Part of our purpose here at Beyond Borders
is not only to share our own scholarly insights, but also to perpetuate an
academic discourse about art during the global Middle Ages via our posts. So, with this in mind, my contribution this
month will focus upon an object that is multivalent, and through its layered
complexity, allows many queries to be raised about its intended purpose and
meaning. It is my hope that you (our readers) will comment upon the
considerations I propose and formulate additional questions and/or suggestions
about this interesting object.
Within my studies of Islamic artefacts, at
times I have fortuitously discovered an object that, due to the contents of its
textual and visual programme, questions the cultural origins to which it has
been assigned. The twelfth century Artuqid Plate is such an object. The Artuqid
Plate, also known as the Innsbruck Plate (the latter attribution is based upon the fact
that it is part of the collection of the Tiroler Landesmuseum Ferdinandeum,
Innsbruck, Austria), contains illustrations that are reminiscent of both Islam
and Byzantium. The artistic
programme of this plate is universal enough to be seen in both Christian and
Islamic regions, which may be interpreted as a clear example of cultural
translation. However, this cultural translation, in turn, places this object in
the conundrum of being either both Islamic and Christian or neither.
Overall
the Innsbruck Plate is enameled with gilded metal. It is important to note that
enamel work was not part of the repertoire of Islamic craftsmanship, but
instead was more reflective of Byzantine artisanship. Both the interior and the
exterior of the plate have been decorated in a similar style and the handles
are a later European addition. According to Scott Redford, the plate was most
likely produced in Georgia, which was periodically located in or on the
fringe of Islamic empires. Per Scott Redford, the probable production of the
plate in Georgia explains the use of enamel since the art created within this
area was generally derived from Byzantine prototypes. The Innsbruck Plate has
many illustrative features, but this post will focus upon the roundels and
inscriptions on the front side of the plate. The other aspects of the plate are
also significant, but will not be addressed in an effort to keep this post
succinct.
The
front of the plate is comprised of three sections, which will be discussed individually. The first section may be defined as
the central roundel, which depicts the apotheosis of Alexander (Alexander’s
glorification to a divine level). The
second section is composed of the six roundels that surround the central circle
and illustrate fighting scenes and frontally depicted birds. The third section
is the outermost area (the lip of the plate) and is composed of inscriptions,
which contain the names, titles and genealogical information of an Artuqid
ruler.
Within the first section (centremost
roundel) Alexander is holding
two sceptres that more or less form an X or Chi. The tips of the sceptres are
adorned with forms that are reminiscent of either fish or flowers, both of
which embody Christian symbolism. Alexander is also flanked by what has been
identified by scholars as two griffins. The griffin is a mystical creature
whose varied symbolic meanings date back to antiquity. The griffin was thought
to be an especially powerful and majestic creature, which was used to guard
precious possessions and safeguard against evil and witchcraft. An example of
the griffin’s symbolism may be seen in Christendom where the duality of the
griffin (its amalgamation of lion and eagle) was considered to be representation
of the human and divine natures of Jesus. There are many more attributes
associated with the griffin, and it may be suggested that the use of such a
symbolically powerful and multivalent creature within the visual programme of
the Innsbruck Plate, not only speaks of the authority of Alexander, but also of
the overall symbolism of the plate.
The
next section is composed of six roundels that surround the central circle.
These roundels depict front facing animals and animals in combat, which may
represent political prowess (associated with either Christianity or Islam), a
religious meaning, or both. On one hand, it may be interpreted that the
frontally illustrated birds are eagles, the evangelist symbol of John. The depictions
of a halo above the eagle’s head and of the eagle grasping a snake should be
noted because it may refer to evangelist imagery. On the other hand, these birds
or eagles may not refer to the Evangelist John, but instead were depicted to
portray an association with the tree of life, which may be the symbolic meaning
associated with the illustrated trees that serve as part of the surrounding background.
Other figures such as dancers and acrobats are also part of the background imagery.
The
third section of the plate is the outer rim, which is composed of two lines of
script, Arabic (interior) and Persian (exterior). The inscriptions are a list
of titles, epithets, and names associated with the genealogy of the Artuqid
rulers. Redford notes that the inscription is of poor quality and is also
confusing because the manner in which the names are inscribed does not make
genealogical sense. Additionally, according to Redford, the text seems to be
written in a script that is described as handwritten Naskh, but is generally
difficult to assign a cursive style to due to its general illegibility.
The Innsbruck Plate
holds many symbolic meanings, many of which could not be fully explored in this
contribution. However, I hope this brief introduction to the plate will spark
further inquiry. Here are some of my
considerations I would like to share:
*The number of roundels
should be explored in relation to Christian and Islamic religious ideologies,
astrology and cosmology.
*What is the
significance of the images within the roundels in comparison to the background
of the decorative programme?
*The Innsbruck Plate
falls within a gray area of cultural origin. Should these items be considered a
product of the socio-cultural inhabitants of the region instead of their
religious affiliations? At this point, the recognition of cultural translation
will be a necessary aspect of evaluation instead of an optional inquiry.
~Shandra
______________________________________________________________________
Redford,Scott. ‘How Islamic Is It? The Innsbruck Plate and Its
Setting,’ Muqarnas, 7 (1990), 119-13.
Grabar,
Oleg. ‘The Crusades and the Development of Islamic Art,’ in The
Crusades from the Perspective of Byzantium and the Muslim World, Dumbarton
Oaks, (2001), 235-245.
Shandra,
ReplyDeleteHow possible would it be to try to use the material elements of the I.P. (or similar work) to determine a chemical provenance or some such, and thus by tying it to a geographic era explore the socio-cultural of synchronism?