Throne

The Eid Al-Adha's Qurban Feast of the Sacrifice.  This article will present historical definitions of Qurban and making clear the original plan of sacrifices. The definition from antiquity is not what is currently comprehended. The sources of scholarship from antiquity will aid this generation to comprehend that there has been a sinister plot to twist how one would worship and how one would present the necessary offerings to absolve the transgressions of an individual, a family and of the nation. This is a very serious topic that will introduce to the readers who was the aggressive empire as described in Al-Quran 30:2-4 " The Romans have been conquered…but having been conquered they will conquer in a few years. " Historians document that the control and use of language was essential to the conquest! The Hebrew sages hint that the Romans would attack using similar sounding words: Qurban and the Roman wars J. 1411 J. 1411 The adapting (by the Romans) similar words within their attacks upon nations and people is now where the reader may have questions. What was it like to live under ancient idolatrous Roman brutal occupation? What was it like living when heathen Rome had outlawed the calendar of Torah and had outlawed the seasons of worship pilgrimages? This was warned by the prophet Daniel ‫ﷺ‬ regarding the persecuting power that would change things in the seasons of worship pilgrimage and the laws of Torah. Historical evidences are that a wicked power remains of the Roman ecclesiastical powers. Let's look at the evidence of the ancient text: Daniel 7:25 ‫זמנין‬ Definition invited time especially for a meal, a designated chosen time, Biblical festival season. Something changed the care and study concerning how one makes atonement!  This presentation will also prove the sacred name and the Paleo-Arabic declaration of the Shahadah as written by the hand of Musa ﷺ .  Several Islamic historians will provide factual documentation of a vegetarian witness of Judaism of 1000 years ago and of the vegetarian preaching of the prophet Muhammad ﷺ.

The first museum in Ethiopia was opened in 1936 being part of the national library. A few presents from the royal family were set to the exhibition. The establishment of the Institute of Archaeology in 1946 has contributed a lot for the development of the museum.

The Wandering Throne of Solomon: Precious Objects and Legends of Kingship in the Medieval Mediterranean focuses on the circulation of artifacts and literary traditions related to king Solomon, particularly among Christians, Jews and Muslim, roughly between X and XIII centuries. The idea is to show how things of striking visual impact and written sources interact with each other, thus revealing the unceasing obsession exerted by crafty and beautiful objects on man’s imagination and the continuous effort to match the literary echoes of past wonders by producing things that can be deemed worthy of becoming legendary on their turn. In this perspective, king Solomon and the rich material related his long-lasting legend, provide an ideal topic of research. The vast basin of folklore and learned traditions related to him constitutes a common cultural heritage, shared by the Eastern and the Western world alike during the Middle Ages. The power of his name affected also the things he came in contact with (and also others that were attached to him later on), removing them from the realm of the ordinary and transforming them into symbolic, evocative or magic objects.

In this paper, the bia-throne (ḫndw-bjꜢ, ḫndw bjꜢj) in the Pyramid Texts and its possible royal sculptural parallels in the Old Kingdom are discussed. First, the meanings and functions of that kind of throne are studied, concluding that they are related to the king's resurrection and his ascension in the firmament, where he becomes the ruler among several asterisms. The same conclusion can be inferred also from the analysis of the location of the spells naming those thrones inside the pyramid of Pepy I. Second, an iconographic and iconological analysis of the lion thrones of the statues found at Khafre's lower temple at Giza has been made. From that study, it can be concluded that they are very related to the (re)generation of the king as a person and as a ruler, and that the lions (rather lionesses) represent a goddess, probably Bastet. Finally, identification between the bia-thrones in the Pyramid Texts and the lionesses-thrones of Khafre is made, from their common morphological and symbolical similarities. An important link between them is the possible use of the anorthosite gneiss as a substitute for bia, the meteoric iron of which the thrones are said to be made.

Determining what the psalter illustrations of medieval Ethiopia—especially the David and Solomon portraits in the Juel-Jensen Psalter—have in common with other traditions helps to single out what makes them unique and shows that they were structured around Ethiopian imperial ideology, which considered the country’s emperors as descendants of these biblical figures. The distinctly Ethiopian character of these images is foregrounded to show that the work of Ethiopian artists can be appreciated only if one considers their communicative intentions and sociocultural backgrounds.

Since the time of their discovery, archaeologists and art historians accepted the Samaria ivories to be of Phoenician origin. Considered alien and idiosyncratic artifacts in Samaria, the ivories were deemed unrepresentative of local material culture. As a result, other Iron Age ivories subsequently discovered in the Levant were also regarded as Phoenician. This article aims to shed light on the thinking behind the ethnic labeling of these ivories, and its lingering, detrimental implications that prevent finds from being viewed as indigenous material culture. A brief review of relevant archaeological finds from both old and recent excavations at the sites of Jerusalem, Rǝḥov, and Hazor will show that there is in fact substantial evidence to anchor Iron Age ivories within the southern Levant. In the process, new suggestions regarding continuity from the Bronze to the Iron Age will be made by addressing the use of different raw materials and the repertoire of images depicted on inlays.

This article focuses on images of thrones depicted in scenes connected to the Greek gods. Most of them decorate Archaic Attic black-figure vases, but two Archaic reliefs are also discussed. The purpose is to examine the function of the throne within a certain scene. What does it signify? Should it always be understood in the same way? The article is divided into three sections: (A) depictions of a single throne in a certain scene, (B) depictions of two thrones in a certain scene, and (C) thrones juxtaposed with other types of seats in a certain scene. In most cases, especially when it appears as the only seating object in the scene, the throne signifies the high, privileged status and power of the figure occupying it, differentiating him or her from the other participants. This is true also for the depiction of two thrones. However, when juxtaposed with other types of seats, the throne’s function as a rigid sign differentiating a certain figure within the image is
questioned.

The Ancient Throne provides readers with a collection of articles that either
study specific thrones known from historical texts, artistic depictions or
excavations, or offer an overview of the role of thrones from as early as
ancient Mesopotamia in the 3rd millennium BCE to as late as Iran and China
in the 14th century CE. The volume thus collates the work of scholars who
specialise in diverse cultures and who have all found thrones to be helpful
vehicles for promoting unique inquiries into such issues as royalty, society,
ritual, and religion within their areas of expertise. The breadth of their
collective efforts offers a comparative view through which the dissemination
of political and ideological concepts may be better explored. The following
collection of articles, however, does not attempt to provide a single answer
to the question of what a throne is or is not, but instead presents the authors’
individual – and sometimes conflicting – outlooks. While the volume is far
from being a comprehensive survey of thrones in Eurasian cultures across
the ages, it nevertheless offers readers a specialised bibliography and draws
attention to scholarly trends that will be useful to future studies on thrones
in general. Most of all, the volume cohesively suggests that thrones have
been a meaningful category of material culture throughout history, one that
may inspire both inter-cultural and intra-cultural studies of the ways in which
types of chairs can embody, execute or induce notions of kingship and a
range of concepts pertaining to the religious, ideological, and social spheres.

A mass of administrative documents coming from the grand palace of Mari enables us to describe the stages of manufacturing of luxurious seats intended for the gods. Fifteen texts are presented here in full. The most important and the most impressive throne was the one offered to Dagan. It is possible to partially reconstruct the aspect of such a complex piece of furniture and to list the sculptures and images which decorated it. A rich religious scene reveals itself to us, with the statue of the seated god, the king in prayer and numerous supernatural creatures, some well known, others less. A similar iconographic program was reproduced on a palanquin dedicated to Dagan. The article suggests that this vehicle may have been comparable to the processional floats (pasos) which parade in Spain during the Santa Semana. * La présente étude, à l'origine une annexe à mon article en préparation sur « Les Statues divines et royales à Mari d'après les textes » (à paraître dans les Actes du colloque du Collège de France organisé par Th. Römer, les 5 et 6 mai 2015 : Représenter dieux et hommes dans le Proche-Orient ancien et dans la Bible), s'étant enrichie de l'édition ou réédition de plusieurs textes, il est apparu oppor-tun de la transformer en article. J'ai traité partiellement du sujet dans ma confé-rence à l'École Pratique des Hautes Études en 2014-2015. J.-M. Durand m'a en-couragé à publier ici-même les principales sources sur lesquelles se fonde ce travail, dans un souci de clarté. Il m'a généreusement transmis pour ce faire ses transcriptions et les photos disponibles, réalisées par notre équipe de Mari, et notamment, pour celles prises en Syrie, par Dibbo el-Dibbo. Je n'ai pu collation-ner directement sur tablette qu'une petite partie des textes (j'ai joint une copie de la tablette M.10463 [ARM XXV 285] (cf. annexe), réalisée à Paris d'après l'original, et désormais publiée par I. Arkhipov, ARM XXXII, p. 406). Le hasard a fait que I. Arkhipov était en train de préparer une étude sur le trône de Dagan en même temps que moi. Nos approches sont différentes, et mon attention se con-centre ici sur le programme iconographique de cette oeuvre en la comparant à d'autres du même style. Je le remercie vivement pour ses remarques.

Ця стаття з галузі канонічного права. В ній описано історію виникнення антимінсу, його походження, значення і роль у східній літургіці. Також автор детально описує історичний розвиток значення антимінсу на християнському Сході і зокрема на Русі. В кінці автор відсилає до рішень Синоду єпископів УГКЦ і Кодексу канонів для Східних Церков, які законодавчо підтверджують важливість антимінсу.

This article is in the field of canon law. It describes the history of the antimension, its meaning and role in the Eastern liturgy. The author also describes in detail the historical development of the importance of the antimension in the Christian East and in particular in Kyivan Rus’. Finally, the author refers to the decisions of the Synod of Bishops of the UGCC and the Code of Canons for the Eastern Churches, which legally confirm the importance of the antimension.

El trono de la Virgen del Sagrario se alza como un testimonio único de la platería barroca en nuestra geografía. Por decisión del prelado, Baltasar de Moscoso y Sandoval, en su concepción y posterior hechura participaron artistas del prestigio de Alonso Cano, Pedro de la Torre, Francisco Bautista, Sebastián de Herrera Barnuevo y Virgilio Fanelli, habiendo sido objeto de estudio en numerosas publicaciones. No obstante, el hallazgo de documentación inédita en el Archivo Capitular de Toledo nos ha brindado la oportunidad de subsanar ciertos errores que se cernían sobre la secuen-cia de hechos acaecidos, así como de matizar con mayor rigor en qué consistió la intervención de cada uno de los cita-dos maestros y la fase en que esta se produjo.

This Paper deals with identification and exploration of factors that influenced the throne imagery in the Ilkhanid Illustrated manuscripts in the 14th century. Throne is the central element in the enthronement scenes, as one of the more frequent themes in Persian art. From the very beginning of the Islamic art, thrones appeared in royal scenes illustrated in Umayyad palaces and continued in royal iconography. During the Ilkhanid period the throne image as well as the enthronement scenes appeared frequently in illustrated books as the main media for royal iconography in that era.
The Ilkhanid throne was first investigated in the sixth volume of Survey in Persian Art (in Persian Translation). The authors explored various thrones of that era, the ornaments and their main members such as backseat, cushions and stool according to the visual sources, especially the book paintings. They also pointed to the Chinese influences on these thrones.  The diversity of thrones in the Arabic Manuscript of Jami’ al-Tawarikh was first examined in David Donavan’s detailed article which mainly dealt with the roots of the various throne forms in this codex. In his study, Donavan identified three types of thrones according to their basis. He also believed that although Chinese elements are visible in thrones’ structure and ornaments, basic form of the Persian throne’s image is still continued; the notion which is emphasized by Yoka Kadoi in 2009. The current study explores the Ilkhanid throne’s image during three phases of Ilkhanid illustration development with regard to the medium of illustrated book. Three main questions of this research are as follows: what are the main throne types in Ilkhanid painting? What factors have influenced the throne structure and ornaments? And how the illustrated book, as a medium, influenced the throne image in that era?
  The study is based on analyzing  85 images selected from seven illustrated manuscripts that belong to three stages of development of Ilkhanid painting; 36 images from Small Shahnama (three manuscripts attributed to 1400 AD, dispersed in various collections), 10 images from Balami’s Tarikhnama (a historical manuscript attributed to 1400 AD, preserved in free and Sackler Gallery),  22 images from Jami’ al-Tawarikh (another historical manuscript attributed to 1410s AD, Preserved in Edinburg library and Khalili Collection), 7 folios from Diez Album attributed to an Illustrated manuscript of Tarikh-i Mobarak-i Gazani which is dated c. 1420s, (preserved in Staatsbibliothek zu Berlin)  and 10 images from the great Ilkhanid Shahnama (attributed to 1430s, dispersed in various collections).
The throne image transformation is studied in terms of the throne’s structure, ornaments and the pictorial compositions. The result shows that the Ilkhanid workshops inherited the concepts and visual elements from the pre-Mongol era and combined them with far Eastern elements in throne iconography. This could be traced in the variety of forms and ornamentations in throne images. At the beginning of the era (last decade of the 13th century and early years of the 14th century) the throne image was represented similar to the pre-Mongol throne image in terms of structure. By establishing the Tabriz workshops, the Chinese influences gradually appeared in throne image, especially in books illustrated in Tabriz. Beyond general form and ornamentation, the Ilkhanid painters applied perspective in illustrating throne based on Chinese model. In addition to this limited use of perspective, the painters tended to decorate thrones with various types of vegetal and geometric ornamentations as visual devices for showing the thrones’ luxurious aspect. Their tendency to illustrate the reality also reflects in emitting the traditional symbolism in form of animals or transforming them into decorative objects. Consequently, the Mongol invasion could be considered as a turning point in throne iconography. Several factors were involved in the throne image evolution; first of all the pre-Mongol tradition which could be traced on ceramic and metalwork as well as book illustrations, secondly, the Chinese model, thirdly, ornamental details borrowed from Chinese art which were transferred to Ilkhanid workshops by merchants and fourthly, the consideration of image as a visual narrative of text which is reflected in throne image as a realistic representation. This is expressed by applying perspective, excessive use of ornaments and avoiding the traditional and symbolic models in enthronement scenes.

The Gharib Shah Rebellion erupted in Gilan in 1629, shortly after the death of Shah ʿAbbas I and the ascension of Shah Safi I to the throne. A close engagement with Gilani chronicles reveals the uprising was motivated by anti-Safavid sentiment and a desire to restore autonomous rule in Gilan. The Gharib Shah Rebellion is best understood in the context of the series of post-conquest rebellions in Gilan, which had both political and economic motivations. It marked the final attempt to regain autonomy from the Safavids, nearly forty years after their conquest of the region. While messianism was not completely absent in Gilan in this period, it was not a factor in this rebellion and its role, in general, has been over-emphasized.

บทคดยอ บทความนอภปรายบทบาทของพระทนงอนนตสมาคมในกระบวนการสถาปนาระบอบการปกครองใหมภายใตรฐธรรมนญของคณะราษฎรใน พ.ศ. 2475 ในฐานะสญลกษณของระบอบสมบรณาญาสทธราชย  พระทนงอนนตสมาคมเปนพนททเออใหกบปฏบตการทาทายทางอดมการณ  บทความนแสดงบทบาทของพระทนงอนนตสมาคมในฐานะเปาหมายแหงการลมลางอดมการณเกาและพลงในการสถาปนาอดมการณใหมในสยาม ผานการวเคราะหนาฏกรรมสองประการของคณะราษฎรบนพนทของสถาบนกษตรย ไดแก การอานประกาศคณะราษฎร ฉบบท 1 ทลานพระบรมรปทรงมา หนาพระทนงอนนตสมาคมเมอวนท 24 มถนายน และการจดพระราชพธพระราชทานรฐธรรมนญเมอวนท 10 ธนวาคม พ.ศ. 2475  บทความนยงไดวเคราะหภาพถายของพระบาทสมเดจพระปกเกลาเจาอยหวในพธพระราชทานรฐธรรมนญ และการเผยแพรภาพถายในหนงสอพมพในฐานะสวนหนงของการสถาปนาความชอบธรรมและการประชาสมพนธรฐภายใตระบอบการเมองใหม  ในทนภาพของพระบาทสมเดจพระปกเกลาเจาอยหวกบพานรฐธรรมนญเปนทงตวแทนของการประนประนอมระหวางอำนาจเกากบอำนาจใหม และการโฆษณาชวนเชอทางการเมองของคณะราษฎร Abstract This paper examines the Ananta Samakhom Throne Hall in relation to the People’s Party’s Constitutional Acts of 1932. As a symbol of the absolutist regime, th...