standard iconography with a pretzel-like knot at
scabbard, which sets the dragon-slaying iconogra-
mid-section followed by a further loop A pair of
phy alongside the dragon’s inherently prophylac-
flying figures hovers over the canopy of the rider
tic aspect It moreover represents an example of a
in a sign of glorification A three-line inscription
pastiche expressing in visual form the coexistence
in Syriac as well as in Arabic associates the stele
of themes from different religio-cultural reper-
with the Christian minority and gives the date,
toires The scabbard is inscribed around the rim
701/1301–2, as well as the name of the master,
with customary good wishes in Arabic rendered
Ibn Bahri 233 Given that it is utilised as a symbol
in cursive script Whereas the epigraphic frieze
of victory in a funerary context, the presence of
is worked in relief, an unusual, shallowly incised
the dragon-slaying motif on this stele appears to
depiction is shown below It differs not only in
echo the popular eschatological notions of the
subject matter but also in style and execution
wall painting above the entrance of yılanlı kilise
from motifs shown on metal objects fabricated
in the Ihlara valley 234
in the medieval Islamic world:236 a warrior saint
The iconographic semantics of the equestrian
in crusader attire is shown to aim at a prostrate
dragon-fighter – from the greater Khurasan
dragon, its slender serpentine body forming a
region to Asia Minor – in its heroic as well as
pretzel-like knot at mid-section, and the “Hand
saintly incarnation, thus owe much to ancient
of God” projecting from the right to point at the
prototypes that germinated in the syncretistic
warrior (fig 111) The dragon-slayer motif sur-
melting pot of the great Near Eastern religions
mounts a register containing an ancient icono-
These were probably inspired to a large extent by
graphic theme of almost worldwide currency,
ancient Iranian dualist notions, and specifically
again executed in relief, showing a bird of prey
eschatological thought systems, which resulted
attacking a quadruped, probably a deer Below
in close parallels between Iranian and Jewish
this a similarly time-honoured theme, a proces-
concepts, inherited, in turn, by Christianity 235
sion of animals of the hunt, is set against foliate
As can be seen in both material culture and writ-
scrolls, typical for the decorative repertoire of
ten sources, there is overwhelming evidence that
a local workshop which conceivably employed
the figure of the Iranian holy rider battling the
craftsmen belonging to one of the monotheis-
dragon (more rarely also visualised as fighting on
tic religions of the Near East, where this sheath
foot) largely served to articulate the many strands
is thought to have been made for a Christian,
of this complex image The latter thus informed
probably crusader, client 237 In contradistinction
a visual vocabulary that proved to be meaning-
however to the dragon-slaying motif on the scab-
ful as an internationally recognisable symbol for
bard decoration, the quillon block of the accom-
adherents of different religions in the medieval
panying dagger, both preserved in the Furusiyya
Central Asian sphere As a consequence it al owed
Art Collection, Vaduz, extends into downward-
for effortless re-contextualisation and seems to
curving prongs that terminate in dragon heads, a
have served as connecting symbol between differ-
feature frequently employed on quil on blocks and
ent cultural and religious spheres on a popular
imbued with an inherent apotropaic function 238
level, in some ways coming to symbolise a cul-
However, the rendering of the dragon heads is
tural syncretism
already highly stylised, perhaps suggesting that
These strong syncretistic aspects are evident
the heads had lost some of their original protec-
on a twelfth- or thirteenth-century nielloed silver
tive quality to become a more decorative feature
233 Erdmann, 1957, p 372, n 32
no 57; L’art des chevaliers, 2007, pp 155–7, cat no 148
234 Cf Pancaroğlu, 2004, p 161
For a discussion of Islamic metalwork objects with Christian
235 Cf Shaked, “Eschatology,” EIr; Hintze, 1999, pp 86–7
themes made for Muslim and Christian patrons, cf Baer,
236 I would like to thank Professor Robert Hillenbrand for
1989, pp 41–9
238
drawing my attention to this point
See chapter 3 Also L’art des chevaliers, 2007, p 154,
237 Cf Chevaux et cavaliers arabes, 2002, pp 118–9, cat
cat no 147
the dragon in relation to royal or heroic figures
111