Analysis of information sources in references of the Wikipedia article "Sultanate of Rum" in English language version.
A Seljuk bas-relief of two Turkish warriors
{{cite book}}: CS1 maint: publisher location (link)Page 178 Plate 119: "Throne scene on a star-shaped tile, Iranian-Seljuk minai technique, Alaeddin Palace, Konya, 1156—92 (Kilicarslan II period), D. 8.5 cm. The sultan, sitting cross-legged on his throne, is holding a pomegranate in one hand; there are tiraz bands on his arms and two guards next to him. Karatay Madrasah Museum, Konya.
{{cite book}}: CS1 maint: publisher location (link)Usually made in the underglaze technique, the star tiles contain an extremely rich figural design, depicting the sultan, the elite of the palace and animals of the hunt as well as imaginary or so-called 'fabulous' animals. (See figural reliefs and sculptures, p. 171.) The sultan and the palace notables, including in some cases the palace women, are shown sitting cross-legged in the Turkish tradition. In most cases, the figures hold in their hands a symbol representing eternal life-a pomegranate or opium branch or an astrological symbol like the fish. It is interesting to note the parallels with the same motifs in Anatolian Seljuk architecture.
{{cite book}}: CS1 maint: publisher location (link)The two scenes in the top and bottom registers (...) may be strongly influenced by contemporary Seljuk Persian (...) like those in the recently discovered Varqeh and Gulshah (p.92) (...) In the painting the facial cast of these Turks is obviously reflected, and so are the special fashions and accoutrements they favored. (p.162, commentary on image from p.91)
{{cite book}}: CS1 maint: publisher location (link){{cite book}}: CS1 maint: publisher location (link)Kubadabad tiles consist of panels of figural tiles linked by cruciform tiles decorated with arabesques. The figural tiles are decorated with figures of the sultan, harem women, courtiers and servants. However, the most interesting figures are the various animals related to hunting and the imaginary or magical animals. Such creatures as the sphinx, siren, single and double-headed eagles, single and paired peacocks, paired birds flanking the tree of life and dragon create a magical world of the imagination. They are all symbolic representations of the rich figural world of the Seljuks. Animals related to hunting, such as the fox, hare, wolf, mountain goat, wild ass, bear, lion, falcon, hawk and antelope are in widely varying and highly artistic compositions.
(Translation from Turkish): Likely that they are depictions of high-ranking members of the palace or important wise people.
Meanwhile, amid the migratory swarm that Turkified Anatolia, the dispersion of learned men from the Persian-speaking east paradoxically made the Seljuk court at Konya a new center for Perso-Islamic court culture.
In some cases—such as the sultan's well-known city walls in Konya—there appears to be, at first sight, an antiquarian penchant for the "classical" or "Roman" past (fig. 1). (...) Nevertheless, the portrait's classicizing aspect is important in that it resonates with the use of spoliated classical sculpture in the walls of Konya (fig. 1). (...) Kayqubad's walls in Konya. (...) above the statue of Hercules was a reused Roman sarcophagus frieze carved in high relief; the latter featured a courtly scene with a seated figure wearing a toga and holding an orb ("a ball, the symbol of the world" according to Kinneir). Above this image was an Arabic inscription and then winged "genies" making offerings to the "sun" (as described by Olivier).
As I will argue below, in addition to obvious "Western" links, Kayqubad was also inspired by sources further "East," such as the Artuqids of Hisn Kaifa and Amid (1102-1232), which combining Classical and Perso-Islamic impulses, seemed better suited as models. In fact, upon closer examination, these pagan/secular Roman imperial ("Western") signs seemed to be infused with mystical/Sufi ("Eastern") readings that imbued them with new meaning. Most significant was the emergence of an unexpected undercurrent of light symbolism.
A unique Seljùq manuscript in the Topkapi Sarayi Museum Library (Hazine 841) (fig. 7). This manuscript, the romance Varqa va Gulshah, probably dates from the early thirteenth century . The figures in the miniatures with the typical features of Central Asian people are squat and thickset with large round heads. They are to be seen again in a more sophisticated form in the so-called Turkman style miniatures produced in Shiraz c. 1460 – 1502 under the patronage of another dynasty of Turkman invaders.
In some cases—such as the sultan's well-known city walls in Konya—there appears to be, at first sight, an antiquarian penchant for the "classical" or "Roman" past (fig. 1). (...) Nevertheless, the portrait's classicizing aspect is important in that it resonates with the use of spoliated classical sculpture in the walls of Konya (fig. 1). (...) Kayqubad's walls in Konya. (...) above the statue of Hercules was a reused Roman sarcophagus frieze carved in high relief; the latter featured a courtly scene with a seated figure wearing a toga and holding an orb ("a ball, the symbol of the world" according to Kinneir). Above this image was an Arabic inscription and then winged "genies" making offerings to the "sun" (as described by Olivier).
As I will argue below, in addition to obvious "Western" links, Kayqubad was also inspired by sources further "East," such as the Artuqids of Hisn Kaifa and Amid (1102-1232), which combining Classical and Perso-Islamic impulses, seemed better suited as models. In fact, upon closer examination, these pagan/secular Roman imperial ("Western") signs seemed to be infused with mystical/Sufi ("Eastern") readings that imbued them with new meaning. Most significant was the emergence of an unexpected undercurrent of light symbolism.
A unique Seljùq manuscript in the Topkapi Sarayi Museum Library (Hazine 841) (fig. 7). This manuscript, the romance Varqa va Gulshah, probably dates from the early thirteenth century . The figures in the miniatures with the typical features of Central Asian people are squat and thickset with large round heads. They are to be seen again in a more sophisticated form in the so-called Turkman style miniatures produced in Shiraz c. 1460 – 1502 under the patronage of another dynasty of Turkman invaders.