofChristian inspiration: scenes from the life of Christ or ecclesiatical figures alternate with motifs taken from the Islamic repertory (inscriptions, hunting, agme of polo...). A set of small candlesticks in the same shape and almost the same size, attributed to the Si'irt region in Anatolian Jazirah, are adorned with a single design illustrating occupations of the days and the months.
The miniature
This was a period when the Arabian miniature florished in Syria, in al-Jazirah and at Baghdad. Overflowing with vitality, it illustrates literary works (The Book of Songs, The Book of Kalila and Dimma, The Maqāmāt -assemblies- of Hariri), but also scientific works (The Book of Theriacs, The Book of the Knowledge of mechanical Processes by 'al Jazarī, The Books of Plants by Dioscorides). Miniatures are painted directly on a cream paper, the bright flat colours are vibrant and harmoniously distributed and nature plays a purely decorative role. The compositions on two levels, full of anecdotic details, depict astonishingly expressive figures communicating by their gaze and the eloquent language of gesture, together with animals both stylised and exuberant.
Some historical guidelines
From the end of the XIth to the middle of the XIIIth century, these regions were the field of battles between different antagonists, constantly changing the political physionomy. Victorious over the Byzantines at Manzikert in 1071, the Seljuq Turks settled in Anatolia and in al-Jazirah at the expense of the Byzantines and the Fatimids, who also rivalled among themselves to extend their influence. The frontiers of these different principalities became even more mobile in 1096 when the Turks and Fatimids were confronted with new adversaries, the crusaders, who succeeded in seizing hold of Jerusalem in 1099 and thereupon creating small Latin states. But resistance against the "Franks" was organised. The Fatimids were supplanted in 1169 by Ayyubids, a Kurd dynasty founded by a figure who had become legendary, Salah al-Din, Saladin(撒拉丁). He regrouped the Turks, the Kurds and the Arabs in a common struggle against the crusaders. In 1187, after winning the Battle of Hattin, Jerusalem was regained. Salah al-Din had restored Sunnismand united Egypt, Syria, part of Arabia and al-Jazirah under his rule, but after his death in 1193, his empire was divided among diverse branches of his family, while at Mosul the Zangid dynasty, which had maintained its hold there, was evicted in 1222 by the regent, Badr al-Dīn Lu'lu', and at Baghdad the caliphate found new vitality.
In the middle of the XIIIth century, the political map of these regions was altered once again, following some major events: in 1250 the Manluks seized power in Egypt and, in 1258, the Abbasid caliphate succumbed under the brows of the Mongol invaders.
al-Jazirah
Arab geographers gave this name in the Middle Ages to the region comprised between the Tigris and the Euphrates, assimilating it to an island (jazirah in Arabic). It included southwest Anatolia, northern Iraq and northern Syria; though parcelled out politically, it as a real geographical and cultural centre.
The nisba al-mawsili
From the end of the XIIth to the beginning of the XIVth century, some forty pieces in metal, executed in al-Jazirah, Damascus and Cairo, were signed by artists employing the Nisba (indication of origin) al-mawsilī,thus claiming that they derived from Mosul, a town renowed for its workshops where several objects in the name of Badr al-Din Lu'lu' were made. These artists often travelled from one town to the other, in search of patrons. Mention can be made of Ibrāhīm ibn Mawāliya al-Mawsilā who signed a famous ewer, and of 'Umar al-Dhaki al-Mawsilī who made a basin which is also in the Louvre.
The Book of Kalila and Dimna
This is a collection of moral tales, assigned to a Vishnuish Brahman, around the IIIrd century A.D. It presents above all scenes of animals conversing and behaving like human beings, and it owes its name to the two main protagonists, both jackals. The text was traslated from Sanskrit to Pahlavi in VIth century, then to Arabic by Ibn al-Muqaffa' in the VIIIth century. The work acquired great fame and the Arabic text served as the basis for very many later traslations into over twenty different languages. La Fontaine knew it from a Latin version and drew inspiration from it for some of his fables, among which Perrette et le pot au lait (Perrette and the milk jug).
January 08 Musée du Louvre Special: Iran from the Xth tothe XIIIth centuryIran from the Xth tothe XIIIth century
Eastern Iran from the Xth to the mid-XIth century
Like Spain and North Africa in the West, the Moslem East (Kborasan and Transoxiana) rapidly escaped the direct rule of the Baghdad caliphate. In the Xth century the Samanids, after having fulfilled various offices as governances in the service of the Abbasids, gradually constituted a veritable empire of their own, As Sunnite Muslims they did not contest the spiritual "certainty(?)" of the Abbasid caliph. They consideredthemselves as restorers of the national Iranian tradition and their court was responsible for the rebirth of Persian which for centuries became the cultural language of the Islamic world from Anatolia to India. The Samanid state, with the great cities of Nishapur(你沙不耳), Samarkland(撒麻耳干) and Bukhara(不花喇) (the capital) built along the great caravan routes linking the Islamic world to the Far East and also to the North, benefitted from this propitious situation at the crossroads. The Saminids were supplanted at the end of the Xth century by their former Turkish mercenaries, the Ghaznavids, who first settled in Afghanistan. Nevertheless, during the reign of these Turks who spoke very little or no Arabic, Persian culture continued to flourish. Ferdowsi who wrote the Shāh-nāmeh, the great national Iranian verse epic which later was constantly copied and illustrated, lived for a while at the court of Mahmud of Ghazna. The mathematician, astronomer and historian al-Biruni followed the sultan in his campaigns through northern India.
Among the architectural achievements due to the patronage practised by these two successive dynasties, two buildings can be mentioned, whose plan and structure influenced subsequent constructions, in Iran: on the one hand the Samanid Mansolenm(?), in Bukhara -its square plan srmounted by a dome was used over and over again as a prototype concurrently with the funerary tower which was then developed in central Iran; on the other hand, the Ghaznavid palaces of Lashkari Bazaar (in present-day Afghanistan), whose plan consisting of a countyard bordrerd by four iwan -a vaulted hall completely open on one side -, was systematically employed for very different deifaces (mosques, madrasah, ...) from the Seljuq period onwards. Decorative art reflects both the persistence of certain techniques and decorative motifs and real innovations.
Continuity is particularly evident concerning luxury textiles. The workshops in Merv, Bukhara and Nishapur carried on the Sasanian tradition of samite silk woven for privileged clients, and also for diplomatic presents. Some of these textiles have been found in the West, such as the Josse Shrond, probably brought to France by Etienne de Blois, brother of Godefroy de Bouillon.
A great number of cast bronze objects with an incised degisn, executed in Khorasan, attest once again the perenniality of the craftsmen's techniques. Certain pieces are in white bronze, a copper alloy with a high tin content.
Particularly brillian inventiveness is found in ceramic art. The potters apparently made no attempt to produce earthenware with a high-fired decoration or metal lustre much in favour in Abbasid Iraq. They developed their own techniques, usually based on the use of slips applied on a clay body under a transparent glaze. The effects obtained are very varied: a sober contrast when the black slip decoration is painted on a white slip base, a discreet multicoloured design with added highlights in a brick slip or a larger palette associating touches of different coloured glazes to the slips.
Iran from the mid-XIth to the early XIIIth century
The advance of the Turks into the Islamic world now entered a decisive phase. The seljuqs, originating from Central Asia and converted to Sunnism, moved westwards after having chased the Ghaznavids from Iran in 1040. Masters of Baghdad in 1055 (the Abbasid caliph had conferred the title of sultan on one of their chiefs, Tugbril Beg), they swept into Syria and Palestine. The conquest of Anatolia, under the protection of the Byzantines for the last four centuries, began after the emperor Romanus Diogenes was defeated in 1070. The various territories were shared out amongst several Seljuq princes. The dynasty known as the "Great Seljuqs" who governed Iraq and the whole of Iran, reached the height of power in the reign of Malik Shāh (1072-1092), strongly supported by Nizām al-Mulk, his remarkable Iranian vizir. Undermined by internal dissension and confronted with attacks from the Turks of Khwarezm, the Seljuq dynasty finally collapsed at the end of the XIIth century, shortly before the Mongol conquest.
Anxious to counter the Ismailian Shiite propaganda vehicled by missionaries sent by the Fatimids of Egypt, the Seljuqs erected a number of madrasah (university colleges) to dispense orthodox teaching. On a similar plan to that of contemporary mosques (the Friday Mosque in Isfahan, the Zaware Mosque), they were usually built round a central courtyard onto which opened four iwan or porches. The mausoleums, many examples of which have survived, followed various plans: tall funerary towers, square halls beneath domes or a combination of the two. Brick played a dominant role in all these buildings, both as construction material and for architectural decoration (the introduction of discreet coloured highlights in glazed brick). Stucco was also widely used, particularly for the tall mihrabs. The quality, quantity and diversity of its productions made the Seljuq period one the finest in the history of ceramics in the Muslim East. In the regions of Amol, Aghkand and Zanjan, south and west of the Caspian Sea, a thick earthenware was produced, decorated either with incised or champlevé motifs over a slip coating and under a transparent glaze, such as the Lion bowl. Some are particularly original, for example the Ewer with an animal's head, adorned with a strange bearded figure.
In large towns of Central Iran such as Kashan, the potters used siliceous pastes to produce an astonishing variety of forms and decoration. The influence of Chinese ceramics is evident on certain thin bowls covered with a transparent or opacified glaze. Designs in metal lustre painted on a usually opacified glaze became very popular again and the potters introduced a polychrome low-fired decoration (haft rang, i.e. in seven colours) to illustrate episodes from the Shāh-nameh or other figural scenes executed with the skill of a miniaturist.
Regarding metalwork, craftsmen continued to make objects in cast bronze with an incised and sometimes pierced design: some zoomorphous incense burners, strongly stylised, evoke perfectly the animal depicted. In the course of the XIIth century, coppersmiths developed techniques of gold, silver or copper inlay on pieces in laiton (alloy of copper and zinc) enabling subtle polychrome effects to be obtained. Very elaborate techniques were involved: the Candlestick with ducks was made from a hammered sheet of metal, reworked in repoussé, incised and inlaid with silver and brass.
Annick Guynot Musée du Louvre Special: Arab scienceArab Science
Islamic civilisation has played a dominant role in the history of science and technology. "Arab science" designates the studies undertaken in the field of sciences which developed from the IXth century in the Islamic world and which operated the junction between Antiquity and the modern world of the Renaissance. From Spain to India, scholars of different origins and religions translated, commented on and acquired a thorough knowledge of the Greek, Syriac, Persian and Sanskrit texts of authors of ancient times, always expressing themselves both in teaching and in writing in once and the same language, Arabic. Thus, for the first time, scientific learning became encyclopaedic. The famous philosopher al-Kindi (c. 796-870) wrote: "My principle consists first in transcribing the whole of what the Ancients have handed down to us on a subject, and then in completing any points that require further explanation, taking into account our Arabic language, the works of our times and our faculties".
In the IXth century, at the height of its fame, Baghdad established itself as a cultural capital. RElaying the Mediterranean schools of Edessa, Alexandria and Antioch, it was also the sucessor of the centres of Harran, north of Djezireh, and of Gondeshapur in southwestern Iran. Al-Mansūr (754-775), the founder of the "round city", Hārūn al-Rashīd (786-809), the caliph of the Thousand-and-One Nights, and above all al-Ma'mūn (809-833), close to the Mu'tazilite current of thought which acknowledged the importance of reason, added a new breadth and vigour to the translations introduced by the Umayyads. Envoys were sent to Byzantium, Cyprus, Syria and Egpyt and brought back copies of the works of Greek philosophers and scholars. Other documents were found in the Indo-Persian world and were translated systematically into Arabic. Another famous figure, Hunayn Ibn Ishāq (809-873), was a Nestorian Christian from Hira who, at the head of a team of translators and copyists, translated Aristotle and Plato, Hippocrates, Galen and Dioscorides. In 832, al-Ma'mūn ordered the Dār al-Hikma -the House of Wisdom- to be built in Baghdad, a library and meeting-place where over one hundred thousand works are said to have been assembled. Rival academies, equally well endowed and reputed, were set up later, such as those in Cordova and Cairo.
Sciences were also taught in the madrasah, the religious universities, and a theoretical and practical knowledge was dispensed in the hospitals.
Mathematics and mechanics
On the basis of the works of Euclid, Archimedes, Ptolemy and others, Arab mathematicians made further advances in their investigations. They accomplished considerable progress in arithmetic, algebra, geometry, as well as in trigonometry which was henceforth established as an independent science. The Arabs adopted from India and then transmitted to the West, the decimal numerical system and the zero - a deformation of the arab word sifr. They were also responsible for introducing the symbol "x" for unkonwns (deformation of the word shei'), as well as algorithms. It was in 825 that al-Khwārazmī (died 844?) wrote the first treatise on Arab algebra, al-Mukhtasar fī hisāb al-djabr wal-muqābala, -Mannual on the calculation of al-jabr and comparison -, derived from Babylonian and Indian theories. He also composed the first sine tables. The poet and mathematician Omar Khayyām (died 1132), in his work The postulates of Euclid, gave a comprehensive view of the comtemporary knowledge of the postulate of parallels. In his treatise on arithmetic dealing with decimal fractions, al-Kāshī (died 1436) - a Persian working in Samarkand for the Timurid sultan Ulūgh Beg -, was two centuries ahead compared with the Western level of knowledge at the time. Ibn al-Haytham - Alhazen - (965-1039), a mathematician and physicist living in Cairo, won fame in the field of optics and established in its general form the law of reflection.
Far from being a cultural quest isolated from daily life, mathematics were henceforth closely linked to technology. Al-Fārābī (c. 870-950), al-Birūnī (973-1050), al-Karkhī (died 1019?) and Omar Khayyam demonstrated how mathematics could be applied to mechanical sciences and help to construct hydraulic systems, survey land and make astronomical instruments such as astrolabes and celestial globes ... The most important document cencerning the technology of mechanics is the work written and illustrated in 1206 by al-Djazarī for an Artukid prince: The Book of knowledge of mechanical processes. He describes how to make instruments such as, clocks, clepsydrae, water wheels, automata, music boxes, etc.
Astronomy and astrology
Observation of the sky has always been a major preoccupation of the Arabs, particularly the Bedouins who were guided in their movements by the course of the stars. Arab astronomy, derived from the Greeks and Indians as well as from the Bedouin stellar system, "Anwa', developed rapidly. Already at the time of the Umayyads, the signs of the Zodiac were represented on the dome of the Qusayr'Amra baths in Jordan. Al-Ma'mun had an observatory built at Baghdad where Thābit ibn Qurra worked (826-901); he calculated the duration of the solar year and his estimation differs very little from that of today. Astronomy was studied for its numerous applications regarding religion: determination of the qibla, of the hours of prayer or of the month of Ramadān, but also for its practical applications: charting of maps and portulans (the oldest one was established by al-Idrīsī in 1184), studying the vault of heaven, eclipses of the moon and Zodiacal signs. Al-Sūfī (903-896), born in Merv, an astronomer and constructor of celestial globes, made a critical summary of the konwledge of his day in his Treatise on fixed stars, not hesitating to correct some of Ptolemy's theories. The famous astronomer al-Tūsī (1201-1274) was appointed director of the aragha Observatory by the Mongol sovereign Hūlāgū in 1257; there he studied the movement of the planets and, later, Copernic drew inspiration from his research. At Samarkand the vestiges of the immense observatory built by Ulugh Beg. Tamerlane's grandson, still remain.
Medicine and pharmacopoeia
The canons of Arab medicine still figured, a century ago, in the curriculum of some Western faculties of medicine, notably in Montpellier and Salerno. Transmitting the traditions of Galen and Hippocrates, it benefited above all from research carried out at the medical school at Gondeshapur, where numerous scholars had taken refuge after the schools of Edessa and Athens had been closed down. In 765 Al-Mansūr hadone of the practicians of this school brought to Baghdad; Djurdis Ibn Djibril Ibn Bukhtishū', of Christian origin, came from a long line of physicians. Harun al-Rashīd, in 787(?) entrusted his son Bukhtishu' Ibn Djurdis with the creation and direction of a maristan (hospital). Maristan, often equipped with a library and a pharmacy became a real institution in the Muslim world. The first pharmacies were opened in Baghdad around the year 800 and increased rapidly in number. They sold spices and drugs made from plants, stocked in jars or albarelli, as well as organs of animals. Very soon the first attempts were made to organise the medical professions and a systematic control was set up over the products sold by druggists.
Arab medicine depended on the complementary sciences of natural history and zoology. One of the basic texts for doctors and pharmacists was De Materia Medica, written during the first century A.D. by Dioscorides. here he studied the medicinal properties of over five hundred plants - together with a hundred others discovered by Arab botanists, including camphor, tamarind, rhubarb, senna, ... To the work of Galen translated in the IXth century, dealing with the preparation and use of theriaca - can antidote for snake poison-, important new discoveries were added. Theriaca. introduced in the West during the XIIIth century, was considered a miraculous remedy until the XIXth century. In the field of Zoology Ibn Bukhtishū' in his Manāfi al-Hayawān -on the utility of animals- discussed the therapeutic properites of various animal organs.
Among the great doctors of medicine, Abu Bakr al-Razī (Rhazes) (864-925?) must be cited; he was the author, like al-Birūnī and other Arab scholars, of an encyclopaedic work. He wrote fifty-six treatises on medicine, thirty-three works devoted to natural sciences, eight to logic, ten to mathematics, seventeen to philosophy, six to metaphysics, fourteen to theology, twenty-two to chemistry and ten more to various subjects. He was the first to distinguish between smallpox and measles. Ibn Sīnā (Avicenna) (980-1037) must be mentioned above all; his major work al-Qānūn fi attibb -the Canon of Medicine-, is a comprehensive summary of medical knowledge in his day. He completed the work of his predecessors, adding the results of his own experience as a physician, such as the recognition of the contagious nature of tuberculosis or the transmission of epidemics by earth or by water. Discovered by the West in the Middle Ages, the Qānūn remained a sort of medical bible until the XVIIIth century. Ibn Rushd (Averroёs) (1126-1198) must also be cited, as well as Ibn al-Nafis (died 1288) who, in the XIIIth century, attempted to find a cure for ocular ailments and foresaw, three centuries before Harvey, the pulmonary circulation of the blood.
Arab doctors did a certain amount of minor surgery and carried out experimental research on anatomy, sometimes hampered by religious interdicts. They took the patient's individuality into consideration and, in orde to cure certain illnesses, would use non-medical treatments such as music (in the case of mental sickness), talismans, "magic bowls" or other popular prophylactic customs of Pre-Islamic origin.
Souraya Noujaim January 07 Musée du Louvre Special: Techniques of potteryTechniques of Pottery
The paste
The basis of all pottery is a lump of malleable paste which can be made into a given shape. This paste is a compound product resulting from a mixture of several elements; according to the proportions of the different components, it is qualified as being argillaceous (clay) or siliceous (silica).
* Argillaceous paste
This mainly consist of clay, a mineral substance which becomes plastic when wet. After crushing and sieving the clay to remove all impurities, non-plastic elements are added to prevent the paste from becoming too sticky, making it easier to handle; these are usually "grease-extracting" minerals such as ground fire-clay or quartz sand. The so-called clay paste already contains 30 to 60% silica. It varies in colour from ivory, pale buff to pink or reddish. It has been used everywhere and at all times.
* Siliceous paste
Its composition is more complex. It always contains clay which forms the plastic element, but its silica content is very much higher for it consists mainly of pulverised quartz. In certain cases an already prepared product of ground natural glass, called frit, is mixed with it. This type of paste contains 85 to 95% of silica. It can be white, fine and very hard, and attain a certain degree of translucence. In other cases, it has a sandy texture. It may be buff, greyish or pink. Employed during Antiquity in Egypt and Mesopotamia, siliceous paste was rediscovered and adopted by workshops in the urban centres of the Iranian and Syro-Epyptian worlds in the XIth and XIIth centuries. It is not possible to determine the nature of a paste with the naked eye, especially as potters have employed pastes which are halfway between these two great categories.
The shaping of an object
According to the level of their technicity and the nature of the paste, craftsmen modelled, turned or moulded a piece. The ancient process of modelling by hand continued to be employed for small parts, like handles, which can not be made otherwise.
*Turning
The use of a wheel is particularly well adapted to clay pastes. As the disc on which the ball of clay is placed rotates, the potter can, merely by manipulating it with his hands and helped by some simple tools, obtain regular and symmetrical forms.
*Moulding
Moulding, easier when dealing with much less plastic material such as certain siliceous pastes, enables series of similar pieces to be duplicated quickly. The inner surface of wooden or terracotta moulds on which the paste is smeared can be smooth or ornamented. In the second case, an object and its decoration are obtained simultaneously. The different parts of closed pieces are then cemented together with slip - a creamy mixture of fine diluted clay; these joins are sometimes visible. Certain moulded piece are finished off on the wheel. THe wheel-thrown or moulded object is then put to dry in the open air. If a simple unglazed object is required, the piece is ready at this stage for firing, which transforms the clay into a permanently hard paste.
The slip
After shaping, a piece of pottery can be covered with slip by plunging it into a bath of diluted earthy material, either white or coloured. This layer of slip which serves to smooth the surface of an object and mask the colour of the body paste, is often a support for decoration. In certain cases, the slip -usually of clay- is replaced by an "intermediate layer" much richer in silica.
Glazing
Whether with a slip or without, the clay body is usially glazed. Glaze is a thin vitreous layer which, once applied to the surface of a piece, renders it perfectly waterproof and gives it a smooth thiny aspect. The basic material of a glaze is always silica, often in the form of white sand. The temperature required to fuse the glaze was too high for medieval kilns and was lowered by adding melting agents.
- Glaze is known as alkaline when its fluxes are mainly alkalis: socium, potash. In the Islamic world, sodium from the ashes of saline plants was most frequently used.
- Glaze is called plombiferous when it contains lead oxide. THe basic glaze is transparent and colourless.
* Involontary opacification: this occurs when bubbles or crystals are present in the vitreous material.
* Volontary opacification: opacifying agents are mixed with the glaze (generally tin oxide, in which case the plaze is called staniferous).
By covering clay paste pottery with a lead glaze opacified with tin oxide, Iraqi potters in the IXth century created the first faience pieces.
* Colouring the glaze
The glaze, transparent or opacified, can be coloured by adding small quantities of oxide colourings to the raw glaze preparation:
- cobalt to obtain a more or less dark deep blue;
- manganese to obtain brown or purplish tones.
With the same oxide, different tones can be otbained according to the firing conditions and the chemical composition of the glaze:
- copper in an alkaline medium produces turquoise and in a lead medium, green;
- very polyvalent, iron and chromium contain a whole potential range of colours, green, yellow, brown, red... The diverse components of the glaze are crushed and diluted to form a fluid coat and are applied on the surface of the pottery with a brush or by immersion.
Unglazed pottery
Incised, trailed, champlevé or "à la roulette" (rolling a cylinder with an intaglio pattern) designs; these are achieved with simple tools on a still wet clay. They play on the contrast of light and shade between the surface and the more or less deeply hollowed out motifs.
Applied design: medallions or other decorative appliques, made separately, are stuck on the side with slip. Moulded design: this is obtained by pressing the paste against a mould adorned with intaglio or relief motifs.
Monochrome glaze pottery
The piece is coated with a layer of glaze on a smooth body or on an already decorated surface with an incised, champlevé or moulded design. When a coloured transparent glaze is used, the intaglio motifs in which it accumulates appear darker.
Polychromy: various uses of the slip
POtters of the Muslim world have always had recourse to the most varied decorative techniques to obtain polychrome designs.
*Design with dots or drops
The layer of slip provides a light ground which sets off dots or drops of coloured glazes, yellow, green, brown or turquoise, mixed with a colourless glaze.
*Degisn incised on the slip under a transparent glaze
A sgraffito design is scratched through the ivory slip revealing the reddish tone of the body.
*Champlevé process reveals large areas of paste surrounding light slip motifs. The same technique is used with a coloured slip applied on a light pasta (usually siliceous): a "silhouette" design under a trasparent colourless or turquoise glaze.
*Underglaze design in one or several slips on a slip base
The most attrative effects are obtained by Painting motifs in brownish black or brick red slips on a white slip base. A degisn incised or painted on a slip can be heightened with touches of slip in relief.
Polychromy: design painted under a transparent glaze
The design is painted with thinned pigments directly on the body or on an intermediate layer, and coated with a transparent colourless or coloured glaze. Unlike coloued slips which are thick and stable, the pigments used often tend to seep into the glaze during firing. Certain colours are, moreover, difficult to obtain. The whole history of underglaze painted decoration, from the time it began in Iran and Syria in the XIIth and XIIIth centuries until it reached a peak in Turkey in the XVIth century, has been one of trial and error finally crowned with success, in an attempt to obtain attractive tones and ensure they remain stable in firing. THe secret of the famous "Iznik red" perfected by the potters around 1555-1560, consists of a special method of mixing iron oxide with silica crystals.
Polychromy: design painted over the glaze
*"Grand feu" degisn
It is fired at the same time as the object itself and the glaze. Generally applied on a white opacified glaze, it plays on the effen of contrast between this light base and bold colours: blue (from cobalt), green (from copper) or brown (from manganese).
*Design requiring a second firing at a "petit feu" temperature
- Metal lustre design (lustre decoration): on a piece previously fired with its glaze and cooled, the design is painted with copper and silver oxides mixed with sulphur, ochre and vinegar. During the second firing at about 650° in reduction (the oxygen level inside the kiln is lowered by introducing smoke-producing material), metal oxides are reduced to the state of minute particles of pure metal which adhere to the slightly softened surface of the glaze. This technique, costly and problematical, was developed by Iraqi potters in the IXth century.
- "Haft rang" design (meaning seven colours in Persian): this equally delicate technique, elaborated in central Iran in the XIIth century, led in particular to a much wider range of colours. Blue and turquoise -grand feu colours- were apparently applied on the glaze before the first firing. But the more fragile colours and eventual gold highlights were then applied on the piece once it had cooled and set by a second firing at a moderate temperature (700-750°).
Firing
The first function of firing is to dehydrate the clay completely so that it loses its plasticity and is transformed into a permanently hard substance, insoluble and chemically neutral. Firing sets the design and glaze. Until now excavations have only furnished fragmentary information on the configuration of the kilns used. A great deal of material in clay still exists though which helped to stack the pieces inside the kiln:
- rods stuck in the walls to hang or hold the pottery,
- small tripods on which bowls or dishes could be placed well apart to prevent them from sticking together. At the bottom of certain bowls, these tripods have left traces in the form of three small slits in the glaze. Firing is always a lengthy the tricky operatoin. It must start slowly and needs constant watching (direct visual surveillance or the use of controls). Cooling is also a very gradual process. At any stage of firing, accidents can occur; the presence of "wasters" -unsaleable tracked or deformed pieces- on a site is an indication that pottery is being made there. January 06 Musée du Louvre Special: CalligraphyCalligraphy
Borne by a triumphant Islam and an expanisionist power, Arabic was a factor in the unification of the provinces of the empire. The new conquerors effectively imposed their language and their sign system on the majority of the peoples who fell under their domination, such as the Persian or the Turks (it was only recently, under Mustapha Kemal, that the Turks adopted Latin characters). At the end of the 7th century, the Umayyad caliph 'Abd al-Malik (685-705) made Arabic the administrative language of the empire.
Yet Arabic was first and formost the language of revelation, used by the archangel Gabriel to transmit the Koran to the prophet Muhammad. Copying the divine message, and thus glorifying and magnifying the name of Allah, thereby became an act of peity. The prophet himself insisted on the fact that "if a man writes in the Name of God, the Compassionate, The Merciful (the Basmala, the opening phrase of the Koran), he will be pardoned."
In Islamic religious iconography, it thus came to be that the letter took the place of the figurative representations that are found, for example, in Christian art. Letters - huruf - were furthermore the object of a particular science. The sign was bestowed with esoteric meaning and magical virtues.
Derived from Aramaic, Arabic script belongs to the vast group of Semitic scripts. It is written from right to left, and comprises consonants as well as long and short vowels, which are added in the form of accents. The letters, tall or short, spatially define vertical and horizontal shapes that soon lent themselves to several graphic variants.
Two types of script are distinguishable very early on, the one based on an often angular stroke, evoking geometrical shapes, the letters of which strictly follow the base line, and the other with a more fluid and curvilinear stroke.
Under the general term of Kufi - a name derived from the town of Kufah in Iraq - are subsumed the numerous variants of the first style: floriated Kufi, wherein the stems terminate in fleurons; plaited Kufi, wherein they interwine and form knots; swan's-necked Kufi, wherein the letters terminate in graceful curves. Geometry occasionally dominates the form of the letters and their layout, a variant known as squared or geometrical Kufi.
Kufi was commonly used during the first centuries of Islam, as much for manuscripts as for the decoration of objects and architecture. Cursive script evolved parallel to Kufi, which was subsequently used only for the titles of suras, the decoration of objects, and ,onumental ornamentation, where both graphic type were simultaneously employed.
The cursive script gave rise to several styles according to region and period, among others: the naskhi, which was widely employed; the maghribi, specific to Spain and the Maghreb; the thulth, and the muhaqqaq, developed during the Mamluk period in Egypt; the diwani, used in the Ottoman chanceries; and the nasta'liq in Iran.
At all times, architectural decoration turned epigraphy to great advantage. Carved in stone, stucco, or brick, composed in glass or coloured-ceramic mosaic, the inscriptions of an historical or religious character underline the moumental structures (cupola drums, door frames, wall mounts, etc.). On objects, writing is either a mere decorative element or an essential theme. Formulated vows, benedictions of ownership, title borne, poems, and adages are tirelessly repeated.
"The purity of writing proceeds from the purity of hearts."
"The foundation of the art of writing resides in the practice of virtue."
The privileged form of expression in Islamic art, calligraphy came into being through the conjunction of a graphically powerful alphabet and the Arabic language, vehicle of the divine message. Art in the highest sense of the world, calligraphy is based on specific rules; it dresses the pages, espouses the form of the objects, and integrates to the architectural decoration. More than writing, it is a veritable "music of signs" that enchants the eye, cradles the soul, and raises the spirit; it is the act by which the artist espresses as much a pure idea as an emotion.
The Koran
For Muslims, the Koran, Al-Qur'an, is the recitation which completes and concludes prior revelations, such as the Torah and the Gospels. It was revealed to the prophet Muhammad in Arabic through the intermediation of the angel Gabriel, from 610 to 632, first in Mecca and ater in Medina. The Book, al-Kitab, was definitively set down in writing in its present from under the caliphate of "Uthman(644-656), the third successor to Muhammad.
The foundation of a faith based on divine oneness, it dictates religious behaviour and was adopted as a rule of life, a veritable moral, social, and legal code.
The suras -chapters- numbering one hundred fourteen, are divided into several ayas -verses- and classified regardless of chronology in decreasing order of length, with the exception of the first, the Fatiha, the Opening. They are preceded by the ritual formula: "In the name of God, the Compassionate, the Merciful." The text itself, written in a particularly beautiful and very poetic language, has served as the basis for the codification of Arabic grammar.
The calligrapher and his instruments
The calligrapher enjoy a privileged status. He was not solely a scribe or a copyist, but a man of letter who, by dint of daily exercise, gave the letter perfection of line and bore the word to aesthetic heights.
The art of writing was taught under the aegis of masters, whose heritage was traced back to the time of the Prophet and 'Ali ibn abi talib, the first of the great calligraphers. It was only at the term of long years of practice that the apprentice calligrapher received the isdianza, the permission to sign his work. The great calligraphers, such as Ibn Muqla (†940), Ibn al-Bawwab (†1020), and Yaqut al Musta'simi (†1260), the "sultan of calligraphers," established systems of letter proportion for the different graphic styles, allowing for perfect balance between the fullness of fineness of stroke and the blank ground.
"Read in the name of the Lord [...] who instructed mankind by means of the qalam" (Koran, XCVI, 1-4). In these words the archangel Gabriel addressed the prophet Muhammad for the first time. The qalam is the quintessential instrument of the calligrapher; celebrated time and again in the Koran, the Sura LXVIII is dedicated to it. It is a reed salk or slim wooden shaft that has been obliquely cut according to the writing style desired. The point is slit with a knife -qalemtras- on a tablet of bone or ivory, the maqta'. The ink, contained in ikwells of various forms and materials, was made of nut gall and lampblack, mixed with different binding agents, gum arabic, egg white, etc.
The support materials on which the manuscript texts were transcribed are quite varied: animal bone, ceramic, silk, papyrus, parchment, and paper. From the 8th to the 10th century, as regards religious texts, the most common support was parchment, prepared from animal skins, with those parts free of imperfection reserved for the Koran. Papyrus, known since the time of the pharaohs, was mostly reserved for administrative texts and correspondence. After the discovery of the Chinese secret of paper manufacture in Samarkand, a mill was established there in 751, and shortly thereafter in Baghdad, in 796. Yet paper, which had spread throughout the entire Arab world, did not however replace parchment until the end of the 10th century. Prepared with linen and rags, the pulp was first refined and bleached, then spread on frames. Once dried, this process resulted in large sheets that were subsequently polished, with an agate burnisher for example, and then cut to the desire format.
January 02 Musée du Louvre Special: The Iranian World 8th to 13th centuryThe Iranian World
8th to 13th century
In the 10th century, the weakening of the Baghdad caliphate led to the emergence of a specifically Iranian culture, brought about by the revival of the Persian language and literature. Politically, until the Mongol invasion, the Iranian world was split up into principalities governed by dynastics for the most part of Turkish origin, notably the Saljuqs.
This was a region of intense commercial and cultural exchange, and the art of the period testifies to a dazzling urban culture. A wide variety of methods were used, giving rise to some major rechnical innovations. Pottery is characterized by the use of extremely fine, even translucent sandy pastes, a variety of decorative motifs (geometric, vegetal, and figurative), and colourful effects obtained through colored glazes, polychrome decoration, and metallic lusters. In metalwork, mastery of hammering and inlay enriched traditions that had developed over previous centuries in eastern Iran and central Asia. |
what they say have become legendary ones
in-depth background
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