Abstract: Bengal has a long history (8th century A.D. onwards) of decorating the wall of brick-built temples with curved terracotta plaques on a diverse range of subjects. These could be considered as one of the most significant visual archives to understand the various facets of the then contemporary societies. The temples under focus include Char-bangla temple complex (circa 1755 A.D.), Bhavanishvara temple (circa 1755 A.D.) and the Gangeshvara Shiva Jor-bangla temple (circa 1753 A.D.), located within a part of the river Bhagirathi basin in Baranagar, Murshidabad, West Bengal, India. Though, a diverse range of subjects have been intricately carved mainly on the front façades of the Baranagar temple cluster, the study specifically concentrates on depictions related to religious and non-religious acts performed by practitioners of various religious sects of late medieval Bengal with the intention to acquire knowledge about the various facets of their life. Apart from this, the paper also mapped the spatial location of these religious performers on the temples’ façades to examine if any systematic plan or arrangement had been employed for connoting a particular idea. Further, an attempt is made to provide a commentary on the attire worn by followers of various religious sects of late medieval Bengal. The primary materials for the study comprise the depictions which denote religious activities carved on the terracotta plaques. The secondary material has been collected from published and unpublished theses, journals and books. These data have been further supplemented with photographic documentation, some useful line-drawings and descriptions in table format to get a clear understanding of the concerned issues.
Abstract: Islamic culture was accountable for a plethora of development in astronomy and science in the medieval term, and in geometry likewise. Geometric patterns are reputable in a considerable number of cultures, but in the Islamic culture the patterns have specific features that connect the Islamic faith to mathematics. In Islamic art, three fundamental shapes are generated from the circle shape: triangle, square and hexagon. Originating from their quiddity, each of these geometric shapes has its own specific structure. Even though the geometric patterns were generated from such simple forms as the circle and the square, they can be combined, duplicated, interlaced, and arranged in intricate combinations. So in order to explain geometrical interaction principles between square and equal triangle, in the first definition step, all types of their linear forces individually and in the second step, between them, would be illustrated. In this analysis, some angles will be created from intersection of their directions. All angles are categorized to some groups and the mathematical expressions among them are analyzed. Since the most geometric patterns in Islamic art and architecture are based on the repetition of a single motif, the evaluation results which are obtained from a small portion, is attributable to a large-scale domain while the development of infinitely repeating patterns can represent the unchanging laws. Geometric ornamentation in Islamic art offers the possibility of infinite growth and can accommodate the incorporation of other types of architectural layout as well, so the logic and mathematical relationships which have been obtained from this analysis are applicable in designing some architecture layers and developing the plan design.
Abstract: Digital and virtual heritage is often associated with the recreation of lost artefacts and architecture; however, we can also investigate works that were not completed, using digital tools and techniques. Here we explore physical evidence of a fourteenth-century Gothic vault located in the north transept of St Mary’s church in Nantwich, Cheshire, using existing springer stones that are built into the walls as a starting point. Digital surveying tools are used to document the architecture, followed by an analysis process to hypothesise and simulate possible design solutions, had the vault been completed. A number of options, both two-dimensionally and three-dimensionally, are discussed based on comparison with examples of other contemporary vaults, thus adding another specimen to the corpus of vault designs. Dissemination methods such as digital models and 3D prints are also explored as possible resources for demonstrating what the finished vault might have looked like for heritage interpretation and other purposes.
Abstract: In the article the remains of the base of the minaret,
found in 2009 at the medieval fortress shakhristan Aktobe, which is
located along the courses of the rivers Balta and Aksu. The minaret,
which consists of two parts: the stylobate in the pit and base part
refers to the XI-XII centuries. The preserved height of the building is
3.6 meters. Volume stylobat quadrangular minaret, the corners of
which are aimed at the four corners of the world amounts to 8,65 x8,
5 m, height – 2.6 m. Diameter octagonal upper cap of 7.85 m and a
height of preserved – 1 m. This minaret is of particular importance
among the historical and architectural monuments of Kazakhstan, as
it is so far the only minaret belonging to Karakhanid epoch in which
Islam was the state religion.
Abstract: The city of Suceava, one of the most important
medieval capital of Moldova, owes its urban genesis to the power
center established in its territory at the turn of the thirteenth and
fourteenth centuries. Freed from the effective control exercised by
the Emir Nogai through Alanians, the local center of power evolved
as the main representative of the interests of indigenous people in
relation to the Hungarian Angevin dinasty and to their
representatives from Maramures. From this perspective, the political
and military role of the settlement of Suceava was archeologically
proved by the discovery of extensive fortifications, unrivaled in the
first half of the XIVth century-s Moldavia. At the end of that century,
voivod Peter I decides to move the capital of the state from Siret to
Suceava. That option stimulated the development of the settlement
on specific urban coordinates.
Abstract: The Mongol expansion in the West and the political
and commercial interests arising from antagonisms between the
Golden Horde and the Persian Ilkhanate determined the
transformation of the Black Sea into an international trade turntable
beginning with the last third of the XIIIth century. As the Volga
Khanate attracted the maritime power of Genoa in the
transcontinental project of deviating the Silk Road to its own benefit,
the latter took full advantage of the new historical conjuncture, to the
detriment of its rival, Venice. As a consequence, Genoa settled
important urban centers on the Pontic shores, having mainly a
commercial role. In the Romanian outer-Carpathian area, Vicina,
Cetatea Albâ, and Chilia are notable, representing distinct, important
types of cities within the broader context of the Romanian medieval
urban genesis typology.
Abstract: This article makes and attempt to disclose the
dynamics of development of social interactions in an aggravated
environment in relation to the distinctive features of religious wars
and their negative impact to the society. Crisis situations that took
place in all spheres of social life are described, on the grounds of
which the author comes to specific conclusions.
Abstract: In the national and professional music of oral tradition
of many people in the East there is the metric formula called “ussuli",
that is to say rhythmic constructions of different character and a
composition. Ussuli in translation from Arabic means the law. The
cultural contacts of the ancient and medieval inhabitants of the
Central Asia, India, China, East Turkestan, Iraq, Afghanistan,
Turkey, and Iran have played a certain role in formation of both
musical and dancing heritage of each of these people. During
theatrical shows many dances were performed under the
accompaniment of percussion instruments as nagra, dayulpaz, doll.
The abovementioned tools are used as the obligatory accompanying
tool in an orchestra and at support of dancing acts as the solo tool.
Dynamics of development of a dancing composition, at times
execution of technique of movement depends on various
combinations of ussuli and their receptions of execution.