Artuqids

Source: Wikipedia, the free encyclopedia.
Artuqid State
Artuklu Beyliği
1102–1409
Kara Koyunlu
(Mardin)
1409
Currencydinar
Preceded by
Succeeded by
Seljuk Empire
Kara Koyunlu
Today part ofSyria
Turkey

The Artuqid dynasty (alternatively Artukid, Ortoqid, or Ortokid;

Harput
line starting in 1112 under the Sökmen branch, and was independent between 1185 and 1233.

History

City walls of Diyarbakır.

The dynasty was founded by

Fatimid vizier al-Afdal Shahanshah in 1098; the Fatimids lost the city to the Crusaders the following year after the siege of Jerusalem of 1099.[4]

Sökmen and Ilghazi established themselves in

Seljuk sultanate. Sökmen, bey of Mardin, defeated the Crusaders at the Battle of Harran in 1104. Ilghazi succeeded Sökmen in Mardin and imposed his control over Aleppo at the request of the qadi Ibn al-Khashshab in 1118. The next year, Ilghazi defeated the Crusader state Principality of Antioch at the Battle of Ager Sanguinis of 1119.[4]

Amid, modern-day Diyarbakır, Turkey, ca. 1200–1210, probably Artukid (Maqamat al-Hariri, BNF Arabe 3929).[7][8]

After pillaging the

Crusader states to fall (see Siege of Edessa). The Artuqids became vassals of the Zengids during the reign of Nur al-Din Zengi (r. 1146–1174).[9]

Kara Aslan's son

Ayyubid sultan Saladin against Kilij Arslan II, Seljuk sultan of Rûm, whose daughter had married Nur ad-Din Muhammad. In the peace settlement with Kilij Arslan II, Saladin gained control of the Artuqid territory, even though the Artuqids were still technically vassals of Mosul, which Saladin did not control.[9] The Seljuk Empire completely disintegrated soon after that in 1194.[4]

The Artuqid dynasty remained in nominal command of al-Jazira, but their power declined under Ayyubid rule. The Hasankeyf branch conquered Diyarbakır in 1198 and its center was moved here, but was demolished by the Ayyubids in 1231 when it attempted to form an alliance with the Seljuks. The Harput branch was destroyed by the Sultanate of Rum due to following a slippery policy between the Ayyubids and Seljuqs. The Mardin branch survived for longer, but as a vassal of the

Kara Koyunlu captured Mardin and finally put an end to Artuqid rule in 1409.[4]

Art

Malabadi Bridge was built by the Artuqids.[10]

Despite their constant preoccupation with war, members of the Artuqid dynasty left many architectural monuments. Artuqid rulers commissioned many public buildings, such as mosques, bazaars, bridges, hospitals and baths for the benefit of their subjects. They left an important cultural heritage by contributing to literature and the art of metalworking. The door and door handles of the great Mosque of Cizre are unique examples of Artuqid metal working craftsmanship, which can be seen in the Turkish and Islamic Arts Museum in Istanbul, Turkey.

They made the most significant additions to

Diyarbakır City Walls. Urfa Gate was rebuilt by Muhammad, son of Kara Arslan. In the same area of the western wall, south of Urfa Gate, two imposing towers, Ulu Beden and Yedi Kardeş
were commissioned in 1208 by the Artuqid ruler Nāṣir al-Dīn Maḥmūd who designed the Yedi Kardeş tower himself and apposed the Artuqid double-headed eagle on its walls.

A large caravanserai in Mardin as well as the civil engineering feat of Malabadi Bridge are still in regular use in our day. The partially standing Old Bridge, Hasankeyf, was built in 1116 by Kara Arslan.

The Great Mosques of

Silvan were possibly but in any case considerably developed over the 12th century by several Artuqid rulers on the basis of existing Seljuk edifices. The congregational mosque of Dunaysir (now Kızıltepe
) was commissioned by Yülük Arslan (1184–1203) and completed after his death in 1204 by his brother Artuk Arslan (1203–1239).

  • Magic Mirror of Abu-l-Fadl Artuq Shah of Harput, Eastern Anatolia, ca. 1220-30, David Collection. It is "representative of medieval Islamic examples of the “Chinese” type".[11]
    Magic Mirror of Abu-l-Fadl Artuq Shah of Harput, Eastern Anatolia, ca. 1220-30, David Collection. It is "representative of medieval Islamic examples of the “Chinese” type".[11]
  • Basin of Sultan Qara Arslan b. Il-Ghazi, Jazira, Syria, or Egypt, late 13th cen. (1289-92) MIA, Doha.[12]
    Basin of Sultan Qara Arslan b. Il-Ghazi, Jazira, Syria, or Egypt, late 13th cen. (1289-92) MIA, Doha.[12]
  • Figurative Architectural Piece Turkish and Islamic Arts Museum, Istanbul
    Figurative Architectural Piece Turkish and Islamic Arts Museum, Istanbul

Literature

The Artuqids are known for their sponsoring of literary works in Arabic.

Arab Christian author named Abu Salim al-Malti, probably from Malatya.[13]

The Artuqid ruler

sharbush headgear (of a special type seen only in Artuqid manuscripts, with a very tall cap behind the headplate and the limited usage of fur around the rim).[17]

An early edition of the

Bibliothèque Nationale de France, Arabe 3929) is also considered as probably belonging to the same Artuqid school of painting.[18]

  • "Sign of Sagittarius" by al-Sufi in his book Ṣuwar al-kawākib al-thābita, Artuqid Mardin, 1131 CE (TSMK, A. 3493).[19]
    "Sign of Sagittarius" by
    Ṣuwar al-kawākib al-thābita, Artuqid Mardin, 1131 CE (TSMK, A. 3493).[19]
  • Court scene. Amid, modern-day Diyarbakır, Turkey, 1206 (Ms. Ahmet III 3472).[15]
    Court scene. Amid, modern-day Diyarbakır, Turkey, 1206 (Ms. Ahmet III 3472).[15]
  • Turkic figure. Amid, modern-day Diyarbakır, Turkey, 1206 (Ms. Ahmet III 3472).[15]
    Turkic figure. Amid, modern-day Diyarbakır, Turkey, 1206 (Ms. Ahmet III 3472).[15]
  • A Jariya prostitute, in the Maqamat al-Hariri (Arabe 3929), also thought to belong to the same Artuqid school of painting.[20][18]
    A Jariya prostitute, in the Maqamat al-Hariri (Arabe 3929), also thought to belong to the same Artuqid school of painting.[20][18]

List of rulers

The major branches of the Artuqid dynasty were those based in Hasankeyf, Harput, Mardin and Aleppo.[21]

Hasankeyf branch

This branch was initially based at Hasankeyf (Ḥiṣn Kaifā). The capital moved to Diyarbakır (Amid) in 1183.

Portrait of Nasir al-Din Artuq Arslan, probably Mardin, dated AH 611 (1214-5 CE)

Following the rule of Rukn al-Dīn Mawdūd, the territories of the Hasankeyf branch of the Artuqids were taken over by the

Ayyubids
.

Harput branch

The Harput branch was initially part of the Hasankeyf branch until 1185, gaining independence from Kara Arslan.

  • Imad ud-din Abu Bakr, son of Kara Arslan, 1185–1204
  • Ibrahim ibn Abu Bakr, son of Abu Bakr, 1203–1223
  • Ahmad Khidr, son of Ibrahim, 1223–1234
  • Artuq Shah, son of Ahmad Khidr, 1234.[23]

Harput was conquered by Kayqubad I, Seljuk sultan of Rûm, in 1234, as part of his conquering of Anatolia.

Mardin branch

The Mardin branch of the Artuqids ruled in

Mayyafariqin
from 1101–1409 and were primarily descendants of Ilghazi and his brother Alp-Yaruq.

Zengid ruler Nur al-Din Arslan Shah I, on a coin of the Artuqid Husam al-Din Yuluq Arslan, dated AH 596 (1199-1200 CE).[24][25]
Coinage of Artuk Arslan. Dated 1237-8 CE

Kara Koyunlu, a Turkoman tribe, in 1409.[4]

Aleppo subbranch

The Artuqid branch that ruled Aleppo was an offshoot of the Mardin branch and included descendants of Ilghazi and his brothers Abd al-Jabar and Bahram ibn Artuk. See also

Rulers of Aleppo
.

  • Ilghazi, son of Artuk, 1117–1121
  • Badr ad-Dawlah Süleiman, son of Abd al-Jabar (son of Artuk), 1121–1123
  • Belek Ghazi, son of Bahram ibn Artuk (son of Artuk), 1123–1124
  • Timurtash, son of Ilghazi, 1124–1125[26]
  • [Seljuks under al-Bursuqi and various others, 1125–1127]
  • Badr ad-Dawlah Süleiman (second rule), 1127–1128.

Aleppo was taken by Zengi in 1128 and ruled by the Zengid dynasty until 1183.

Coinage

Artuqids coinage was very figural, "with its apparent classical and Byzantine motifs and representations".[4]

  • Crowned, bearded Byzantine-style bust, with clean-shaven Fakhr al-Din Qara Arslan, Hisn Kayfa or Amid mint. Dated AH 559 (1163-4 CE).
    Crowned, bearded Byzantine-style bust, with clean-shaven
    Fakhr al-Din Qara Arslan
    , Hisn Kayfa or Amid mint. Dated AH 559 (1163-4 CE).
  • Coinage of Kara Arslan, dated AH 562 (1166-7 CE). Artuqid coinage was very figural, "with its apparent classical and Byzantine motifs and representations".[4]
    Coinage of Kara Arslan, dated AH 562 (1166-7 CE). Artuqid coinage was very figural, "with its apparent classical and Byzantine motifs and representations".[4]
  • Nasir al-Din Mahmud, dirham, 619 AH (1213-4 CE)
    Nasir al-Din Mahmud, dirham, 619 AH (1213-4 CE)
  • Najm al-Din Alpi, Mardin, 558 H (1162-3 CE)
    Najm al-Din Alpi, Mardin, 558 H (1162-3 CE)
  • Nur al-Din Muhammad, al-Hisn, 578 H (1182-3 CE), with youthful Seleucid head.
    Nur al-Din Muhammad, al-Hisn, 578 H (1182-3 CE), with youthful Seleucid head.

See also

References

  1. ^ Clifford Edmund Bosworth, The Mediaeval Islamic Underworld: The Banū Sāsān in Arabic life and lore, (E.J. Brill, 1976), 107, 134;"The Artuqids, descendants of Artuq b. Ekseb, were a Turkmen dynasty established in Diyarbakr..."
  2. ^ Islamic Desk Reference, ed. E. J. Van Donzel, (Brill, 1994), 39;"Artuqids. Turkmen dynasty which reigned over...."
  3. ^ "Артук Гази, артукиды и их первые тюркские бейлики в Анатолии" (in Russian). TRT Russian. 22 December 2016. Archived from the original on 9 November 2016. Retrieved 27 April 2019.
  4. ^ .
  5. .
  6. .
  7. .
  8. .
  9. ^ . The rise of the Zangids halted the Artuqids' expansionist plans, and they had to become vassals of Nur al-Din. Then the Ayyubids whittled their power down further, and they lost Hisn Kayfa, Amid and Mayyafariqin to them. In the early thirteenth century, they were for a time vassals of the Rum Seljuqs and of the Khwarazm Shah Jalal al-Dln Mengiibirti. Eventually, only the Mardln line survived, with Qara Arslan submitting to the Mongol II Khan Hulegu.
  10. .
  11. ^ Court and Cosmos: The Great Age of the Seljuqs - MetPublications - The Metropolitan Museum of Art. Metropolitan Museum of Art. 2016. p. 57, item 7.
  12. ^ Court and Cosmos: The Great Age of the Seljuqs - MetPublications - The Metropolitan Museum of Art. Metropolitan Museum of Art. 2016. p. 58.
  13. ^ a b Snelders 2010, p. Chapter 4, 4th page.
  14. .
  15. ^ .
  16. ^ a b Ward, Rachel (1 January 1985). "Evidence for a School of Painting at the Artuqid Court". Oxford Studies in Islamic Art, vol. 1, pp. 69-83: 69.
  17. ^ Ward, Rachel (1 January 1985). "Evidence for a School of Painting at the Artuqid Court". Oxfod Studies in Islamic Art, vol. 1, pp. 69-83: 77.
  18. ^ a b Ward, Rachel (1 January 1985). "Evidence for a School of Painting at the Artuqid Court". Oxfod Studies in Islamic Art, vol. 1, pp. 69-83: 76–77.
  19. . Manuscript "Ahmet III 3493"
  20. .
  21. ^ Bosworth, Clifford E., The New Islamic Dynasties: A Chronological and Genealogical Manual, Columbia University Press, New York, 1996, pgs. 194-196
  22. ^ a b c d Whelan 1988, p. 146.
  23. ^ Öztuna, Yılmaz, "Devletler ve Hanedanlar" Cilt:2, Kültür Bakanlığı Yayınları, Ankara (1996), s.43
  24. . But who was the "Nur al - Din Atabeg" featured on the obverse side of most coins of this type , and why was he also recognized? He is not further identified on the coins , but the most logical candidate would appear to be Nur al - Din Arslan Shah I , the Zengid Atabeg of Mosul ( 589-607 / 1193-1210 ) , the only atabeg with the laqab Nur al - Din known to have been active at that time . This identification was first advanced by Mitchiner in 1977 and was repeated by Hennequin in the Paris catalog.
  25. ^ Künker, Fritz Rudolf. Künker Auktion 137 - The De Wit Collection of Medieval Coins, 1000 Years of European Coinage, Part III: England, Ireland, Scotland, Spain, Portugal, Italy, Balkan, the Middle East, Crusader States, Jetons und Weights. Numismatischer Verlag Künker. p. 391. But who was the "Nur al-Din Atabeg" featured on the obverse side of most coins of this type, and why was he also recognized? He is Nur al-Din Arslan Shah I, the Zengid Atabeg of Mosul (1193-1210), which was discovered by Mitchiner in 1977. Why the Artuqid Yuluq Arslan of Mardin should put his rival's name on his coins is not altogether clear
  26. ^ Öztuna, Yılmaz, "Devletler ve Hanedanlar" Cilt:2, Kültür Bakanlığı Yayınları, Ankara (1996), s.43–44

Sources

External links