 |
You are not currently logged in. Are you accessing the unsecure (http) portal? Click here to switch to the secure portal. |
Difference between revisions of "Wiktenauer:Main page/Featured"
| (89 intermediate revisions by the same user not shown) | |||
| Line 1: | Line 1: | ||
{{infobox writer | {{infobox writer | ||
| − | | name | + | | name = Pseudo Ibn Akḥī Ḥizām |
| − | | image | + | | image = |
| − | | imagesize | + | | imagesize = |
| − | | caption | + | | caption = |
| − | + | | birthdate = 10th AH/15th CE century | |
| − | + | | birthplace = Egypt? Syria? | |
| − | + | | occupation = Mamluk scribe? | |
| − | | birthdate | + | | nationality = Circassian Period (“Burjī”) Mamluk |
| − | | birthplace | + | | influences = {{plainlist |
| − | + | | Mamluk Martial Arts Literature | |
| − | + | | Lāchin b. ʿAbdallāh al-Ṭarablūsī | |
| − | + | | Ibn Akhī Ḥizām | |
| − | | occupation | + | }} |
| − | | | + | | genre = Military manual |
| − | | | + | | language = Arabic, Egyptian Colloquial Arabic |
| − | | | + | | notableworks = |
| − | | | + | | manuscript(s) = [[Kitāb al-maḫzūn ğāmi' al-funūn (MS Arabe 2824)|MS Arabe 2824]] (1470) |
| − | + | | wiktenauer compilation by= | |
| − | |||
| − | | | ||
| − | |||
| − | |||
| − | | genre | ||
| − | | | ||
| − | |||
| − | | notableworks | ||
| − | | manuscript(s) | ||
| − | |||
| − | |||
| − | |||
}} | }} | ||
| − | + | '''''Kitāb al-makhzūn: Jāmiʿ al-funūn''''' ("The Treasure: A Work that Gathers Together Combative Arts"; colophon dated 875 AH/1470-1CE) is an Arabic language work in the classical style of Mamluk furūsīya literature. The work is attributed to the famous «father» of Islamicate martial arts literature Ibn Akhī Ḥizām (c. 250 AH/ 864 CE; given as Ibn Akhī Khuzām), yet is clearly the work of a Mamluk author. Agnès Carayon suggests that a grandee of the Circassian Mamluk (''Burjī'') court commissioned the work, potentially for Sultan Qāʾitbay (r. 1468-1496). Composite in nature, the work is most likely a summary of other, more voluminous works—such as ''Nihāyat al-suʾl wa-l-amnīya fī taʿlīm aʿmāl al-furūsīya'' ("The End of Questioning: A Trustworthy Work concerning Instruction in the Deeds of Furūsīya") by Al-Aqsarāʾī (c. 9th cent. AH/14th cent CE). Certain sections begin and then trail off, while others remain incomplete, suggesting that this work is composite in nature and was most likely a summary or copy of other works both extant and lost. The author does not cite other authors within the body of the text itself. | |
| − | |||
| − | |||
| − | + | The text of ''Jāmiʿ al-funūn'' is by and large more classical in nature with a great deal of dialectal, Egyptian Arabic of the period. This pertains both to vocabulary (ex: ''bāṭ'' for ''ibāṭ'' "armpit" throughout; ''jawwān'' as a preposition) as well as to grammar (verbs not in gender alignment, plurality disagreements, grammatical inconsistencies of adverbial phrases etc.). An introductory phrase in Ottoman Turkish in the beginning of the text has it that on «The seventh night of Muharram, 975 AH (1567CE)” a certain “Ṣilāhdār Aǧa” Dervish (unknown) petitioned God to be among those counted as Muhammad’s companions. Likewise, the intricate title page has “The owner of this work is Derviş Ağa” crossed out in black ink. Whether or not this was a higher ranking “Arms-Bearer” of the Sultan cannot be confirmed. The version from which the following translation stems is Bibliothèque Nationale MS 2824 (another version can be found in the same collection: MS 2826). Scholars have yet to produce a critical edition of this work. | |
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | ''' | ||
| − | + | Despite its brevity in comparison to other works of the Mamluk furūsīya tradition, Jāmiʿ al-funūn provides a great deal of insight into the ways in which the Mamluks trained their troops. The illustrations featured in the work are some of the best examples of the medium. Distinct from other works in the genre with lengthy introductions, Jāmiʿ al-funūn begins with only minor benedictions, then jumps straight into a description of how to establish the training area for cavalry exercises – the nāwārd. From there, the author displays 72 bunūd or paired lance exercises – most likely inspired by al-Ṭarāblūsī’s famous 72 forms (c . 738 AH / 1337-8 CE). Following this, the author then treats issues deemed relevant to the development of a cavalier, without a particular logic to the ordering of the sections. | |
| − | + | Unlike other works of furūsīya, ''Jāmiʿ al-funūn'' contains several sections detailing the ways in which soldiers can train for combat on foot. Most notably, the author presents a system for training swordsmanship. The work begins with instruction on the ways in which one can execute paired exercises with cane fighting, dagger fighting, and cane and shield fighting on foot. The author details the proper ways to feint and hit, the ways in which one can parry and riposte (and disarm), and where to target with a sword. In the author’s system, training with the cane was a safe means to perfect one’s technique before moving on to using sharp swords in battle. After training with the cane, the author recommends perfecting test cutting on clay mounds as a way to develop arm strength and ensure proper edge alignment. Following both of these methods of training, a potential cavalier would be ready to pursue test cutting on horseback. | |
| − | ([[ | + | ([[Pseudo-Ibn Akḥī Ḥizām|Read more]]…) |
| − | <dl> | + | <dl style="clear:right;"> |
<dt style="font-size:90%;">Recently Featured:</dt> | <dt style="font-size:90%;">Recently Featured:</dt> | ||
| − | <dd style="font-size:90%;">[[ | + | <dd style="font-size:90%;">[[Andre Paurenfeyndt]] – [[Federico Ghisliero]] – [[Alfonso Fallopia]] – [[Hugold Behr]] – [[Angelo Viggiani]]</dd> |
</dl> | </dl> | ||
Latest revision as of 02:46, 11 March 2025
| Pseudo Ibn Akḥī Ḥizām | |
|---|---|
| Born | 10th AH/15th CE century Egypt? Syria? |
| Occupation | Mamluk scribe? |
| Nationality | Circassian Period (“Burjī”) Mamluk |
| Influences |
|
| Genres | Military manual |
| Language | Arabic, Egyptian Colloquial Arabic |
| Manuscript(s) | MS Arabe 2824 (1470) |
Kitāb al-makhzūn: Jāmiʿ al-funūn ("The Treasure: A Work that Gathers Together Combative Arts"; colophon dated 875 AH/1470-1CE) is an Arabic language work in the classical style of Mamluk furūsīya literature. The work is attributed to the famous «father» of Islamicate martial arts literature Ibn Akhī Ḥizām (c. 250 AH/ 864 CE; given as Ibn Akhī Khuzām), yet is clearly the work of a Mamluk author. Agnès Carayon suggests that a grandee of the Circassian Mamluk (Burjī) court commissioned the work, potentially for Sultan Qāʾitbay (r. 1468-1496). Composite in nature, the work is most likely a summary of other, more voluminous works—such as Nihāyat al-suʾl wa-l-amnīya fī taʿlīm aʿmāl al-furūsīya ("The End of Questioning: A Trustworthy Work concerning Instruction in the Deeds of Furūsīya") by Al-Aqsarāʾī (c. 9th cent. AH/14th cent CE). Certain sections begin and then trail off, while others remain incomplete, suggesting that this work is composite in nature and was most likely a summary or copy of other works both extant and lost. The author does not cite other authors within the body of the text itself.
The text of Jāmiʿ al-funūn is by and large more classical in nature with a great deal of dialectal, Egyptian Arabic of the period. This pertains both to vocabulary (ex: bāṭ for ibāṭ "armpit" throughout; jawwān as a preposition) as well as to grammar (verbs not in gender alignment, plurality disagreements, grammatical inconsistencies of adverbial phrases etc.). An introductory phrase in Ottoman Turkish in the beginning of the text has it that on «The seventh night of Muharram, 975 AH (1567CE)” a certain “Ṣilāhdār Aǧa” Dervish (unknown) petitioned God to be among those counted as Muhammad’s companions. Likewise, the intricate title page has “The owner of this work is Derviş Ağa” crossed out in black ink. Whether or not this was a higher ranking “Arms-Bearer” of the Sultan cannot be confirmed. The version from which the following translation stems is Bibliothèque Nationale MS 2824 (another version can be found in the same collection: MS 2826). Scholars have yet to produce a critical edition of this work.
Despite its brevity in comparison to other works of the Mamluk furūsīya tradition, Jāmiʿ al-funūn provides a great deal of insight into the ways in which the Mamluks trained their troops. The illustrations featured in the work are some of the best examples of the medium. Distinct from other works in the genre with lengthy introductions, Jāmiʿ al-funūn begins with only minor benedictions, then jumps straight into a description of how to establish the training area for cavalry exercises – the nāwārd. From there, the author displays 72 bunūd or paired lance exercises – most likely inspired by al-Ṭarāblūsī’s famous 72 forms (c . 738 AH / 1337-8 CE). Following this, the author then treats issues deemed relevant to the development of a cavalier, without a particular logic to the ordering of the sections.
Unlike other works of furūsīya, Jāmiʿ al-funūn contains several sections detailing the ways in which soldiers can train for combat on foot. Most notably, the author presents a system for training swordsmanship. The work begins with instruction on the ways in which one can execute paired exercises with cane fighting, dagger fighting, and cane and shield fighting on foot. The author details the proper ways to feint and hit, the ways in which one can parry and riposte (and disarm), and where to target with a sword. In the author’s system, training with the cane was a safe means to perfect one’s technique before moving on to using sharp swords in battle. After training with the cane, the author recommends perfecting test cutting on clay mounds as a way to develop arm strength and ensure proper edge alignment. Following both of these methods of training, a potential cavalier would be ready to pursue test cutting on horseback.
(Read more…)
- Recently Featured:
- Andre Paurenfeyndt – Federico Ghisliero – Alfonso Fallopia – Hugold Behr – Angelo Viggiani
