Dojo Darelir, the School of Xenograg the Sorcerer

Posts Tagged ‘Middle East’


Damascus

According to the Spanish Moslem Ibn Jubayr, who had already visited Cairo and Bagdad, Damascus was, in spite of its secondary status in the Caliphate, the most populous city in the world. Behind the city walls the streets were narrow and dark, lined with three-storey houses of mud and reeds (fire was a constant danger), the bazaars noisy with metal workers and fragrant with spices, thronged with a great mixture of racial types. The many hot baths were an inheritance from Roman times. There was a large free hospital, twenty colleges for students of law and religion, convents where Sufis (the mystics of Islam) used music and dance to arouse ecstacy. The Orthodox Christian church, St. Mary’s, was brilliant with mosaics, and worshippers there were freely allowed to follow their religion. The rich Jewish community of some 3000, many of them refugees from the Latin Kingdom of Jerusalem, ran their own university. Two race tracks lined with poplar trees were "like rolls of green brocade."

P. H. Newby, Saladin In His Time, p. 35

The Middle Eastern Carpet is a Kind of Portable Sanctum

In the Middle East, carpets have generally been too highly prized to be routinely trodden underfoot: unrolling one’s prayer mat is central to daily worship, while taking off one’s shoes is a sign of respect and correspondingly, as we have seen on the news, flinging one’s shoes at someone is a powerful insult in the Middle East. Rugs cordon off a place of higher value to protect it from pollution, and their various uses carry memory traces of the nomadic makers. Carried into the countryside for picnics, and spread out beneath trees or beside springs and pools, oriental carpets become mobile pictures and ornaments as well as furnishings. They also transform somewhere that is outside into something domestic, as it were inside. When laid on rooftops on summer nights, for example, they move the salon or coffee room upstairs in order for the household members to enjoy the cooler temperatures: as recalled by Naguib Mahfouz in The Cairo Trilogy, for example, and Hanan al-Shaykh in her short story, ‘The Persian Carpet’.

There are humbler carpets; but the humbler variety also does duty as a prayer mat, a portable precinct where someone can be contained, separated from whatever is happening around. In an essay on the poetics of the carpet, the Italian art historian Sergio Bettini rejects any thought of decoration and insists instead on the architectural function of rugs laid out on the ground: for the nomadic societies who make them, carpets demarcate their home. Not in the manner of a fence or a wall, but to build the dwelling itself. ‘The true carpet,’ he writes, ‘…isn’t a garment that covers the body or a drape that adorns a house; for the simple reason that it is itself the house.’

A carpet can be hung as well; in function it can be used like an arras, a curtain, and a coverlet. Bettini censures those who blur these categories, but he is too severe: if the carpet rolls out the space of home on a plane, the nomadic tent institutes it in three dimensions by means of hangings, awnings, covers, canopies, which are also worked with intricate patterns. The fabrics create distinctive spaces, sometimes public, sometimes private. The Kaaba itself is screened by richly patterned curtains. But fabrics are suspended to screen private places of intimacy too—nooks, pavilions, alcoves. Shahrazad is depicted with the Sultan on the frontispiece of the Galland edition illustrated in Amsterdam in 1728-30 [C.E.] in such a bed-tent, and her sister Dunyazad, when her presence is invoked, is present but screened behind a curtain. Cleopatra—so famously delivered to Caesar rolled up in a rug, according to Plutarch’s entertaining account—was not improvising on the uses of carpets, unusual as her mode of delivery has generally seemed to modern readers. The carpet carves a private world for its user; it is a kind of portable sanctum, a more than usually splendid mobile home.

Marina Warner, Stranger Magic, pp. 66-67

Emphasis mine.

Seljuk Fiefs Were Not Hereditary

The Seljuk empire depended for its functioning on the granting of land, or the revenue that could be raised from that land, in return for annual tribute or military service to the Sultan. The fief, or iqta as it was called, was seen by the ruler as payment for services rendered and the grant was nothing like so absolute as in Western feudalism. The fiefs could be swapped around and all that mattered was that the changes should not be brought about in a way to cause anyone to lose face or, what amounted to much the same thing, money.

P. H. Newby, Saladin In His Time, p. 28