Existing contributions to the study of dragon
the form of architectural decoration, are discussed
iconography
in chapter 2 The symbolic significance attrib-
uted to the dragon is closely interlinked with the
As far as the symbolism of the dragon is con-
perception of how the boundaries between the
cerned, the field for the greater part has been pre-
realm of the supernatural creature and man are
pared through valuable studies in stylistic and
negotiated It serves as a liminal marker, con-
iconographic development, of which those of
stituting at the same time a powerful protective
Giovanni Curatola, Katharina Otto-Dorn, Gönül
device Chapter 3 turns to portable art, where
Öney and Abbas Daneshvari rank foremost 68
the dragon appeared as an expression of funda-
Considering the prominent position accorded
mental social, moral and sociological concepts as
to the dragon motif in the arts of the medieval
well as a metaphor of sociopolitical authority and
Islamic period, it is however surprising that so
ideal rulership The symbolic appropriation of the
far only Giovanni Curatola has devoted a study
dragon and control over it figured also among the
exclusive to this iconography and its characteris-
paraphernalia of heroism and rulership as well
tics His study, which investigates the overal rela-
as appearing on objects of personal adornment
tion of the dragon to Chinese and Central Asian
and on vessels It is moreover noteworthy that,
sources as wel as its appearance in manuscripts of
while there is a large body of dragon depictions
the post-Timurid period,69 leaves room however
on portable items from the entire Central Asian
for the exploration and identification of the larger
region, of which a selection is examined here,
phenomenon, its manifestations and crosscur-
their existence on architectural structures in the
rents across a period of many centuries and many
Western Central Asian (previously also “Eastern
cultures Some studies have concentrated on a
Iranian”)76 world has so far not been documented
specific medium Otto-Dorn70 and Öney71 have
This is due to the fact that no figural sculpture is
focused in particular on the monumental sculp-
associated with the brick architecture of the Ira-
ture of Anatolia, providing an extensive catalogue
nian world from about 1000 to 1200 Moreover,
of known monumental stone reliefs Individual
comparatively little architecture of this period
reliefs were investigated by Jean-Paul Roux72 and
survives from the “crossroads of Asia,” i e the
Özden Süslü73 in Saljuq-period Anatolia and by
region of present-day Afghanistan Hence, only
Joachim Gierlichs in northern Mesopotamia (the
the representation of dragons on monumental
Jazīra) 74 In a more recent work Gierlichs estab-
settings in regions west of Iran are considered
lished an important catalogue raisonné of animal
Many pre-Islamic thought systems and prac-
reliefs on monuments of the Saljuq and Artuqid
tices were assimilated into early Islamic culture
periods and their successors throughout Anatolia
Beliefs in spirits or jinn and their manifestation
and the Jazīra, focusing also on the depiction of
as serpent genii have been studied for example
the dragon 75 The mass of data thus assembled is
by Joseph Henninger77 and Ernst Zbinden,78 and
truly exhaustive and provides a firm foundation
these are considered in chapter 4, which analyses
for further research
the intricate connection of dragon iconography
The present study consists of a total of 14 chap-
with a multiplicity of natural phenomena as the
ters Chapter 1 outlines the historical and cultural
means through which the continuous correlation
context within which the dragon iconography
and interchange between human society and the
flourished in the medieval Islamic world from
natural world were mediated Dragons are para-
Central Asia to Anatolia Representations of the
mount symbols of the elements or forces present
dragon on monumental sculpture, both Islamic
or active in the cosmic world This chapter focuses
and Christian, of the medieval period, mainly in
on the dragons’ association with the four great ele-
68
75
Curatola, 1979; idem, 1982; and idem, 1989; Otto-Dorn,
Idem, 1996, pp 28–40; also idem, 1993, and idem, 1998
76
esp 1978–9, pp 25–36; Öney, 1969a, eadem, 1969b, and
The term is used in a geographical sense to indicate all
eadem, 1978; Daneshvari, 1993
the regions that stretch from the Caspian Sea and the Central
69 Curatola, 1979; idem, 1982; and idem, 1989
Iranian desert in the west to the Indus river in the east, and
70 Otto-Dorn, 1959, pp 63–5, eadem, 1963, pp 131–3,
from the coastal strip along the Arabian Sea in the south to
eadem, 1978–9, esp pp 25–36
the banks of the Syr Daryā in the north; hence comprising
71 Öney, 1969a, eadem, 1969b, and eadem, 1978
part of present-day Iran, Afghanistan, Pakistan, Turkmeni-
72 Roux, 1972, and idem, 1980
stan, Uzbekistan and Tajikistan
73
77
Süslü, 1987
Henninger, 1963
74
78
Gierlichs, 1995
Zbinden, 1953