Thesis (Ph. D.)--State University of New York at Binghamton, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 131-150, 274-279).

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This thesis investigates the surviving architecture built in Anatolia from circa 1170 to 1220, a period that encompasses the rule of the Rūm Saljūq sultans Kılıç Arslān II to ʿIzz al-Dīn Kay Kāwūs I. This was the period which saw the development of a discernible Rūm Saljūq architectural aesthetic across the lands under their control. Due in part to the accident of survival, the main focus is on imperial structures, beginning with the palace kiosk of Kılıç Arslān II in Konya and ending with the hospital and tomb of ʿIzz al-Dīn Kay Kāwūs I in Sivas. The thesis begins with a linear chronology of the various Turko-Muslim dynasties in the region, focussing primarily on the Rūm Saljūqs. This provides the historical and political context within which the corpus of buildings was created, and is based primarily on Arabic, Persian and Byzantine chronicles, augmented by the most recent scholarship. The second chapter studies the surviving corpus of portals, along with a number of tombs, and the monumental minaret attached to the qibla wall of the Great Mosque in Sivas. This reveals the range of patterns and forms which were employed to create an identifiably Islamic aesthetic. The portals are all stone, while the tombs may be in brick or stone. The minaret is entirely brick-built, and the analysis of the brick and glazed tile structures demonstrates the wide ranging connections to Persianate architecture, especially the Ildegüzid architecture of Nakhchivān and Marāgha. Chapter three is divided into two sections, with the first consisting of analysis of the various constituent materials used to construct the corpus. The palace kiosk of Kılıç Arslān II in Konya is used as a case study throughout the first part of the chapter. The second section examines working methods, and concludes with a hypothesis as to the division of roles among the skilled craftsmen and semi-skilled labourers responsible for constructing the buildings under discussion. The fourth chapter is devoted entirely to the hospital and tomb of ʿIzz al-Dīn Kay Kāwūs I in Sivas. Along with revealing hitherto unstudied decorative elements of the complex, the analysis shows that the tomb was part of the original design schema. This is in contrast to the currently accepted view of scholars that it was added after the death of ʿIzz al-Dīn Kay Kāwūs I by his brother, rival and successor, ʿAlāʾ al-Dīn Kay Qubādh I. The detailed analysis of the minaret added to the Great Mosque in Sivas, along with the nearby tomb and hospital, all built during the reign of ‘Izz al- Dīn Kay Kāwūs I, suggests an increased importance of that city to the dynasty which cannot be perceived from the literary sources alone. The thesis concludes with an overview of sultanic and royal female patronage during Rūm Saljūq rule, followed by a number of avenues for further enquiry.

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Although split-level townhouses have proved elusive on the continent, examples are known in the Zähringen towns of modern Switzerland: several of these towns have also developed elevated walkways. There can be little doubt that the split-level townhouse and its variants were the result of commercial pressure, and an insatiable demand, not found again after the early to mid fourteenth century, for numerous small-scale retail units and undercrofts.

Originally presented as Thesis (doctoral)--Universität Frankfurt am Main, 1999. / Includes bibliographical references (p. 97-[102]).

While academic discussion of ornament within medieval Islamic art has laboured much over the codification and meaning of certain forms, there has been relatively little research to date on the visual and iconographic function of architecture as ornament in this context. Those few authors that have dealt with this issue have focused overwhelmingly on two-dimensional architectural representations, largely ignoring the considerable body of portable objects from the medieval Middle East that imitate architecture through three-dimensional forms, whether in a mimetically coherent fashion or in a more elliptical or reconfigured manner. This thesis proposes, first and foremost, that there is significant cultural meaning inherent in the use of architecture as an inspiration for the non-essential formal qualities of portable objects from the medieval Islamic world. Through iconographic analysis of the relationships that such objects form with architecture, an understanding of both full-size architecture and its miniature incarnations in the medieval urban context is advanced within the thesis. To maximise the intellectual scope of the study whilst still enabling an in-depth treatment of the material, four discrete studies of different object groups are presented. All of these are thought to date from approximately 1000 to 1350 CE, and to come from the core Middle Eastern territories of Persia, Syria and Egypt. The first chapter examines the glazed ceramic ‘house models’ believed to originate in late or post-Seljuq Persia. The second discusses six-sided ceramic tables from the same milieu, and more numerous related tables produced in Syria during the same period. In the third chapter carved marble jar stands from Cairo, apparently produced from the twelfth century onwards, are analysed. The final chapter, on metalwork, broadens its approach to encompass two very different strains of production: inkwells from Khurasan and incense burners from the breadth of the Middle East. Because much of the thesis focuses on material that has been dramatically understudied, it performs the primary action of compiling examples of each of the object types under study. Though this information is presented as a catalogue vi sommaire, this component of the thesis is not regarded as an end in itself. The major tasks of the thesis are the identification of the architectural tropes that are being evoked within each object group, analysis of the manner in which those forms have been modified to suit the miniature context of the objects, and the location of meaning within such diminutive evocations of architectural form. Through comparisons with other objects, full-size architecture, two-dimensional representations of architecture and historical texts, the thesis moves discourse on this type of motif in Islamic art beyond the traditional and sometimes superficial discussion of ‘ornament’, re-setting architectural iconography within larger contexts of urbanisation and city culture of the medieval Islamic world.

Thesis advisor: Katherine Nahum / This thesis is a comparison between medieval Christian and Islamic sacred architecture, using the Great Mosque of Cordoba and the Cathedral of Notre-Dame in Chartres as examples. The paper links a formal analysis and comparison of the buildings, including their use of space, light, and decoration to an analysis and comparison of each religion's philosophy and theology. It includes a discussion of the role of Neo-Platonist philosophy on the architecture of each religion. / Thesis (BA) — Boston College, 2007. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Fine Arts. / Discipline: College Honors Program.