Français - Fondation Max van Berchem

The 16th International Congress of Turkish Arts took place in Ankara between October 3 and 5, 2019. Prof. Serpil Bağcı , Hacettepe University, was the President of the Organizing Committee whose other members were Prof. Ömür Bakırer, METU, Filiz Yenişehirlioğlu, Koç University in Istanbul, Pelin Şahin Tekinalp, Hacettepe University, and Murat Kocaaslan, Hacettepe University.

Since the organization of the 10th Congress of Turkish Art that took place in Geneva in 1995, the Max van Berchem Foundation has sponsored several editions of the congress over the years, specifically offering scholarships to young scholars to allow them to attend this event. In 2019, these scholarships were granted to 14 scholars (identified with *) from Europe, Kazakhstan and U.S.A. (Dilyara ALIADINOVA, Institute of Archaeology/National Ukrainian Academy of Science in Kiev, Bilal BADAT, The University of Tübingen, Yasemin BAĞCI, independent scholar in Amsterdam, Jacques BURLOT, Maison de l’Orient et de la Méditerranée in Lyon (France), Zohirul ISLAM, Center for Heritage Studies in Bangladesh, Cailah JACKSON, University of Oxford, Gulbanu KOSHENOVA, Akhmet Yassawi University in Turkistan, Khalida MAHI, independent scholar in Aix-en-Provence, Ilenia PITTUI, Ca’Foscari University in Venice (Italy), Kristyna RENDLOVA, University of Oxford, Saarthak SINGH, New York University, Fırat ŞEKER, Otto-Friedrich University in Bamberg, Nicola VERDERAME, Graduate School Muslim Cultures and Societies in Berlin, Özlem YILDIZ, School of Oriental and African Studies in London) and 10 from Turkey (Ecem ALTINKILIÇ, İstanbul University, Serpil AYHAN, Hacettepe University in Ankara, Halil ELEMANA, Hacı Bayram Veli University in Ankara, Špela GROŠELJ, Istanbul University, Dila GÜMÜŞ MÜJDE, Istanbul University, Muzaffer KARAASLAN, Hacettepe University, Defne KUT NAZ, Koç University in Istanbul, Zeynep ÖZALTIN, Marmara University in Istanbul, Arda C. ÖZSU, Hacettepe University, Müge ŞEN, Ankara University).

Max van Berchem Foundation's scholarships' abstracts

Program

Thursday 3 October 2019 -Opening Session

Welcoming Remarks

An edited version of “About Suut Kemal” documentary

Günsel Renda: Suut Kemal Yetkin and Turkish Art Historiography

Filiz Yenişehirlioğlu: ICTA after 60 Years

Thursday 3 October 2019 -First Session

The Arts of the Book

Chair: François Déroche

Cailah Jackson: The Karamanids and Their Illuminated Manuscripts in Fourteenth-Century Konya*

Alison Ohta: Another Small Piece in the Puzzle: Using Tooled Impressions on Ottoman and Mamluk Bindings of the 14th and 15th Centuries as a Means of Establishing Dating and Provenance

Simon Rettig: Announcing Victory: An Early Sixteenth-Century Copy of Sura Al-Fath Sent From Istanbul to Cairo

Collections and Collectors

Chair: Gülru Necipoğlu

Zeynep Atbaş: An Important Collection from the Topkapı Palace Manuscript Treasury: the Enderun Library of Sultan Ahmed III

Ahmet Ersoy: “Network of Curiosity:” Abdülhamid II’s Visual Archives

Deniz Türker: Abdüllatif Subhi Paşa’s Cabinet of Coins: Ottoman Bibliophilia, History, and Egypt

Sabiha Göloğlu: Royal Women, the Dalā’il Al-Khayrāt, and the En’ām-ı Şerīf: Private Ownership and Endowment of Prayer Books

Architecture

Chair: Rahmi Hüseyin Ünal

Ayşıl Tükel Yavuz : A Seljuk Caravansaray on the Samsun-Amasya Road: Çakallı Han

Pınar Gnepp: Wooden Muqarnas Capitals in The Mosques of Medieval

Tuba Akar: Fire, Water, Steam and Smoke: TechnicalProblems/Questions of the Hamam

Fırat Şeker: Sinan’s Other*

Thursday 3 October 2019 -Second Session

The Arts of the Book

Chair: Bernard O’Kane

Nil Baydar: Manuscripts Dedicated to Sultan Mehmed II in the Turhan Valide Sultan Collection: A Codicological Analysis

Elif Saraç: Watermarks in the Manuscripts of the Ankara Ethnography Museum Collection

Abdulbari Demir: Conserving the Shah Tahmasp Album

Paul Hepworth: The Shah Tahmasp Album and Its Potential Influence on Ottoman Album-MakersBirinci

Collections and Collectors

Chair: Şule Pfeiffer Taş

Sibel Alpaslan Arça - Kadriye Özbıyık: The Order of the Garter Awarded to Sultan Abdulaziz: An Example of the Changing Balance of Power in the 19th

İ. Meltem Çetinkök Afşar: Turkish Handicraft Collection of Sami Bey and his Wife Sıdıka Nevin in the Context of Historical and Cultural Heritage Otu

Ayşegül Güngören: From Crete to Söke, A Population Exchange Story: The Ahmet Hilali Uzbek Family Collection

Zeynep Demircan Aksoy: An Illuminated Ilkhanid Qur’an Juz Belonging to the Waqf of Yusuf Ziya Pasha in Keban

Architecture

Chair: Baha Tanman

Ammar İbrahimgil: Examples of Grave Chambered (Crypt) Tombs in Early Ottoman Skopje: The Tombs of Paşa Yiğit Bey and İshak Bey

I. Çiçek Akçıl Harmankaya: An Example to the Bridge Pavilions: The Inscription Pavilion of Edirne Meric-Mecidiye Bridge and its Decoration

Damla Gürkan Anar: Sultan Ahmed Mosque’s Decorative Program and Furnishings

Muzaffer Karaaslan: Following an Ecole in the Ottoman Wall Paintings in Kosovo*

Thursday 3 October 2019 -Third Session

The Arts of the Book

Chair: Michele Bernardini

Lale Uluç - Bora Keskiner: From Scrolls to Albums and the Birth of the Qıt’a in Ottoman Calligraphy

Bilal Badat: The Art of Completing Unfinished Manuscripts in Ottoman Calligraphy*

Ayşe Aldemir Kilercik: An Unusual Form of Art Installation: Three-Dimensional Sufi Panels

Ceramics

Chair: Oya Pancaroğlu

Nurşen Özkul Fındık: The Diversity of Decorating Techniques in Artuqid Unglazed Ceramics

Yasemin Bağcı: Ceramics and Cultural Interaction in 14th-Century

Jacques Burlot and Yona Waksman: Defining the Decoration ProductionTechnology of an Early OttomanPottery: The Case of the “Miletus Ware”*

Artistic Interactions

Chair: Hans Georg Majer

Swietlana Czerwonnaja: The Image of the Turkish City in the Shamails of Kazan Tatars and in The Muhirs of Lithuanian Tatars: An Outside Perspective?

Andrzej Drozd: Ottoman Emblem and Devotional Figures Found in Manuscripts of the Polish-Lithuanian Tatars

Gulbanu Koshenova - Yerlan Zhiyenbayev: An Example of Mosque Architecture from Kyzylorda Region, Kazakhstan:Gani Bay Mosque*

Friday 4 October 2019 -First session

The Arts of the Book

Chair: Alison Ohta

Fatma Sinem Eryılmaz: Where Geography, Myth, and Politics Meet: An Interpretation of The Terrestrial Disk of The Ottoman Imperial Scroll

Kristyna Rendlova : The Topkapı Palace Portrayed in the 16th-Century Ottoman Illustrated Manuscripts: Between Imperial Ideology and Pictorial and Architectural Models*

Ciğdem Kafescioğlu: City and Nature in Istanbul’s Waterway Maps in the Early Modern

Melis Taner: Images of the Edge

Exhibitions and Museology

Chair: Suzan Yalman

Ayşin Yoltar Yıldırım: Between Europe, America, and Turkey: Rudolf Meyer Riefstahl and his Relations with Mehmet Ağa-Oğlu and Bernard Berenson

Funda Berksoy: Art Exhibitions in Munich and Istanbul (1909-18) as Part of German Imperialist Policies

Zeynep Simavi: Exhibiting Ottoman Art in the U.S. Capital: Contextualizing The Age of Sultan Süleyman the Magnificent

Mehmet Tutuncu: Some Unpublished Ottoman Objects of Art from the Holy Mosques of Mecca and Medina

Collections and Collectors

Chair: Nazan Ölçer

Suat Alp: Turkish and Islamic Material Cultural Heritage in Kórnik Museum: Dzialyński and Zamoyski Collections

Mireille Jacotin: A Recently Created Collection forTurkish Art for a New French NationalPublic Museum, the MUCEM (Marseilles, France)

Gwenaëlle Fellinger: Interwoven Histories: Ottoman Banners in French Collections

Olga Vasilyeva: Turkish Manuscripts in the National Library of Russia and Professor Vasiliy Smirnov

Historiography

Chair:Filiz Yenişehirlioğlu

Gülgün Yılmaz: A Comparison of 250 Years: Turkish Cultural History in the Worksof Moltke and Busbecq

Feyza Akder: Travelers, Scientist, and Painters of Landscapes: Bursa and Erzurum in 18th, 19th, and 20th Centuries

Aysu Ateş: Yanya, an Ottoman City and its Architecture through the Eyes of Western Voyagers in the 19th Century

Mehtap Serim: Thomas Allom’s Istanbul and China Engravings: A Homogenized Image of Two Baroque Worlds

Friday 4 October 2019 -Second session

Epigraphy

Chair: Doris Behrens Abouseif

Scott Redford: Seljuk Candlesticks and their Esoteric Writing

Bernard O’Kane: Placement, Design and Content: Early Ottoman Foundation

Charlotte Maury: Some Inscriptions in Nasta’liq Script on Ottoman Damascus Tiles and their Historical Significance

The Arts of the Book

Chair: Zeren Tanındı

Angela Andersen: The Execution of Al-Hallaj in the (A Translation of Stars of the Legend)

Şebnem Parladır: An Illustrated Mecmua from a Sufi’s Book Treasure

Filiz Çakır Phillip: Battle Flail – A Differentiating Feature of the Turks

Architectural Preservation

Chair: Ayşıl Tükel Yavuz

Zeynep E. Ekim: The Construction and the Restoration of Ayazağa Pavillions in the Light of New Archive Documents

Halil Elemana: An Evaluation of Documents Relating to the Construction, Repair, and Furnishings of the Yıldız Palace in the Prime Ministry Ottoman Archives*

Mine Çilingiroğlu Topçubaşı -Elif Özlem Oral: The Contribution of the First Generation (1924-1963) of Waqf Architects to Architectural Preservation

Historiography

Chair: Zeynep Yasa Yaman

Joachim Gierlichs: Katharina Otto-Dorn and Her Views on Persian (Seljuk) Art in Anatolia and Persia

Aysun A. Öksüz - Bahar Küçük Karakaş - Gizem Seymen: The Instrumentalization of Architecture in the Early Republican Period Historiography: The Case of the Journal of Illustrated History of Turkish Literature

Zeynep Özaltın: Suut Kemal Yetkin and Art Criticism: Writing on Art and Institutionalisation of the Culture of Art Criticism 1950-1980*

Friday 4 October 2019 -Third session

Artistic Interactions

Chair: Günsel Renda

Pittui Ilenia: Paolo Giovio and the Representation of the Turkish Power: Some Case Studies*

Giulia Bei: A Story of Advertising: The Representation of the East in Liebig Company Trade Cards

Naz Defne Kut: Iconography of a Catholic Victory: The Battle of Lepanto in Italian Painting*

Şule Pfeiffer Taş: The Turkish Image in the Era of Maria Theresia: Art, Politics, Propaganda

Artistic Interactions

Chair: Massumeh Farhad

Singh Saarthak: A Talismanic Tunic With Images of Mecca and Medina*

Selin İpek: Diplomatic Gifts to Ottoman Sultans: Portraits of Mughal Shahs

Shahbaz Nadhra Khan: Lahore Fort Picture Wall: Fantastical Creatures in Mughal, Turkish and Persian Imaginations

Zohirul Islam: The Connectivity of Turkish Art, Architecture and Languages in Bangladesh (Past Bengal): An Historical and Analytical Study During Medieval Period*

Wall Painting

Chair: Minako Mizuno Yamanlar

Ali Fuat Baysal: Newly Uncovered Landscape Images Within the Decoration of Kubbe-i Hadra (Green Dome)

Şeyda Algaç: Thoughts on a Group of Depicted Village Mosques With Dervish Lodge Symbols in the Aegean Region During the Westernization Period

Pınar Akın: Wall Paintings of the Arap Dede Mescit Mosque in Afyonkarahisar

Selda Alp: The Wall Paintings of Bademli Village Mosque in Afyon

Artistic Interactions

Chair: Netice Yıldız

Razan Aykaç: The Importance of Ak Kale in Silifke in Cilicia

Belgin Demirsar Arlı - Špela Grošelj: Architect Antonio Lasciac (Anton Laščak) in the Ottoman Empire*

Kiraz Perinçek Karavit: Where Did Pierre Bonnard Meet Mehmet Siyah Kalem?

Bülent Oral: Reformist Approaches in Mosque Architecture in Relation to Artist-Architect

Saturday 5 October 2019 -First session

The Arts of the Book

Chair: Serpil Bağcı

Serpil Ayhan: The Muraqqa H.2158 in Topkapı Palace Museum as a Medium that Brings Together Ottoman and Safavid Artistic Tastes*

Massumeh Farhad: Circulating Imagery: Ottoman and Safavid Albums in the 17th and 18th Centuries

Özlem Yıldız: Text And Image in the Divan of Baki: An Illustrated Manuscript from the Seventeenth Century (British Library, Add. 7922)*

Ankara

Chair: Frédéric Hitzel

Nicola Verderame: Monumentality and Infrastructure: A Hamidian Fountain in Ottoman Ankara*

Leyla Alpagut: A Modern Campus for Agricultural Education in The Capital: The Higher Agricultural Institute (1928-1933)

Simin Say: Traces of Namık İsmail in Ankara’s Child Protection Organization

Architecture

Chair: Nakış Karamağaralı

Gülberk Bilecik: Ottoman Heritage in Bulgaria Today

Hilal Kazan: Some Works of Waqfs of Ottoman Philanthropist Women in Balkans: The Case of Greece

Mehmet Zeki İbrahimgil: Crete, Chania Seyyit Suleyman Şemsettin Dede Mevlevi House (Mevlevihana)

Saturday 5 October 2019 -Second session

The Arts of the Book

Chair: Jennifer Scarce

Robyn Radway: Album Networks from the German House in Constantinople: Circulating Papers, Images, and Artists from 1568-1593

Daria Vasilyeva: Ottoman Costume Books from the Collection of Franz Taeschner in the State Hermitage Museum

Ünver Rüstem: Modern Makeovers: Late Ottoman Costume Albums and Their Legacies

Ankara

Chair: Suna Güven

İlbilge Eroğlu: Art and Culture in Ankara: Turkiye İş Bankası

Özgür Ceren Can: Ceramic Murals from the 1960s and 1970s in the Public Buildings in Ankara

Füsun Kavalcı: From 1980s to Present: Three Generations of Avanos Pottery Production and Transformation

Ceramics

Chair: Scott Redford

Gökben Ayhan: Glazed Tobacco Pipes

Khalida Mahi: Problems of Identification of the “Masters of Tabriz*

Belgin Demirsar Arlı - Şennur Kaya: The İznik Tile Kiln Excavations (2015-2018): An Evaluation of Tile Finds

Saturday 5 October 2019 -Third session

Artistic Interactions

Chair: Ömür Bakırer

Fatma Yıldız: Simultaneous Rise of Ceramic Art in Valencia and İznik: Effects of Mediterranean Trade Relations on Ceramic Exports

Ecem Altınkılıç: Ottoman Glass Art and Its Interactive Relation with Glass Art in Venice in the18th- 19th Centuries*

Stefano Ionescu - Levent Boz: Transylvanian Rugs and Their Relation to Architecture

Didem Yavuz Velipaşaoğlu: The Drawing Studio of Hereke: An Artistic Niche (1842-1914)

Sevil Akyel - Merih Sucu - Özlem Yapalak: The Seal Collection of the Kuyud-i Kadime Archive

Ceramics

Chair: Gönül Öney

Müge Şen: Şehzâde Mehmed Tomb Tiles in the Light of Current Information*

Deniz Çalış Erduman - Nazan Ilgaz: From Hamburg to Edirne. Two İznik Tile Panels and the Sultan’s Loge in Selimiye Mosque

Iryna Teslenko - Dilyara Aliadinova: Glazed Ceramics Tableware in the Early Ottoman Crimea*

Svitlana Biliaeva - Olena Fialko: Turkish Art Heritage in Ukraine: Ceramics of Kütahya

Sevinç Gök - Muhterem Koç: Findings about the Production Place of a Group of Late Period (18th-19th Centuries) Ottoman Ceramics in the Light of Archaeometric Analysis

Painting

Chair: Zeynep İnankur

Arda Can Özsu: The Portrait of Şeker Ahmed Ali Pasha in the National Art Gallery Collection in Greece and Simeon Savvidis, an Artist of Anatolian Origin*

Seza Sinanlar Uslu - Sula Bozis: Ivi Stangali (1922-1999): The Lost Member of the ONLAR Group

Aslıhan Erkmen: Contemporary Turkish Artists Inspired by Manuscripts: Three Cases

Bahattin Yaman - Emine Kayhan: The Tradition of Ottoman Map-Images and Its Application Today: The Case of Isparta

Saturday 5 October 2019 -Fourth session

Archaeology

Chair: Ali Uzay Peker

Ersoy Akın - Hasan Uçar: An Evaluation of the Production of a Group of Stone Pipes Found in the Excavation of the Agora of Smyrna and their Place in the Study of Ottoman

Emine Naza Dönmez: A New Discovery in Amasya Harşena Fortress: Yıldırım Mosque

Niculina Dinu: Archaeological Discoveries of the Ottoman Period in Braila

Aurel-Daniel Stănică: Geospatial Integrated System (GIS) for Location and Protection of the Archaeological Sites from Ottoman Dobrogea (Dobrudja)

Artistic Interactions

Chair: Mireille Jacotin

Fatma Coşkuner: On the Threshold of the Black Sea: Intersecting Discourses of Empire and Identity in Ivan Konstantinovich Aivazovsky’s

Mısra Kaya: Artistic Continuity in Transcultural Contexts: The Greek Dance

Huma Arslaner: A Hybrid Mode of European Production in Ottoman Decorative Arts: Illustrated Porcelain

Miyuki Aoki Girardelli: “Turkish” Style and Japonisme: New Findings on the Works of Léon Parvillée

Architecture

Chair: Çiğdem Kafesçioğlu

Paolo Girardelli: Ottoman Elements in Non-Muslim Architecture: An Overview of the 19th-Century Evidence in Beyoğlu

May Farhat: Beirut’s Great Umari Mosque in the Later Ottoman Period

Vassilis Colonas: Orientalism vs National Style: Art and Architecture in Thessaloniki under the Rule of the Young

Müjde Dila Gümüş: An Early Example of Second Constitutional Era Monuments: The Project of Raymond Péré*

Résumé

Le colloque international intitulé « Le patrimoine islamique à travers les archives scientifiques : nouvelles perspectives pour l’histoire de l’art et l’archéologie des pays d’Islam » s’est tenu au Musée du Louvre et à Sorbonne Université les 3 et 4 octobre 2019. Il avait pour ambition d’interroger l’apport des archives scientifiques (collections photographiques, notes, carnets de fouilles, correspondance etc.) à l’étude du patrimoine mobilier et immobilier des pays d’Islam. Établis depuis plus d’un siècle pour les plus anciens, ces fonds documentent en effet tant le patrimoine et les destructions à l’époque contemporaine – dont les cas syriens et irakiens ne sont que les exemples les plus récents et les plus médiatisés – qu’ils éclairent l’histoire de disciplines encore récentes que sont l’histoire de l’art et l’archéologie islamiques.

Dans un contexte d’accès restreint au terrain pour les chercheurs, ces archives constituent dès lors autant de corpus de sources primaires primordiaux pour l’étude du patrimoine islamique des périodes médiévale et moderne. Cette manifestation scientifique majeure a rassemblé une vingtaine de chercheurs – confirmés, postdoctorants ou doctorants – français et internationaux dont les recherches portent sur une multitude de fonds d’archives, souvent complémentaires. Les communications ont abordé l’importance de ces fonds pour l’étude d’un patrimoine disparu ou en danger tout autant que l’apport de ces archives à l’écriture de l’histoire de nos disciplines et des réseaux savants du début du XX^e siècle.

Elle a été organisée par Maxime Durocher, et les communications ont été sélectionnées par un comité scientifique composé d’Etienne Blondeau (conservateur, Département des Arts de l’Islam) et de Yannick Lintz (conservatrice, directrice du Département des Arts de l’Islam) pour le musée du Louvre et d’Éloïse Brac de la Perrière (Maître de Conférences habilitée à diriger des recherches) et Maxime Durocher (alors post-doctorant, aujourd’hui attaché temporaire d’enseignement et de recherche – ATER – en archéologie islamique) pour Sorbonne Université, constituant ainsi un exemple de collaboration institutionnelle entre un établissement muséal et le milieu universitaire. Les actes de colloque sont d’ores et déjà en cours de préparation et seront publiés sous la forme d’un ouvrage collectif co-édité par Maxime Durocher, Etienne Blondeau et Sarah Piram (Curator, Victoria & Albert Museum), prévu pour 2022.

Déroulement du colloque

Le colloque international s’est tenu le 3 octobre 2019 en la salle des 80 du musée du Louvre et le 4 octobre 2019 dans les locaux de Sorbonne Université à l’Institut National d’Histoire de l’Art, salle Giorgio Vasari. Il a réuni 23 chercheurs (de 7 pays différents) pour 18 communications réparties en 8 sessions thématiques. Une première session était dédiée aux programmes de recherches en cours sur le patrimoine syrien et irakien au musée du Louvre et au Museum für Islamische Kunst de Berlin. Cette session a autant permis de poser les problématiques communes liées aux destructions récentes du patrimoine islamique que d’illustrer les relations étroites et capitales entre ces deux institutions européennes majeures dans le champ des arts et de l’archéologie du monde islamique. Les sessions thématiques, réunissant deux à trois communications et laissant une large place aux échanges, ont permis d’aborder les principaux enjeux de l’étude des archives scientifiques dans nos domaines : documentation/reconstitution d’un patrimoine disparu ou en péril, histoire de l’archéologie islamique, constitution des réseaux savants et historiographie, questionnements méthodologiques autour de l’utilisation et de la valorisation scientifique des fonds étudiés.

Résultats et perspectives

Le succès de ce colloque a été manifeste, comme en témoigne le nombre de personnes (chercheurs, professionnels des musées, étudiants …) ayant fait le déplacement pour assister à ces deux journées. Les sessions ont toutes donné lieu à d’intenses et fructueuses discussions, enrichissant chacune des contributions présentées. Le premier bilan à tirer de ce colloque est la mise en valeur de fonds d’archives, souvent méconnus jusqu’à leur signalement récent, parfois accompagné d’une mise en ligne, par les institutions en ayant la charge (certains des fonds présentés restent toutefois encore confidentiels). Corollaire de cette valorisation scientifique, le colloque a également mis en lumière le travail important effectué ces dix dernières années par les institutions (musées, archives, bibliothèques) qui les conservent. La variété des fonds étudiés et les différentes approches de ce colloque pluridisciplinaire ont confirmé l’importance d’intégrer cette documentation remontant parfois au XIX^e siècle pour l’histoire de l’art et l’archéologie du monde islamique. Si les archives des fondateurs de la discipline (tels Ernst Herzfeld, Gertrude Bell, K.A.C. Creswell, Jean Sauvaget) étaient partiellement connues, certaines communications ont proposé un nouvel éclairage sur la constitution des réseaux savants dès le XIX^e siècle (autour de personnage comme Arthur Ali Rhôné) et hors des frontières européennes (fonds d’Osman Hamdi Bey pour l’Empire ottoman). Par ailleurs, certaines communications ont illustré l’importance du recours à des archives photographiques contemporaines (comme la contribution de Sandra Aube et Thomas Lorain autour du Moṣallā de Hérat en Afghanistan) pour documenter un patrimoine altéré ou détruit jusqu’à récemment.

Le second apport principal de cette manifestation a été le renforcement des liens entre les chercheurs autour de ces archives scientifiques. Le colloque a notamment tiré profit de collaborations anciennes (autour du fonds Creswell ou du Comité de Conservation des Monuments Arabes du Caire par exemple) ou récente (étude des archives Herzfeld par M. Saba et V. Rose dans le cadre de leurs doctorats respectifs). À plusieurs reprises, les discussions ont permis aux participants d’échanger des données personnelles sur tel ou tel fonds (notamment en ce qui concerne les correspondances des fondateurs de la discipline, éparpillées dans de multiples institutions qu’une seule personne peut difficilement consulter) et de partager des approches méthodologiques diverses et complémentaires. Enfin, le colloque a permis de placer le Louvre et Sorbonne Université, deux institutions majeures dans le champ de l’histoire de l’art et de l’archéologie islamique, au cœur des débats et des échanges autour des archives scientifiques.

S’il constituera sans doute un jalon dans l’intégration des archives à l’étude du patrimoine islamique, la nécessité de poursuivre les recherches et de renforcer la coopération internationale autour de fonds d’archives complémentaires conservés aux quatre coins du globe est clairement apparue. Ainsi, il semble important d’envisager à l’avenir l’organisation de workshops spécialisés (par type d’archives, approches ou zones géographiques concernées) afin d’affiner l’étude de ce très riche patrimoine documentaire. Par ailleurs, la mise en place de projets de recherche de plus grande envergure visant à mutualiser, au sein de portail numérique commun développé en open source, ces fonds d’archives permettrait de les rendre plus accessibles aux chercheurs et de favoriser leur valorisation scientifique. Une première étape, envisageable à court terme et appelée de ses vœux par l’ensemble des participants, pourrait consister en l’élaboration d’un portail de signalement des collections d’archives intéressant directement le patrimoine du monde islamique médiéval et moderne.

Programme

Jeudi 3 octobre 2019

Programme de recherches autour des archives du patrimoine islamique syrien et irakien
Présidence de séance : Yannick Lintz, musée du Louvre, Paris

Un répertoire des sources à l’usage des chercheurs, le Projet PAPSI/Étienne Blondeau, musée du Louvre, Paris

A Case Study of the Syrian Heritage Initiatives in the Museum for Islamic Art in Berlin/Rasha Kanjarawi, Museum für Islamische Kunst – Staatliche Museen zu Berlin

Les archives du Comité de Conservation des Monuments de l’Art Arabe du Caire
Présidence de séance : Sylvie Denoix, CNRS, UMR 8167 Orient & Méditerranée, Paris

Max Herz and the Comité de Conservation des Monuments de l’Art Arabe: A Case Study of Archival Sources in Egypt/István Ormos, Eötvös Loránd University, Budapest

Exploring the Comité de Conservation des Monuments de l’Art Arabe and its Archives: New Insights on Cairo’s Islamic Monuments/Dina Bakhoum, Université Paris 1 Panthéon Sorbonne et Leiden University

Archives et notes de fouilles archéologiques
Présidence de séance : Nathalie Ginoux, Sorbonne Université, Paris

D’Henry Viollet à Ernst Herzfeld : l’apport des archives à l’étude de Samarra et à l’histoire de l’archéologie islamique/Vanessa Rose, Université Paris 1 Panthéon Sorbonne, Paris

Victor Eustache de Lorey et l’archéologie islamique en Syrie mandataire: la fouille d’un quartier de potiers à Damas en 1922, d’après les archives de l’Institut d’art et d’archéologie musulmans/Élodie Vigouroux, UMR 8167 Orient & Méditerranée, Paris

Carnets et journaux d’une archéologue hors-normes : Marguerite van Berchem et Sedrata (1946-1955)/Cyrille Aillet, CIHAM-Université Lyon 2; Patrice Cressier, CIHAM – UMR 5648, Lyon; Sophie Gilotte, CIHAM-CNRS, Lyon

Correspondances et histoire des réseaux savants autour de l’archéologie et du patrimoine islamique
Présidence de séance : Étienne Blondeau, musée du Louvre, Paris

Une correspondance savante méconnue sur Le Caire historique : les travaux précurseurs d’Arthur Ali-Rhoné et de son cercle « antiquaire »/Mercedes Volait, CNRS-INHA – InVisu, Paris

Archaeological Correspondences: Gertrude Bell’s Letters and the Development of the Study of Early Islamic Art and Architecture/Lisa Cooper, University of British Columbia, Vancouver

Vendredi 4 octobre 2019

Études de cas : reconstituer un patrimoine disparu à partir d’archives graphiques
Présidence de séance : Éloïse Brac de la Perrière, Sorbonne Université, Paris

Enquête sur les complexes timourides du « Mosallã » à Hérat : l’apport des archives graphiques (ca. 1860-1980)/Sandra Aube, CNRS – Mondes Iranien et Indien, Paris; Thomas Lorain, UMR 8167 Orient & Méditerranée

Représenter l’Iran et ses monuments : quelques exemples d’archives au V&A et au Louvre/Sarah Piram, Victoria and Albert Museum, Londres

Les collections photographiques et la formation de l’histoire de l’art et de l’archéologie islamique
Présidence de séance : Finbarr Barry Flood, New York University, New York

K.A.C. Creswell’s International Collections: an Exceptional Archive on Islamic Architecture Heritage/Omniya Abdel Barr, Victoria and Albert Museum, Londres; Ola Seif, American University in Cairo, Le Caire

Patrimoine islamique et archéologie chrétienne : le témoignage des photographies de la Collection chrétienne et byzantine – Photothèque Gabriel Millet de l’EPHE/Ioanna Rapti, École Pratique des Hautes Études, Paris

Collecter, documenter et étudier le patrimoine mobilier : archives et collections d’objets
Présidence de séance : Mercedes Volait, CNRS-INHA – InVisu, Paris

Gaston Wiet’s Archives at the Louvre Museum and Their Significance for the Study of Inscribed Objects/Carine Juvin, musée du Louvre, Paris

La préservation de l’héritage islamique comme ligne d’action du Musée impérial sous la direction d’Osman Hamdi Bey (1881-1910)/Edhem Eldem, Boǧazıçı Üniversitesi, Istanbul – Collège de France, Paris 15

Archives et historiographie : nouveaux éclairages sur des figures pionnières de l’histoire de l’art et de l’archéologie islamiques
Présidence de séance : Edhem Eldem, Boǧazıçı Üniversitesi, Istanbul – Collège de France, Paris

Archaeology of Education: Ernst Herzfeld’s Architecture School Notebooks in the Metropolitan Museum Archive and the Intellectual Roots of Islamic Art History/Matt Saba, Massachusetts Institute of Technology, Cambridge USA

Lost, Destroyed, Forgotten : Recovering Islamic Art in Italy through Monneret de Villard’s Archives/Silvia Armando, John Cabot University, Rome

L’archéologie islamique en Syrie à l’époque du Mandat à travers les lettres de Jean Sauvaget à son père (1924-1937)/Bassam Dayoub, musée du Louvre, Paris

Durocher ill 1

Summary

This session of fieldwork had two main components : geo-archaeological investigation to understand the natures of the sub surface deposits and checking features identified in the aerial map produced after the 2018 season. The idea of the geological investigation is to provide a vertical or stratigraphic element to the mapping to gain an idea of the depth and nature of deposits likely to be encountered during excavations. One of the most useful results of this season was that the area immediately around the mosque had extensive late remains of buildings made of fired brick, often in secondary use. This indicates that reaching the earliest seventh and eighth century levels of the sites will be very difficult in this area and that the earliest deposits will be easier to reach and excavate at the southern edge of the archaeological site. Also the geological cores revealed the presence of a possible early water course which is no longer visible. Also core samples will be used to obtain ¹⁴C dates which should help to date the cultural layers.

2019 Campaign

Three sessions of fieldwork have now been carried out at the early Islamic site. During the first session we carried out a rapid survey of the whole site and the surrounding region to get an idea of how the site relates to the complex local topography in particular ancient canals, earlier pre-Islamic sites, standing monuments and shrines, as well as the natural environment which includes wetlands and stony dessert. The first season financed by the Max van Berchem Foundation comprised a surface survey as well as detailed photogrammetry. The third phase of the project took place during March and April 2019 and comprised surface survey, geological inspection, geo-archaeological sampling. In addition, results from the 2018 season were processed and used as a basis for detailed inspection of specific sites. The priorities were:

1) To get geophysical data to have a more detailed idea of the depth and nature of the stratigraphy of the early Islamic site.

2) To examine the natural geology of the site to get more idea of the natural topography before the early Islamic occupation of the site.

3) Examination of the trench or ditch next to the mosque to get an idea of how it relates to the occupation of the site.

4) Verify the results of the aerial survey by ground checking features identified in the aerial photographs.

1. Geophysical survey

The geophysical survey of the site was carried out by Martin Bates and Erin Kavanagh using a sand auger to obtain sample cores from beneath the current ground surface. Two main areas were selected for sampling, Area A to the south of the Khatwa ‘Ali Mosque and Area B on the north west edge of the site in the area of the sand quarry and the remains of the city wall. The rationale was to have core samples both from the middle of the site and also from the presumed edge of occupation. One of the problems encountered in Area A was the large amount of fired brick debris below the ground surface which meant that most of the boreholes were not able to reach below a metre. In Area B, a similar problem was encountered with large quantities of pale brown silty brown sand with occasional quartz pebbles which was very difficult to penetrate with the sand auger and appeared homogenous to a depth of five metres.

Petersen 1 19

Sand auger used to take core samples

Area A

Because of the large quantities of fired brick present beneath the surface immediately adjacent to the mosque, the main line of bore holes were laid out on a line 300 metres south of the Khatwa ‘Ali Mosque. The bore holes reached a maximum depth of nearly 6 metres (5.8 metres) and gave a detailed view of the stratigraphy in this currently unoccupied area. The surface elevation of the boreholes varied between 5 and 7 metres above sea level based on GPS survey and EGM2018 corrections. The main findings was that there is a series of manmade deposits alternating with periods of abandonment to a depth of 5.6 metres. Cultural deposits included layers of fired brick, unfired mud brick as well as layers of plaster. The water table was reached in five of the bore holes. In Borehole No. A4, cultural deposits including ceramics were found below the level of the water table possibly indicating a buried water channel later filled in with debris.

Petersen 2 19

Sand auger in use to south of the mosque Khatwa ‘Ali

Area B

Area B is located next to the remains of the city wall identified from aerial photographs and also through ground survey. The particular interest of this area was to detect if the city extended up to and possibly beyond the walls or whether the walls enclosed unoccupied areas. A secondary consideration was whether there were remains of a ditch or moat next to the wall. Unfortunately the bore holes at this location revealed very little about the cultural history of this area. Despite achieving depths of more than five metres, no appreciable change in the composition of the strata were observed. Although the strata appeared to be primarily of natural origin and were similar to the quarry deposits identified as from the Dibdibba formation, occasional patches of mortar indicate that this might be redeposited.

Samples from the boreholes are currently being examined at the University of Wales for organic material which will be sent for ¹⁴C dating. The sediments are also being examined for molluscs and micro-fauna which might indicate degrees of salinity and other environmental information.

2. Geological Investigation

For this part of the survey the team was accompanied by Dr Nawrast al-Ayobi from the University of Basrah Geology Department who helped identify the different geological strata. Examination of a large depression used for the extraction of sand and other materials revealed deeply stratified deposits (approximate depth of twenty metres) which were mostly derived from fluvial action. A total of ten layers of Quaternary deposits were identified, in turn these can be divided into two main groups : an upper clayey cohesive layer and a series of lower layers made up of cohesion-less sediments based on sand from the Dibdibba formation. The upper layer varying between one and two metres comprised a series of clay layers made of fluvial and deltaic sediments. Episodes of flash floods as well as ultra-arid periods with Aeolian deposits were identified. It was pointed out that whilst the upper clayey layers were unreliable for construction due to shrinkage and expansion the lower layers were more stable.

Petersen3 199

Examination of geological deposits in Sand quarry

3. Ditch next to the mosque

One of the principle visible features of the archaeological site of old Basra is a ditch which runs from north-west to south-east skirting the perimeter wall of the Khatwa ‘Ali Mosque. Analysis of the topographic data from the aerial survey indicates a difference in height of the bottom of the ditch from 12 metres above mean sea level to less than 3 metres above mean sea level within a horizontal distance of 500 metres. This represents a drop of 9 metres in the bed of the channel from north-west to south east which certainly supports the idea of a water channel. Examination of the sides of the channel revealed large quantities of fired brick and ceramics in the area immediately adjacent to the mosque with diminishing quantities to the south-east. This echoes the results of the bore holes indicating massive structures built of fired brick in the immediate vicinity of the mosque with declining quantities to the south. Although the C14 samples have not yet been processed it appears that the massive concentration of fired bricks represents a later phase of construction probably post-dating the 9th or 10th centuries. Examination of the sides of the channel clearly indicates that it cuts through structures built of fired brick with successive layers of occupation. This indicates that the channel not only post-dates the mosque but also that it probably post-dates most of the fired brick structures in the vicinity indicating a later medieval or later date for its excavation. Also visible within the banks of the water channel and also in most of the bore holes are gravel deposits probably indicating flash floods which occurred during the occupation of the city.

Petersen 4 19

Digital terrain map of channel to south of mosque

4. Aerial survey

In addition to the geo-archaeological survey the ground survey of sites identified from aerial photographs (both archive and UAV derived). Features identified from the photographs were checked on the ground to provide more information about which features are modern and which are historical. This survey was carried out using A3 prints from the aerial map and checking these against visible features. Amongst the modern features identified were trenches and emplacements from the 2003 conflict as well as some trenches which may date from WWI. The entire remains of the city wall were examined in more detail to reveal evidence of is construction. Important findings include the fact that the wall was probably over four metres high (maximum current height is 3.45 metres) and it was built in horizontal bands of pisé or rammed earth gradually diminishing in height as it rises (e.g. heights of 0.86, 0.54 and 0.45). It also appears that the wall was built in three layers an inner layer (0.70m thick) a core layer (0.80m thick) and an outer layer (up to 1.10m thick). Probably the most interesting observation is the remains of a least two semi-circular buttresses on the outside of the wall which may have formed part of a continuous corrugated outer surface for the walls. Unfortunately in most places the area outside of the wall has been much disturbed by recent construction and other activities so that it was difficult to investigate the presence or otherwise of an outer ditch.

Petersen 5 19

City wall from west with remains of semi-circular buttresses

Prof Andrew Petersen
School of Archaeology, History and Anthropology
University of Wales Trinity Saint David

2018 Excavations at the highland urban center ‘Tashbulak’

Frachetti 0

INTRODUCTION:

The Archaeological Research of the Qarakhanids (ARQ) project began in 2015[1] under the updated collaborative agreement between the Department of Anthropology, Washington University in St. Louis (USA) and the Institute of Archaeology of the Uzbek Academy of Sciences, signed in 2014. The primary aim of this collaborative research is to investigate the ecology, chronology, environmental history, and cultural landscape of mountain pastoralists living in the Malguzar Range of Pamir Mountain System located within the borders of Jizzakh Province of Uzbekistan, and more specifically to understand the development of high altitude urban sites in the medieval period (9^th -12^th c. CE). The primary objectives of the 2018 field season were as follows:

to determine the chronology, nature of occupation, and architectural development and technology of the citadel mound at the urban site of Tashbulak, which is located at 2100 m elevation in the Malguzar Mountain Range.
to complete topographic mapping of Tashbulak and the newly discovered urban center of Tugunbulak using drone technology.

The ARQ project field season started on July 2, 2018. The project leadership in 2018 consisted of the following members:

Michael D. Frachetti, Ph.D., Co-director ARQ, Department of Anthropology, Washington University in St. Louis (USA)
Farhod Maksudov, Ph.D., Co-director ARQ, Director, Institute of Archaeology Academy of Sciences, Uzbekistan

The 2018 field season was funded by a research grants from the Max van Berchem Foundation and Washington University in St. Louis (PI: Michael Frachetti). Logistical and institutional support was provided by the Institute of Archaeology of the National Academy of Science, Samarkand Uzbekistan as stipulated in the agreement (dogovor).

Previous work (2011-2017):

The site of Tashbulak was discovered by Farhad Maksudov and Michael Frachetti using satellite imagery and field survey as part of the Zaamin Archaeological Pilot Project in 2011. Tashbulak is located in the highlands of the Malguzar Mountain Range at approximately 2100 meters above sea level, in a border territory protected by the Military of Uzbekistan (Figure 1). Border permits were obtained to conduct fieldwork at the site in 2012, 2013, 2015, 2017, and subsequently permissions were granted. Geophysics (magnetometry and Ground Penetrating Radar) carried out in 2013 and 2105 illustrated the large-scale construction of a town with a core area of roughly 7 ha, as well as a large cemetery associated with the settlement (Figure 2). Excavations in 2012, 2015, and 2017 provide considerable information about the chronology of architecture along with the site’s cemetery, which illustrate an early introduction of Islam amongst highland communities associated with Tashbulak (Bullion et al. forthcoming).

Overview of results of the 2018 season:

The archaeological results of our 2018 field campaign provide new data that help to understand the development of political, social, and economic, development of the site of Tashbulak, and the emergence of the Qarakhanid Khanate (10^th -12^th c. CE). The main aim of our study in 2018 was to obtain in situ material to date the the earliest foundation of the citadel mound at Tashbulak, and to relate the central archaeological and architectural development with other core sectors across the town. To achieve this goal, we conducted two adjacent area excavations at the center of the citadel mound – which was identified by geophysical survey in 2015, and archaeological test excavations in 2013 and 2015 (see previous reports, also Maksudov et al. 2019) (Figure 2a & b).

In overview, the 2018 excavations of the citadel mound demonstrate that the citadel structure, which we interpret as a palatial residence, had three architectural phases. The first (and earliest) architectural constructions were built directly on exposed bedrock, and subsequently the citadel residence was reconstructed, largely preserving the orientation and layout of the initial structure. Comparing the stratigraphic data from the citadel excavations with the earliest documented architecture from across the site and the first burials documented in the cemetery, we conclude that the citadel was built as part of the initial construction phase at Tashbulak. Given the co-occurence of all the sites sectors at this early phase, we propose that Tashbulak was established as a planned urban center that included the citadel, workshops, and necropolis. Coins and diagnostic ceramics were excavated in the citadel structure and date the palatial building as early as the start of the 9^th c. CE, and the citadel continues to be occupied at least until the first centuries of the 12^th c. CE. This multiphase architectural sequence suggests a long occupation of the town, ultimately spanning numerous political regimes in the lowland territories. The C14 chronological details of the 2018 season are still forthcoming, but the stratigraphically in-situ materials along with coins and construction technology also confirm that the city was built and occupied before the region came under the political control of the Qarakhanid Khanate, and actually persisted minimally from the late Samanid period into the Qarakhanid phase 9th-12th c.

Economically, the occupants of Tashbulak were engaged in herding of sheep and cattle as shown by the recovery of archaeozoological remains. Further details concerning the archaeozoological material awaits a forthcoming comprehensive analysis. Imported trade commodities were recovered in the citadel structures including foods such as fruits, nuts, and lowland grain staples, like wheat and barley (Spengler et. al 2018). Abundant handmade ceramics trace the local production of ceramics by highland communities, while a small percentage of glazed fine-wares, a silver and glass ring, beads, and iron weapons/ tools together illustrate the diverse production and trade that fostered the city of Tashbulak from its earliest phases of construction to its collapse in the 12 th c. CE. On the basis of the archaeological excavations carried out in 2018, we conclude the citadel mound fell into disuse sometime in the early 12^th c. CE, with only ephemeral and episodic occupation by later populations – likely in the 15-16^th c.

General coordinate system & recording methods:

The area of investigation around Tashbulak was divided into a bi-scalar, site-wide grid system. The large-scale grid units are 10m x 10m ‘quadrats’ which cover the entirety of the site area. They are labeled in the north-south direction using letters (A-Z…) and numerically in the east-west direction (1-33…) (Figure 3a). Thus, any given 100m2 area can be designated with the following nomenclature: Z16 (Quadrat row ‘Z” and Quadrat column ‘16’). Within each quadrat, the site is further divided into small-scale 1m x 1m grids, in this case with each column labeled using lowercase letters ‘a-j’ in the east-west direction and each row labeled with numbers 1-10 in the north south direction.

Using this site-wide quadrat/grid system, any archaeological find can be located in local space (within a 1x1m grid) and in the overarching 10m quadrat grid as follows: ‘Z16-d2’. This would place the find in quadrat Z16, grid square d-2. The 2018 excavations were carried out in conformity with visible (cultural) stratigraphic layers (rather than arbitrary depths); individual contexts were assigned sequentially to soil horizons and archaeological features. When cultural materials (ceramic sherds, animal bones etc.) were recovered they were bagged in separate bags, labeled by context number and the 1x1m excavation grid location where they were found.

In this system, each archaeological feature (soil layer, floor, hearth, wall, pit, post-hole, etc.) received its own context number. New contexts were assigned when new features or soil horizons were uncovered. Context numbers thus describe both the stratigraphic levels as well as anthropogenic features recovered throughout the excavation operation. Arbitrary stratigraphic levels were only used in cases when it was necessary to divide thick fill levels for vertical control. Excavators dug with trowels and had high recovery rates of cultural material, including animal bone, ceramics, metal slag, glass, etc.

To locate finds according to their vertical or stratigraphic position, each find is given a numerical “context” number, which refers to the cultural layer or archaeological context within which it was found. For example, a label ‘Z16-d2-10’ refers to material located in quadrat Z16, minor grid d2, and context 10 (contexts are unique within each designated archaeological quadrat). A “Total-station” laser theodolite was used to record context depths and surfaces throughout the operation and to record the three-dimensional position (X,Y,Z) of important finds (radiocarbon samples and special artifacts). So, while “context” numbers may be duplicated within each trench, when combined with their grid label, the lable nomenclature refers to a discrete XYZ location that can be related across the entire site.

Special finds (SF) and organic samples for carbon dating (CB) were labeled according to their grid location, as well as with a sequential, unique number (e.g. SF-002 or CB-003). Soil samples were taken for flotation and archaeobotanical study and labeled using (FS) (flotation sample), with a unique sequential identifier.

Stratigraphic contexts, archaeological phases, and artifacts were documented using 3D stereometric photographs, which were digitized and combined and georeferenced within Agisoft Photoscan software to produce plan views and 3D images of the excavations. Radiocarbon sampling was conducted throughout the stratified contexts of the excavation trenches, and 10 samples were submitted to the NOSAMS laboratory for analysis.

Frachetti 1a 2

Figure 1a: The location of Tashbulak

Frachetti 1b 2

Figure 1b: Site Area of Tashbulak

Frachetti Fig 2a

Figure 2a: Architectural plan of Tashbulak from Ground Penetration Radar Survey. Subsurface walls are shown in black

Frachetti Fig 2b 3

Figure 2b: Detailed view of the citadel

Frachetti Fig 3a

Figure 3a: Location of 2018 excavation quadrats (Z16 & Y17) (North Arrow is "Grid North" in this Figure)

Frachetti Fig 3b

Figure 3b: Placement of Trench areas Z16 and Y17.(North Arrow is “Grid North” in this Figure).

SECTION 2: EXCAVATIONS AND PRELIMINARY ANALYSIS, 2018

2.1 Archaeology of the citadel mound, Quadrats Z16 and Y17

Report by Michael Frachetti, Farhad Maksudov, and Ann Merkle

2.1.1 Overview

The 2015 geophysical survey revealed a large central structure on the mounded portion of the town, which we identified in 2015 excavations as a fortified residential structure or palace (Maksudov et. al, 2019). In 2018 we placed two trenches, each measuring 10 x 10m, at the center of the citadel mound, oriented north to south to intercept what appeared as a central room feature in the GPR map (Figure 4). The first trench fell into quadrat Z16, and the second fell into Y17 (Figure 3b). The main goal of these two trenches was to determine the developmental chronology and occupation history of the main citadel structure at Tashbulak, and to relate the construction of the citadel building to relevant archaeological materials.

Frachetti Fig 4

Figure 4. Overview of excavavations on citadel mound, 2018. Trenches measure 10mX10m each

2.1.2 Archaeological excavations of trench Z16:

Architecture of the central residence:

The structural remains uncovered in trench Z16 can be characterized as stone foundations of a residential structure. Foundations are build using parallel coursing of faced stone, filled and mortared with a mud fill and surmounted by sun dried mudbrick. Remains of wood lattice built into the foundation, faced with mud daub, suggesting that the interior walls were mud-plastered giving the walls a smooth appearance. The foundations exposed in Z16 correspond to a row of rectilinear residential rooms. The central wall line defines the western edge of a N-S corridor, with an adjacent z-shaped room to the east. This area appears to have two entrances to the north and south (Figure 5). We interpret the main function of the open area to the west of the central wall in Z16 (areas a1-e6) to be a common courtyard or summer kitchen area. This space was not excavated as deeply as the neighboring section of the trench, and only a few ephemeral post supports were documented in the upper layers.

Frachetti Fig 5

Figure 5: Trench Z16, with 1 x1 m grid layout. Contexts 13-20 (final levels).

Three storage areas built in the form of a rectangular shelf, or sufa, were documented on the western exterior of the central wall feature (e5-g2). Within these structures we recovered a dense cluster of in situ ceramic vessels including serving jugs, pitchers, cups and pots, indicating the likley function of these structures as storage boxes for food and drink (Figure 6a, b).

Frachetti Fig 6a

Figure 6a: In situ ceramic vessels within storage area, Z16- e5-g2, Ctx 5-6.

Frachetti Fig 6b

Figure 6b: Detail of ceramic cache:

Adjacent to these storage structures was a fire pit structure, made of highly burned clay remincent of a tandoor (assuming the upper domed portion had collapsed) (Figure 7). The area surrounding the circular oven contained abundant ash deposits. At the bottom of the clay oven was recovered an iron implement, interpreted as a sickle blade.

Figure 7: Circular clay oven (base), Z16-f2, CTX 19.

Artifacts and key finds from Z-16:

The cluster of whole ceramic vessels recovered from Z-16 provides an excellent view of assorted handmade kitchen vessels, service ware, and jugs used in the citadel residence (Figure 7, a, b, d). A coin recovered from j6, context 3 can be dated to the mid 10^th c. CE (Figure 8). A number of beads recovered throughout the trench further suggest the occupation space was that of elite members of the city (Figure 9, e). Two small handmade, slip-painted pottery animal figurines, one of a saddled horse and the other a bird, were also recovered in Z16 -- perhaps representing toys or possibly decorative effigies (Figure 9 a, g).

Frachetti Fig 7abcd

Figure 7 : Full vessel forms, handmade fabric with slip painting from Tashbulak (2018)

Frachetti Fig 8

Figure 8 : Coin recovered from Z16, Tashbulak citadel excavations (2018)

Frachetti Fig 9

Figure 9: Assorted Small Finds from Tashbulak (2018).

2.1.3 Archaeological excavations of trench Y17:

Trench Y17 provided important resolution to our questions concerning the chronology and sequence of occupation phases of the citadel mound, and the site of Tashbulak more generally. The architectural remains exposed in Y17 illustrate a minimum of three significant rebuilding phases of citadel, dating from the late 9^th-early 12^th c. CE (Figure 10 & 11).

Frachetti Fig 10

Figure 10: Architectural remains, trench Y17

The earliest phase of construction correlates with a wide oval-sided structure, which appears to extend across the trench in a east-west direction. The room space extends north from the wall foundation, which itself roughly 1.6 m in depth. The phase-1 room is divided by a central wall segement, oriented N-S (Figure 11) . The phase-1 wall segment has a two-course stone foundation surmounted by discrete and identifiable mud-bricks, of which roughly two courses remained in situ atop the stone foundation. The phase-1 living floor and domestic hearth were uncovered a depth of roughly 2m from the surface, defining the earliest stratigraphic context at Tashbulak (Figure 12 a, Context 15/16).

The second building phase evident in Y-17 is defined by a quadalateral room oriented N-S, with the southern portion exposed in the trench (Figure 12 a, b). The deep foundation walls were between .6 and 1.2 meters in height, with clear channels where wooden framing was build into the stone - presumably to support the mudbrick walls and wooden beams for the roof.

Frachetti Fig 11

Figure 11 : Construction phases of the citadel, trench Y17

Frachetti Fig 12a

Figure 12a : Y17 Lower floor details, view westward (Tashbulak 2018)

Frachetti Fig 12b

Figure 12, b: Y17 Lower floor details, isometric view from above (Tashbulak 2018)

The Phase-3 architecture consists of a major reconstruction of the citadel residence, with wall foundations surmounting both earlier phases. While the general alignment of the walls was retained, the new walls defined larger, more palatial rooms, presumably with vaulted ceilings given the vast open room areas. Greater erosion and lack of in-situ remains makes this phase of the citadel’s architecture more difficult to reconstruct.

Artifacts and imported ceramics from Y17:

A number of important artifacts were recovered from the residential rooms excavated in Y17. First, a rare silver ring with glass inlay was found in the center of the phase-2 occupation space (Figure 9, f). The ring is decorated with vegetal designs, sized for a small hand (presumably for a child or female). A handle fragment of a green glazed oil lamp was also found, with clear analogies known from neighboring urban centers across the Qarakhanid realm (Figure 13, f). Glazed pottery with epigraphic designs was also recovered from Y17, illustrating trade items from pottery centers such as Afrosiab, Penjikent, or Aksiket (Figure 13, c, e)

Preliminary Conclusions:

The archaeology from trench areas Z16 and Y17 permitted a number of preliminary conclusions about the construction and collapse of the citadel structure (in the area excavated).

The natural bedrock outcrop of the citadel mound was leveled using local gravel and sand and prepared for the construction of the stone foundations of the citadel.
The foundations of citadel building were constructed of multiple courses of flagstones, mortared with mud.
Though little in situ mud brick remained on the walls, it is clear that the superstructure of the citadel building was constructed of mudbrick.
The building of the citadel were regularly remodeled, with a general orientation of the rooms and walls preserved through time.
The center of the room contained a large, mudbrick lined hearth or fireplace.

The chronology of the citadel building appears to be continuous from the earliest construction phase to the collapse. On the basis of the glazed ceramic forms recovered in Z16 and Y17 (and in agreement with chronological data from both c14 and coinage at the site) the earliest occupation of the citadel can be dated to the 8th c until the early 12th c. CE (derived from Baysian modelling of reported C14 dates, Appendix 1).

Frachetti Fig 13

Figure 13: Glazed pottery fragments from Tashbulak (2018)

Dr. Michael Frachetti and Dr. Farhad Maksudov

*with contributions by team specialists indicated

Appendixes:

Appendix 1: C14 results from 2018 excavations (unmodelled, calibrated AMS dates):

Frachetti appendix 1 2

Submitter idendification	Type	Accession #	Age BP	Age Err	d13c
CB -11, TBK-Z16-g5-16	Charcoal	OS-145679	1,120	15	-23.38
CB-14, TBK-Z16-i3-15	Charcoal	OS-145679	1,210	15	-23.08
CB-17, TBK-Y17-d10-10	Charcoal	OS-145681	1,140	15	-23.79
CB-25, TBK-Z16-e6-18	Charcoal	OS-145682	1,460	20	-20.58
CB-28, TBK-Z16-f8-23	Charcoal	OS-145683	1,510	25	-20.66
CB-30, TBK-Y17-f8-11	Charcoal	OS-145684	1,240	15	-23.16
CB-40, TBK-Y17-b7-14	Charcoal	OS-145685	1,230	15	-21.89
CB-42, TBK-Y17-e6-16	Charcoal	OS-145686	1,190	20	-21.16

Appendix 2: List of Contexts in Z16:

CTX #	Description
Turf	Turf
1	Under turf layers
2	N-S running wall bisecting the SE 2/3s of the 10x10
3	Under mudbrick overall
4	Inside NE quadrant room
5	Triangular wedge between CTX 2 and W wall ~1m x 4m – extends to bedrock
6	Mud layer under CTX 3
7	NW qdt, powdery grey dirt, very little material, a6:e6; a10:e10
8	Ash layer in row 1, h:? – soil sample from g1/h1 08.
9	Hearth/burn feature in CTX 4 – took carbon and soil s. h8 09
10	Wall feature beginning in CTX 5, soil and carbon s.s taken
11	Burn feature in CTX 5, soil and carbon samples taken
12	Compact _loor-like area under CTX 8 in g1
13	Compact ash/charcoal/ceramic dotted possible _loor level under CTX 6, g/h 1 / 2 (g1 01, h1 01, g2 02, h2 02)
14	Circular burned mudbrick feature in _loor under CTX 8, radiates into f2
15	SE qdt room, i1:j2; i4:j5
16	Central east room, h4-5; g8:h8
17	NE qdt room, under CTX 4
18	Under CTX 5, under ash layer – sword blade? Carbon sample
19	Ring of burned mud in F02 under/in CTX 05
20	Ring of burned mud in f01 in CTX 05
21	Compacted ash/charcoal feature in CTX 07, e/f 10
22	Compacted ash/burn feature in f/g 1, under CTX 17 in CTX 12
23	Ashy charcoal layers in NE qdt, N of CTX 17 and 15, under 06. Likely bioturbation, will keep the # but is still essentially still 06.

Appendix 3 Artifacts and key archaeological findings.

Table 1: Special Finds Recovered in 2018.

[1] This project is a continuation of previous collaborations: “Zaamin Archaeological Pilot Project” (ZAPP 2011) and the “Malguazar Uzbek-American Archaeological Research” project (MALGUZAAR 2012-2014).

Le cadre du projet

Ce projet de recherche s’inscrit dans la continuité d’un travail doctoral portant sur la calligraphie et l’épigraphie à la fin du sultanat mamlouk (1468-1517), et qui se proposait d’étudier la morphologie des inscriptions monumentales et mobilières, à la lumière de la pratique et de la théorie calligraphiques à cette époque. Au-delà de l’étude morphologique de ces écritures en majorité curvilignes, il s’agissait d’éclairer leur contexte de production et si possible leurs producteurs : calligraphes et/ ou lapicides, tout en replaçant ces inscriptions dans une culture calligraphique plus large, reflétée notamment par les traités de calligraphie, afin d’avoir une meilleure compréhension de ces inscriptions et de leur contexte culturel. Finalement, ce travail visait à redonner une place plus juste à la calligraphie d’époque mamlouke, grâce au rassemblement et à la mise en perspective des nombreuses données mobilisables dans les sources extrêmement abondantes disponibles pour cette période.

Les écritures livresques et les théories sur l’écriture de la période mamlouke ont bénéficié d’importants travaux d’édition et de mise en lumière, par des chercheurs comme Nabia Abbott[1] et Hilāl Nājī (éditeur de nombreux textes sur la calligraphie). Plus récemment, les travaux d’Adam Gacek ont marqué une nouvelle étape, à la fois en rassemblant un corpus des textes disponibles[2], en compilant un imposant glossaire des termes techniques sur l’écriture[3], ou encore en proposant quelques premières analyses[4]. Néanmoins, bien qu’ils introduisent ici et là des éléments biographiques, ces travaux ne dressaient pas un tableau clair et construit du contexte dans lequel ces écrits théoriques et pratiques ont vu le jour et au sein duquel évoluaient les calligraphes. Cette question n’a guère été abordée dans les principales publications récentes sur la calligraphie mamlouke[5]. En définitive, les écrits d’al-Zabīdī (Ḥikmat al-ishrāq ilā kuttāb al-afāq, 1184/1771), et de Müstakimzade (Tuhfat al-khaṭṭāṭīn, 1173/1759-60) au XVIII^e siècle, qui tiraient leurs informations de l’examen de certaines sources mamloukes, tout en faisant évidemment la part belle à la tradition ottomane, n’ont guère été dépassés et ont été simplement repris, au début du XX^e siècle, dans les ouvrages traitant de la calligraphie de Clément Huart[6] ou de Muḥammad Ṭāhir Kurdī[7], ou dans les listes, non exhaustives pour la période mamlouke, de calligraphes d’Ahmad Mousa[8] et de ‘Abbās al-‘Azzāwī[9]. C’est précisément cette idée de remise en contexte et en récit à partir des sources qui a guidé mon travail de thèse, en limitant ma recherche à la période circassienne, moins bien étudiée mais très riche en documents, et en croisant les données contenues dans les écrits relatifs à l’écriture, dans les dictionnaires biographiques, mais aussi dans les ouvrages historiques ou les documents de waqf, ainsi que dans les manuscrits conservés. Ces données permettent ainsi de dresser un tableau général du milieu socio-professionnel des calligraphes pour la période mamlouke circassienne, mais également d’aborder les questions de transmission calligraphique, de la théorie calligraphique, et de la pratique dans les chancelleries, à mettre en regard des données dont nous disposons pour la pratique épigraphique.

Les axes du projet

Ce projet de recherche vise à approfondir trois points plus précis relatifs à la pratique, la théorie et la transmission calligraphiques :

La question de la « fortune critique » d’Ibn al-Bawwāb :

La figure célébrée d’Ibn al-Bawwāb, dont la Risala a été commentée par les calligraphes mamlouks Ibn al-Waḥīd et Ibn al-Baṣīṣ, au début du 14^e siècle, est à l’origine de la tarīqa à laquelle se réfèrent tous les calligraphes mamlouks – et avant eux les calligraphes zangides et ayyoubides – jusqu’à la fin du sultanat : c’est encore la figure de référence principale d’al-Ṭayyibī dans ses recueils calligraphiques de 908/1503 (Istanbul, bibliothèque du Topkapı Saray et Manchester, John Rylands Library). Al-Ṭayyibī veut en effet clairement se placer dans le sillage d’Ibn al-Bawwāb, dont la qaṣīda est entièrement transcrite en thuluth dans son manuscrit d’Istanbul, et d’Ibn al-Waḥīd, dont la propre qaṣīda est citée par deux vers dans le manuscrit d’Istanbul et copiée intégralement dans le manuscrit de Manchester. Il est vraisemblable que la Qaṣīda (ou Rā’iyya) d’Ibn al-Bawwāb, assortie du commentaire d’Ibn al-Waḥīd, ait connu une fortune grandissante à la fin du XIV^e et au XV^e siècle. Les plus anciennes versions préservées de la Qaṣīda seraient d’une part, celle intégrée en tête de la Muqaddima fī ‘ilm al-kitāba anonyme de la Stadtsbibliothek de Berlin, et d’autre part, la version incorporée dans deux copies de la Muqaddima d’Ibn Khaldūn, datant du début de son séjour au Caire, soit pour l’une d’entre elle, entre 784/1382 et 786/1384 (bibliothèque de l’université de Leiden, et bibliothèque Süleymaniye à Istanbul). Quant à sa version commentée par Ibn al-Waḥīd, le Dār al-Kutub du Caire en possède une rare et luxueuse copie, probablement du XVe siècle.

L’étude du groupe des manuscrits copiés par des mamlouks :

Il s’agit d’un ensemble de manuscrits copiés par de jeunes recrues mamloukes et qui étaient destinés à la bibliothèque du sultan. Ces manuscrits comportent le plus souvent un nombre de pages limité et se caractérisent par une facture assez sobre, une mise en page aérée et des écritures de qualités inégales. Les exemples conservés, contenant le plus souvent un colophon typiquement introduit par la formule « service du mamlouk…» (khidmat al-mamlūk), apparaissent à l’époque du sultanat de Barsbāy et surtout de Jaqmaq. Le plus grand nombre d’entre eux datent du règne de Qāniṣawh al-Ghawrī, la plupart ont été envoyés avec la bibliothèque du sultan à Istanbul, après la conquête ottomane. Dans plusieurs de ces manuscrits est également mentionné le nom du casernement (tabaqa) de la citadelle du Caire auquel était affecté le mamlouk-copiste et trois manuscrits précisent en outre le nom du maître-enseignant. Barbara Flemming puis Vlad Atanasiu en ont dressé un premier recensement[10]. B. Flemming a proposé d’y voir une sorte d’exercice de cours ou de fin d’études, au moins pour les plus douées parmi les recrues, dont les travaux permettaient d’enrichir la bibliothèque du sultan. Outre les bibliothèques d’Istanbul et du Caire (Dār al-Kutub, al-Azhar), d’autres manuscrits sont éparpillés dans diverses bibliothèques occidentales. Ce recensement reste à compléter : déjà plus d’une vingtaine de manuscrits supplémentaires ont pu être repérés et un examen plus exhaustif des catalogues de bibliothèques permettra d’en étoffer encore la liste.

L’examen des manuscrits signés par des calligraphes renommés de la période circassienne :

Ces calligraphes, bien identifiés par les sources, ont été répertoriés dans ma thèse de doctorat et une liste préliminaire de leur production a été dressée. Cette étude vise à compléter ce répertoire de la production calligraphique à cette époque, qui reste très mal connue, et pourra servir de fondement à l’étude des différentes mains, à mettre en regard des traités calligraphiques de la même période. Ces manuscrits signés sont en nombre relativement limités à ce stade de recensement et se partagent entre quelques bibliothèques dont les principales sont: Le Caire, Dār al-Kutub ; Istanbul, bibliothèque du Topkapı Saray ; Istanbul, Musée des Arts turcs et islamiques ; Dublin, Chester Beatty Library ; Londres, British Library ; Paris, Bibliothèque Nationale de France.

L’examen de manuscrits conservés dans ces bibliothèques permettra ainsi de préciser ces trois axes, en vue d’une publication portant sur le milieu des calligraphes, la théorie et la pratique calligraphiques, et ses liens avec l’épigraphie à la période mamlouke circassienne.

En octobre 2018, dix manuscrits ont été examinés à la Chester Beatty Library. En janvier 2019, 20 manuscrits ont été examinés au Dār al-Kutub, dont un qui n’avait pas été repéré auparavant, unique manuscrit de la main d’un calligraphe de référence pour la tradition mamlouke. Les manuscrits repérés à la Bibliothèque nationale de France sont en cours de consultation. Des missions à la British Library et à Istanbul sont prévues d’ici la fin 2019.

Carine Juvin
Département des Arts de l’Islam
Musée du Louvre, Paris

[1] The Rise of the North Arabic Script and its Kur’ānic Development, with a Full Description of the Kor’ān Manuscripts in the Oriental Institute, (Chicago, 1939), Adolf Grohmann (Arabische Paläographie. 1 (Vienne, 1967).

[2] « Scribes, Amanuenses, and Scholars. A Bibliographic Survey of Published Arabic Literature from the Manuscript Age on Various Aspects of Penmanship, Bookmaking, and the Transmission of Knowledge», Manuscripta Orientalia 10-2 (2004), p. 3-29.

[3] The Arabic Manuscript Tradition: A Glossary of Technical Terms and Bibliography, (Leyde, Brill, 2001); The Arabic Manuscript Tradition: A Glossary of Technical Terms and Bibliography. Supplement, (Leyde, Brill, 2008).

[4] (« Al-Nuwayrī’s Classification of Arabic Scripts », Manuscripts of the Middle East 2 (1987), p. 126-130; « Arabic Scripts and Their Characteristics as Seen through the Eyes of Mamluk Authors », Manuscripts of the Middle East 4, 1989, p. 144-149; « The Head-Serif (tarwīs) and the Typology of Arabic Scripts: Preliminary Observations », Manuscripta Orientalia 9-3 (2003), p. 27-33.

[5] David James, Qu’rans of the Mamluks, Londres, 1988 ; David James, The Nasser D. Khalili Collection of Islamic Art. 2. The Master Scribes, Qur’ans from the 10th to the 14th centuries (Londres, Azimuth editions, 1992) ; Gacek 1987 et 1989, op. cit. ; Vlad Atanasiu, Hypercalligraphie. Le phénomène calligraphique à l’époque du sultanat mamluk - Moyen-Orient, XIIIe-XVIe siècle, Thèse de doctorat, École Pratique des Hautes Etudes, Paris (2003) ; Sheila Blair, Islamic Calligraphy, (Edimbourg University Press, 2006).

[6] Clément Huart, Les calligraphes et miniaturistes de l’Orient musulman, Paris, 1908.

[7] Muḥammad Ṭāhir Kurdī Tarīkh al-khaṭṭ al-‘arabī wa adabihi (Jedda, 1939).

[8] Ahmad Mousa, Zur Geschichte des Islamische Buchmalerei in Aegypten (Le Caire, 1931).

[9] (« al-khaṭṭ wa mashāhīr al-khaṭṭāṭīn fī al-waṭan al-‘arabī », Sumer, XXXVIII 1-2 (1982), p. 284-302.

[10]Flemming, « Literary Activities in Mamluk Halls and Barracks », in : Myriam Rosen-Ayalon (éd), Studies in Memory of Gaston Wiet (Jérusalem, 1977), p. 256-60 ; Atanasiu 2003, op. cit., p. 255-67.

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