Journal articles on the topic 'Seljuk Palaces'

The Seljuk appearance on the scene may point a new era in the history of the Arab-Islamic state, as he took on the rule of the State of Great Seljuk six of the sultans of the powerful, who have had impact on the expansion of the Seljuk states, was their era of well-known luxury and extravagance Ages in their palaces inside Baghdad, it is of bright Ages, which began from (429-552h / 1037-1157m) since Tughril to the Sultan Sanjar, which is the last sultan of the Seljuks powerful, which was squeezed from the longest times in this country, with longer duration of his reign nearly sixty years, and speeches to him on the platforms in the Iraqis and the Levant, Diyarbakir and hit the rail in his name and dubbed many titles as dubbed his predecessors, and they boast the titles, palaces, clothes and ornaments of rare and precious jewels, as well as furniture and decorations in their homes are very overpriced

According to Aristotle, the primary source of all human actions and works is nature. When Albert Einstein said, "Look deeper into nature, then you will understand everything better," he said a key sentence in architecture, which is the field where the human-nature relationship turns into the most concrete products, as in every field of science. Every architectural structure is a historical indicator of the nature-human relationship. Biophilia is a concept used to describe the innate human tendency and need for a close connection with nature and other life forms. It is a concept that describes man's innate emotional attachment to other living organisms. Incorporating plants, water, and animals into the design of a space is one way to create a biophilic environment. The first fundamental dimension of biophilic design is an organic or natural dimension, defined as the shapes and forms in the built environment that directly, indirectly or symbolically reflect the human sensitivity inherent in nature. The second fundamental dimension of biophilic design is a place-based or local dimension, defined as buildings and landscapes that connect to the culture and ecology of a place or geographic region. The two basic dimensions of biophilic design relate to the six biophilic design elements: Environmental features, Natural shapes and forms, Natural patterns and processes, Light and space, and Space-based relationships. In this study, studies on structures such as mosques, madrasahs, healing houses, tombs, caravanserais, castles and palaces in Seljuk architecture were examined according to the dimension of biophilic design defined as natural shapes and forms in the built environment. Traces of biophilic design have been investigated in interior and exterior facade design, in minaret, mihrab, pulpit, console, arch, iwan, profiles, window arches, vaults and column capitals, as well as in the structural elements of crown doors, niches, windows, wall borders and crown arches. From the qualities of natural shapes and forms; Plant motifs, animal motifs, seashells and spirals, egg oval and cylindrical shapes, arches, vaults, domes, straight and non-right-angled forms were evaluated in terms of traces of biophilic design. It is thought that the research can contribute to today's understanding of biophilic design, and the applications made for this purpose, with the features of Seljuk buildings in terms of biophilic design.

Architecture reflects and pinpoints its nation’s progress and mindset. Ottoman Empire, which ruled over three continents, is known for its unique and magnificent architecture represented by grand mosques, seminaries and imperial palaces .The so called Ottoman Architecture was created with in the domain of the Ottoman Empire and is known for its distinct characteristics. This architecture was initially influenced by Seljuk architecture. All Ottoman Sultans had special taste for architecture .Later on, the center was shifted to the capital of the fallen Byzantine Empire, and thus got inspirations from byzantine art .The most well۔known architect of that era was Sinan who revolutionized the art of architecture. He designed almost three hundred buildings distinguished for spacious courtyards surrounded by vast gardens. In the 18th century, Ottoman Sultanate came into contact with Europe, and therefore Baroque influences came to be seen in their architecture. Hence, internal decorations became prominent in the architecture.

The study of architectural planning structure of two houses discovered in Ani during archaeological work in recent decades was undertaken in order to clarify their typological characteristics, architectural features and their place in the history of housing construction in the East. Acquaintance with the publications of archaeologists, the field surveys of objects in Ani undertaken by the authors led to the identification of a complex of stable features in these buildings, which made it possible to identify a range of typological analogies in the 12th–13th palace architecture of Armenians, Georgians, Seljuks of Asia Minor: the palace of Paron in Ani, the palace in Geghuti, built by the Georgian king George III around 1156, the palaces of Kubadabad, built in the first half of the 13th century. In the early Middle Ages, this idea was the basis for urban estates of the 19th–10th centuries in the Semirechye region of the Central Asia, there were still Sogdians. In some forms, in the structure of a four- or two-column covered courtyard, most likely, the embodiment of the central cell of a traditional Armenian residential building was added to the general idea. Two variants of creating such a cell could be presented in the two studied houses of Ani: with four columns in the corners of the central square and a two-column type based on the columns supported of opposing wooden beams. The probable prototypes of the general compositional idea of these houses in the architecture of Parthia and Sasanian Iran have been identified.

"Alaaddin Hill, which is located in the city center of Konya, Turkey-Konya Province, has been exposed to intense construction and traffic; It forms the historical core of Konya. Alaaddin Hill is a mound that yields finds from the Bronze Age (450–2000 BC). Tepe is the inner castle settlement of the Anatolian Seljuk State and is one of the important natural and archaeological sites located in the center of Konya City today. The mound contains all the settlement levels from the Bronze Age to the end of the Ottoman Period. As a result of the archaeological excavations carried out in 1941, important findings were revealed in the mound. Alaaddin Hill Natural and Archaeological Site, Alaaddin Mosque-i, II Kılıçarslan Tomb and II Kılıçarslan Mansion symbolize the inner castle of Medieval Konya. The 2nd Kılıçarslan Mansion archaeological excavation was carried out with the support of Konya Metropolitan Municipality. As a result of the archaeological excavations on the mound on which the mansion sits, the wall extending in the east-west direction and surrounding the palace ruins was revealed to the west of the mansion. Archeogeophysical studies were carried out in order to fully reveal the wall surrounding the palace ruins, on the east of the 2nd Kılıçarslan Palace on Alaaddin Hill, the state of the western façade of the mansion, the continuation of the inner wall ruins passing in front of the mansion, to the east, and to clarify the integrity of the mansion and the Seljuk palace. Archeogeophysical studies were carried out in order to clarify the integrity of the mansion and the Seljuk palace. With the interpretation of the georadar (GPR) method used in archaeogeophysical studies, the anomalies of the inner city wall remains, which give regular geometric forms, were visualized in two and three dimensions.

Konya Province, one of the provinces with the largest surface area in Turkey, is located in the Central Anatolia Region, between 37°52' north latitude and 32°30' east longitude. Alaeddin Hill is located in the city center of Konya. The hill surrounding which is a mound has been exposed to intense construction and traffic. This structure, which is not a natural hill and has survived from ancient times, forms the historical core of Konya. Alaeddin Hill Mound; It is an archaeological settlement that yields finds dating back to the Bronze Age (4500-2000 BC). The mound is the inner castle settlement of the Anatolian Seljuk State and is one of the important natural and archaeological sites today. The mound contains all the settlement levels from the past to the present, from the Bronze Age to the end of the Ottoman Period. Important findings were unearthed during the archaeological excavations carried out in 1941 on the Alaeddin Hill Mound. Alaeddin Hill Natural and Archaeological Site, Alaeddin Mosque, Yarım Kümbet (Half Cupola), 2nd Kılıçarslan Tomb and Mansion constitute the inner castle of Medieval Konya. During the Seljuk conquest, the province of Konya was a small city within the walls surrounding the present Alaeddin Hill Mound. The 2nd Kılıçarslan Mansion Rescue Excavation was carried out in 2010. As a result of the archaeological excavations, the wall surrounding the ruins of the Palace extending in the east-west direction was unearthed to the west of the mansion. During the archaeological excavations, it was determined that the 2nd Kılıçarslan Mansion was not an independent structure on its own. It forms a unity with the walls extending to the east and west of the Alaeddin Mansion and the walls that cut these walls vertically to the south. Therefore, it suggests that this building complex is the remains of the Seljuk Palace. According to new findings and information found during archaeological excavations, Alaeddin Hill was built during the reign of Alaeddin II. Archaeological and geophysical studies have begun to fully uncover the wall surrounding the ruins of the palace located to the east of the Kilicharslan pavilion, the condition of the western facade of the pavilion, so that one can see the continuation of the remains of the inner fortress wall that runs east in front of the pavilion, to explain the integrity of the pavilion and the Seljuk Palace. With the integrated interpretation of magnetic (M) and geoelectric (ERT) methods from archaeogeophysical studies, anomalies belonging to the inner city wall remains, giving regular geometric forms, were visualized in two and three dimensions.

Rapid development in UAV (unmanned aerial vehicle) photogrammetry made it preferable in many applications including cultural heritage documentation. Usability, quickness and accuracy of digital images have grabbed also the attention of archaeologists. Especially orthoimages by UAVs have become considerably significant in the field of archaeological heritage documentation since they are fast and accurate images of the object with high detailed information. However their accuracy and quality are the most important features of these images for archaeological documentation. The aim of this paper is to evaluate horizontal and vertical accuracy of an orthophoto taken by a fixed-wing UAV in an archaeological area. The evaluation is made according to ASPRS (American Society for Photogrammetry and Remote Sensing) Accuracy Standards for Digital Geospatial Data. The archaeological area, the name of which is Kubad Abad Palace in Beyşehir Province in Konya, is the only Anatolian Seljuk Palace structure that has survived to the present day. The study describes the orthophoto generation process and positional accuracy evaluation results within the frame of the importance of accuracy for archaeological documentation.

The study of niches in the interiors of medieval dwelling houses of Ani, the largest Christian city in Armenia, carries out for the first time as part of a monographic article. The material for the study is the samples of niches in the structure of the houses of Ani excavated by the expedition of Nikolay Marr more than a century ago and by Turkish archaeologists over the past decades. The typological classification, carried out according to various criteria, contributes to the ordering of this material, which, despite its wide popularity, turned out to be poorly studied. Special attention is paid to the conches of the niches, which often had sculptural and carved decoration. It made the niche the most expressive form in the entire room. The dating of the studied niches within the epoch between the second half of the 12th and the first half of the 14th century is confirmed by the peculiarities of the stylistic implementation of these architectural forms, as well as their visual similarity with the niches created in the apses of Armenian churches, starting from the turn of the 12th–13th centuries. Reflections are expressed on the purpose of niches in the halls of dwelling houses, some palaces, on their similarity to the niches depicted in the miniatures of manuscripts, with the titles of the gospels. The similarity with the niches in the palaces of the Seljuks of Asia Minor also is detected.

The tree, which is the most commonly used pattern in myths involving the creation of the world and the existence of humanity, primitive humanity attributed divine characteristics to it by reaching deep into the soil with its roots, reaching into the sky with its branches, surpassing other living beings in size, and having a long life span. Apart from the cosmic, divine beings who have always been watched in the sky, there has been a tree after animals and humans, which has grown from seed. Such respect, interest and fear felt towards the tree in various societies on Earth gradually led to the formation of the tree cult and it was accepted as sacred from the most primitive beliefs to the divine religions. In the cultures where it is used, the tree of life, also called the “Cosmic Tree”, the “World Tree”, the “Evliya Tree”, the “Ridvan Tree”, the “Tuba Tree”; axis mundi is known as a universal motif symbolizing all the relationships between the universe and life, as well as concepts such as heaven, heaven, abundance. In Turkish mythology, the connection between heaven and earth was established with a tree or mountain motif. The tree of life is also related to the structure of the universe. The universe pole is considered equivalent to the tree or mountain motif. This formation, which is sometimes interpreted as a “universal column” and sometimes as a “cosmic mountain”, corresponds to the concept of the center. It is also stated that the tree of life has seven branches, and each of these branches corresponds to the floors of heaven. It is rumored that the fate of people is written on the leaves of the same tree, and when each of them falls, a person's life ends. In addition, it is accepted that living things contain their own water, which is the source of life. References to the tree of life are made not only in Turkish societies, but also in almost all belief systems. “In the Zoroastrian religion, the fruits of the tree of life (white homa) nourish the holy souls in heaven, and the angels could not go beyond. It is in the center of paradise in the Torah. It is written that this will be a vine branch. It is written in the Qur'an that the Sidra Tree (Sidred al-Muntaha) is located on the seventh floor to the right of Allah's throne in heaven. This was the limit of heaven, and the angels could not go beyond it,” it is said. After the acceptance of Islam, the tree of life is kept equal to the Tuba Tree, which is said to exist in heaven, and in some Islamic sources the tree of life is referred to as the “Tuba”. The origin of Muslim societies in culture, art and literature is Hazrat Mahdi. “It is imagined that there is a tree in the paradise of the occasion, which is the position of the Prophet, whose branches reach all the layers of paradise from top to bottom. It has also been reflected in living spaces as an important symbol in Turkish societies and has often been used in decorative arts. When the Seljuks began to settle in Anatolia in 1071, the Turks blended their cultural and artistic knowledge with the traditions of the Anatolian geography and created new works in many areas. Cultural accumulations play an important role in establishing a connection between past and future generations by being formed in life and transferred to the future in a way of change, deceleration and continuity. The motifs used in the tiles have been shaped under the influence of the historical past of the geographies they lived in, such as Central Asia, Asia, Mesopotamia and Byzantium, and have become material culture data documenting their past. In this context, they have transformed their lives, which are intertwined with nature, into an element of decoration from the images they used as a symbol in the past. The blending of the elements that the Turks brought with them when they settled in Anatolia with the existing ones is very important for the formation of Anadolu Selcuklu art in the process of formation. It is the qualified formations and cultural diversity that enabled the birth of Seljuk art in the Anatolian geography. Turkish tile art in Anatolia, as in the decorative art, has developed with the influences of Central Asian, Turkish, Iranian, Syrian, Sassanid and Great Seljuk, as well as Armenian and Byzantine cultures of Anatolia before the conquest. Tiles, which are a branch of art that develops with architecture, have started to decorate buildings with their sedentary life. They have decorated their lives intertwined with nature with tile surfaces. In particular, they were complementary to religious and civil structures, and they were processed in different forms from each other in decorations. They have also given place to the tree of life motif many times. They took part in compositions with plant motifs such as pomegranate, poppy, lion, various bird figures and dragon. The tree of life, which is usually seen alone or surrounded by birds in the early periods in Anadolu Selcuklu art, was processed together with various accompanying animals in later periods. The examples seen alone in this period are seen only in religious architecture. Compositions in this way are seen on many stone artifacts. Divriği Ulu Mosque, Yakutiye Madrasa, Konya Fine Minaret Madrasa, Erzurum Double Minaret Madrasa are among the most well-known examples where the tree of life motif is used. The tree of life motif is usually included in Seljuk tiles together with bird figures. The motif of the bird in the middle and on the side of the figure, Priority Arik; “the axis of the universe from the perspective of the Shamanic traditions, the Shaman's spirit the ladder in the journey between the worlds, seeing as that accompanies the birds represents the spirit Shaman. According to Islamic belief, the symbol of paradise is perched on the tree, the birds of paradise. On the other hand, Kubad Abad with his comment that the starling birds that flock to a tree in the every morning as if they are having a meeting can be the inspiration for these pictures.” The motifs interpreted as the tree of life, especially those found on the figured tiles of the Kubad Abad Palace, differ from each other formally. Some of them are in the form of a tree, while others are in the form of palmettes, poppies, pomegranates, cones, or other combinations of motifs on a branch. In the past, it was also used on tiles along with some motifs whose symbolic expression was present. The tree of life motifs seen on the Seljuk palace tiles have been processed many times with the underglaze technique and there are also various lüster examples. During the Ottoman period, the tree of life motif was usually called cypress, cypress. In Iznik ceramics, it is seen in the late period of the “Baba Nakkas” ecol in the 1520s. Cypress motifs 16. while the century found more intensive use in Iznik ceramics on plates, cups, jugs and similar uses are rarer on items. During the period, it is seen that the tree of life, placed in the center, is accompanied by tulip, carnation, hyacinth, crockery flowers, large curved leaves and cloud motifs seen in a naturalistic style on plates with leaf slice edges. The varieties of tree motifs used in Ottoman tiles are depicted as religious and civil architectural surfacing, and usually evergreen, coniferous. As it forms the most depicted group in tiles, cypress trees are seen as dominant in compositions in patterns that are more symmetrical and accustomed to the numerical balance of motifs. The compositions created with the axis of the pattern were used together with naturalistic flowers such as tree of life, tulip, rose, Decanter, hyacinth. Cypress trees on tiles in the Crown Apartments, Favorites Apartment, New Mosque Hünkar Kasrı, Hagia Sophia Library and Eyüp Sultan Tomb in Topkapı Palace, 16. End of the century, 17. It is one of the magnificent examples belonging to the century. The tree of life, which has been seen as a link between worlds throughout world history, has existed in the cultures of societies in accordance with their lives and beliefs, and has been included in Turkish culture as a cultural element that has been used for centuries through its reflection on tiles.

Orientalisme dalam keilmuan sejarah arsitektur dipahami sebagai sebuah kegiatan mengadopsi elemen arsitektur kebudayan Timur oleh individual Barat. Orientalisme melihat Timur sebagai sesuatu yang eksotis sehingga kegiatan adopsi tersebut seringkali menghasilkan bentuk yang tidak pada tempatnya dan tidak bermakna. Pemahaman orientalisme kemudian juga berkaitan dengan kolonialisme, karenanya menarik untuk melihat apakah pemahaman tersebut muncul dalam karya arsitektur Indonesia dari era pemerintahan kolonial Belanda. Kami memilih obyek penelitian Istana Maimun dan Masjid Raya dengan pertimbangan penggunaan elemen yang bukan khas wilayah setempat, Medan Sumatra Utara, dan bahwa kedua obyek adalah karya arsitek Barat. Penelitian ini menggunakan pendekatan sejarah dengan mengamati arsip gambar dan literatur yang tersedia. Hasil pengamatan dan analisa berdasarkan teori yang ditentukan menunjukkan bahwa keberadaan paham orientalisme dalam arsitektur tidak dapat ditentukan dari pengamatan terhadap bentuk fisik saja, melainkan juga proses dan latar belakang pemilik, perancang, dan masyarakat dimana objek berdiri. Dalam penelitian ini maka termasuk sejarah Kesultanan Deli selaku pendiri dan pemilik objek dan kondisi setempat di Medan pada waktu objek ini dirancang dan dibangun. Orientalism in the science of history of architecture is understood as the Western act of adopting Eastern cultural element into their work of arts. Orientalism perceives the East as an exotic object thus their adaptation often resulted in misplaced and meaningless shapes. Orientalism is related to colonialism therefore it is interesting to see whether this idea is applied to Indonesian architecture built in the Dutch colonial era. We chose the Maimoon Palace and Great Mosque in Medan, North Sumatra considering that shapes foreign to Medan were used in the architecture and that the architect was from the West. This research used historical approach by observation towards archival images and literatures. The result of this observation and theoretical analysis revealed that the existence of orientalism in architecture could not be determined from its physical appearance only, instead should also consider its background and construction process. In the case of Maimoon Palace and Great Mosque this means that the history of Deli Sultanate as builder and owner, as well as the local situation in Medan during its planning and construction.

During the Ottoman Empire, which was established in Anatolia after the Seljuks, many developments were made in the name of art for 600 years. Especially thanks to the Ottoman Empire's value to the artist and art, very good works have been produced in many fields. In addition to branches such as calligraphy, illumination, miniature and marbling, fabrics, carpets and rugs, which attract the attention of the whole world in the field of textile, were also woven. The art of weaving experienced its brightest period in terms of weaving technique, color and pattern in the Ottoman Empire. It is understood that weaving, which continued to be produced traditionally in Ottoman cities, continued its existence as an important cultural element and sector. The clothes of the Ottoman sultans kept after their death and the qualities of the fabrics used in the palace convey very important information at the point of understanding the importance of weaving. The diversity and richness of the weavings and textiles produced in many documents belonging to the period can be clearly seen. In this context, this rich weaving and textile diversity has taken an important place in Turkish culture. Especially this rich variety of weaving and textiles has been painted by many painters in almost every period and has gained an important place in terms of conveying information about their periods. In this study, some of Halil Pasha's paintings in which he displayed an objective and objective approach with a realistic style, some of which are in an orientalist style, are discussed as subject. In the study, will focus on Halil Pasha's life, his understanding of art and the textiles and clothing he depicted in some of his paintings. The textiles and clothes in the paintings were discussed in terms of characteristics such as color, pattern, and texture. Key Words: Textile, weaving arts, clothing, painting, carpet.

Throughout the entire history of mankind, literature has been a fact of the time of its creation. When we look at the issue both in a universal context and in a local one, we see approximately the same picture. Just as Homer is a fact of ancient Greece, the work of the genius Azerbaijani poet Nizami Ganjavi of the 12th century is considered to be the fact of the mighty Seljuk Empire, the state of the Atabays of Azerbaijan. Khagani Shirvani's literary heritage, dominated by rebellious and grievous motives, was a literary phenomenon caused by the state of the Shirvanshahs, the Akhsitan dynasty. The invasion of the Mongols, the invasion of Emir Timur, the period-specific manifestations of discontent against oppression and slavery, the spread of philanthropy and the phenomenon of Imadaddin Nasimi.. The work of Alishir Navai, the Uzbek-Chagatai poet and statesman of the 15th century, the author of the first “Khamsa” in Turkic, and the great Turkic culture, which was called the Timurid renaissance, were echoes of Huseyn Baygara's rule which lasted 37 years, in culture, science and literature. The establishment of the Safavid state of Azerbaijan in the XVI century and the fact that Azerbaijan remained the “metropolis and central province of the state” (Efendiyev, 2007: 11) throughout the century, the domestic and foreign policy has had a direct impact on the change of the direction of literature. The biggest event was the stabilization of the tradition of writing in the Azerbaijani language, the preference for the folk language, and the rapid development of ashug poetry. If in the literature of three centuries ago there was a palace splendor, then in the poetry of this period there is already a roar of battlefields, heroic motives surpass love poems, ashug poetry, which is closer to the people, and therefore has a lot of influence and propaganda power. The 18th century Azerbaijani literature is also a “mirror that shows the straight and the crooked” of its time. The article examines the most important events in the history of Azerbaijan of the XVIII century, their influence on the development of literature and features of their reflection in artistic works.

“Palace” is originally a Persian word and means “house, residence, mansion, range”. In Turkish, the word "palace", together with these meanings, is used to mean "the great mansion, the residence of the ruler, the palace of the ruler, the pavilion, the mansion." The palace is important in terms of being the center of the administration as well as being the big building where the ruler lived. The Great Seljuk State and the Ottoman palaces, which later transformed into an empire, were architecturally large and spectacular buildings. This greatness and vanity represented the power of the State. One of the most important institutions that reflect a state politically, administratively, culturally, economically and socially is the palace organization. Because by looking at this organization, we can understand the state's relationship with the public and the power of the state. Looking at the history pages, it was thought that the bigger and more spectacular the palace, the stronger the state. Eastern Roman and Seljuk palaces, among the civilizations that ruled over ancient Anatolia, were mentioned. The literature on the palace structures of the Turkish-Ottoman period has been given in a wide range.

In this paper a collection of iron objects from the Anatolian Seljuks Period, ca. 12th–13th century AD, are analysed and discussed from a metallurgical perspective. A total number of 21 iron-steel objects, small knives and flat bodied (with thin cross-section) arrowheads was examined. These objects are coming from the Seljuks’ cultural layers of Eğirdir (Isparta, Central Anatolian Caravanserai), Kubad Abad (Konya, Central Anatolian Sultan’s Palace Complex), and Samsat (Adıyaman, Eastern Anatolian Fortress). In the samples which were taken from iron tools, composite-like structures formed by different ferrous phases were revealed by metallography, SEM-EDX and micro hardness examinations. These structures are classified according to the production materials and techniques. The first group revealed signs of continuous forging and, in some cases, bloomery iron folding, which can lead to such composite-like structures. The second group consisted of tools which were produced from different starting materials which were forge-welded before or during shaping process. The crucible steel knives can be classified as another group, in which the composite-like structure exhibits totally different constituents leading to more homogeneous mechanical character. In modern times, composite materials have gained importance and become key engineering materials due to their outstanding specific properties. This study reveals that skilled Seljuks’ blacksmiths made similar materials design choices in the production of iron or steel objects, despite limited materials and metallurgical knowledge.

The patterned plaque tiles covering the walls of the Kubadabad Palace are in underglaze and lustre techniques. Squares and hexagons are also found, but the most common forms are eight-pointed and cross tiles. Cross tiles from these forms, which are parts of the same composition, constitute our study subject. Our aim is to dwell on the ornamental area designs in the cross tiles we mentioned and to make restitution proposals for some pieces, without going too much into the technical and ornamental features. The examples, most of which are in the underglaze technique, have the ornamental understanding of the Seljuk period, consisting of vegetative and geometric designs, figures, and inscriptions. There are diameters ranging from 17 cm to 27 cm in tiles, the most common being 23 cm. Although the eight-pointed stars are the first to draw attention in the stance of the geometrical arrangement on the wall, the cross tiles are also noteworthy with their unique space designs and, of course, their ornaments. According to the tiles found so far, ornamental area designs are divided into three groups. This grouping, which is determined according to the elongated arms of the cross tile and the division in the centre, shows that there is a certain design standard and provides us with important data for the restitution of the broken parts.

This article focuses on Turkish culinary culture through the lens of Turkish history and culture. Gastronomy and culinary culture are becoming increasingly professional in Turkey, as they are worldwide. Gastronomy is now recognized not only for its delicious flavors and enjoyable meals but also as an "art form." Gastronomy has held significant importance throughout Turkish history, with Turks placing great emphasis on food culture. Bakery products and meat hold a prominent place in Turkish culinary culture. While meat was traditionally consumed in forms such as roast and basturma by ancient Turks, it is now enjoyed in various dishes and grilled preparations. Even after adopting the Islamic faith, Turks refrained from consuming pork. Turkish culinary culture has been divided into palace cuisine and folk cuisine, both during the Seljuk and Ottoman Empire periods. In contemporary Turkish culinary culture, meals are eaten on the floor in rural areas, while in urbanized regions, dining at tables is more common. Although the tradition of eating at home remains significant, modern working families sometimes prefer dining out. This article aims to emphasize the importance of gastronomic values throughout Turkish history and to conduct a detailed literature review documenting the gastronomic values in Turkish history.

The purpose of this study is to examine the tuğra form, an important element of Ottoman calligraphy, in terms of its place in Turkish calligraphy, historical development, usage areas, and design features. In this context, it is emphasized that the significance of the tuğra goes beyond its function in official documents, serving as an art piece reflecting the artistic sensibilities of its era. Tughras are typically designed in a curved form consisting of the sere, beyze, tuğ, and hançer parts, including the name of the sultan, his father's name, and the phrase "el muzaffer daima." The composition and ornamentation of this text depend on the skills of the artisans of the era and the opulence of the reign. The earliest curved tughra examples that can be found are seen in documents of the Great Seljuk Empire. Later, the use of tughras continued in the Anatolian Seljuks and the Ottoman Empire. Officially, the use of tughras ended on November 1, 1922, with the abolition of the monarchy. The tughra served as a title in official correspondence in the Ottoman state and represented the sultan's signature and the seal of the state. As such, tughras appeared on official documents such as orders, decrees, land deeds, diplomas, as well as on coins, stamps, registration books, dynastic emblems, flags, and official architectural monuments. Additionally, calligraphy works in the form of tughras were created with verses from the Quran, prayers, the Basmala, hadiths, aphorisms, and personal names. The tughra of Ottoman Sultan Orhan Bey, which included the names of "Orhan and his father Osman," laid the foundation for all Ottoman tughra designs. In this study, the tughra of Sultan Suleiman the Magnificent, produced in the Istanbul Palace Workshop during the 16th century, which is considered the brightest period of the Ottoman Empire, was examined. This tughra, currently on display at the New York Metropolitan Museum of Art, was analyzed in terms of its text, calligraphy design, composition features, and illumination patterns. The tughra's design features prominently include the use of gold and navy blue. Illumination patterns feature saz-style dagger leaves, double tahrir-style hatayi designs, stylized carnations, and cloud motifs. Due to these design characteristics, it is believed that the tughra was created in the style of Kara Memi, the chief illuminator of the era.As a result of the research, it was concluded that tughras were not limited to being merely official documents but also represented significant art pieces that reflected the artistic sensibilities of their time.

Until the deep-rooted reforms started from the Selim II era, Ottoman health system was based on the value series of the Seljuk era. The health institutions of the era, named Dârüşşifâ, bimarhâne and timarhâne, were not official state institutions but they were rather established through the donations of bureaucrats and members of public. Established in the classical period, the institution of ‘Hekim Başılık (Chief Physicianship)’ mostly served to organize the health services of the palace and the army. During this long period when the health-related needs of people were not met by the state in Europe and ottoman State, the health and treatment requirements of people were addressed through physicians, surgeons and foundation hospitals in larger towns. Moving towards rural areas and greater masses, this duty was assumed by sheiks, hoja, ocaklı, healers who performed what could be described as traditional medicine or folk medicine. In Turkish communities, the origins of folk medicine dates back to Shamanic Kams, who were believed to have supernatural powers in religious and worldly terms. Folks in those times believed that Shamans were men devoted to religion, exorcised evil spirits and had healing abilities. Majority of the population were in this belief. Despite the process of Islamization in the following periods, these beliefs were not forgotten completely, but rather continued their existence by being adapted into Islamic beliefs. In this context, Shamans have continued their treatment duties mostly as ocaklı but they assigned their religious tasks and healing duties to the Islamic guardian cult. This way, Sufis became a significant part of traditional folk medicine first in Seljuk and then in Ottoman era. Through the lodges and monasteries they have established, Sufis integrated to the social life in the Ottoman era and performed countless important tasks for the community and the state, ranging from settlement of nomads to transportation, accommodation of guests to securing secluded areas, and treatment of numerous psychological and physical diseases. The people had a strong perception that Sufis were men of God, miracle workers and protectors. This belief was foremost important for the acceptance of their healing abilities. As such, members of public were seeking help from Sufis for all kinds of health issues, ranging from mental problems, stomachache, headache, pain in different parts of body, children’s health problems, infertility, behaviour disorders leading to domestic issues to epidemics. So much so that this curing capabilities of Sufis have sometimes been supported by the state and gained an official status. Hence the purpose of this study is to review the folk medicine aspect of Sufis in the Ottoman historic plane and to reveal the treatment methods they used for a number of conditions. The subject has been explained under two main headlines; one consisting of spiritual practises such as prayer, dhikr, nazar, ruqya and shrine visitations, and the other one consisting of apparent practises such as fasting, herbal mixtures etc. While conducting this current study, chronicles, Sufi works, memoirs of the era, archives and modern studies have been reviewed.

Coraline Jones ist die Protagonistin des 3D-Stop-Motion-Films Coraline (2009, FSK 6), einer Adaption von Neil Gaimans gleichnamigem Fantasyroman (2002). Henry Selick, u.a. bekannt durch seine Regiearbeit bei Tim Burton's The Nightmare Before Christmas (1993), transformierte Coralines Geschichte für die Leinwand, wobei ein Film entstand, der zwischen Märchen-Abenteuer und Gruselfilm, zwischen Kinderzimmer und Horrorkino oszilliert.
 Coraline ist gerade mit ihren Eltern in ein neues altes Haus, den Pink Palace, umgezogen. Da die Eltern von der Arbeit völlig eingenommen sind, ist Coraline auf sich gestellt, wenn sie versuchen will, ihre Langeweile abzuwenden. Da entdeckt sie eine kleine Tür, die in eine Parallelwelt führt, in der alles perfekt zu sein scheint, wären da nicht die seltsamen Knopfaugen der Other Mother. Ist diese erst herzlich und umsorgend, zeigt sie immer mehr ihre besitzergreifende Seite, möchte Coraline mit Knopfaugen versehen und zu ihrem Püppchen machen. Vehement lehnt Coraline ab, womit eine gruslige, actionreiche Achterbahnfahrt beginnt, während der Coraline nicht nur sich selbst, sondern auch ihre Eltern retten muss.
 Im Beitrag wird ergründet, welche Elemente zu dieser unheimlichen Hybridität beitragen. Dabei wird erläutert, wie durch den Einsatz von visuellen Clues, unterschiedlichen Farbspektren, 3D-Effekten, Stop-Motion und Musik eine unheimliche Grundstimmung aufgespannt wird, die sich durch mannigfache Bedeutungshorizonte und Uneindeutigkeiten der dominanten Motive und Figuren zum Horror potenzieren kann.

Historic-Archaeological Research of the Catholic University of the Sacred Heart of Milano on the Indus Delta (2010-2018). The following text is only an abridged note on the excavations at Banbhore and some significant extra-moenia surveys carried out by the Italian Team within the Institutional framework of a “Pak-French-Italian Historical and Archaeological Research at Banbhore” on the basis of a Licence issued by the competent Pakistani Authorities (2010-2015 - Coordinator of the Project Dr Kaleemullah Lashari), and, some later, within a new institutional asset: a “Memorandum of Understanding” (MoU) signed in the 2017 between the Director General of the Department of Antiquities of Sindh (Manzoor A. Kanasro) and the Magnifico Rettore of the Catholic University of the Sacred Heart of Milan (Prof. Franco Anelli). Aims of the said MoU are: (a) historical-archaeological research-work at Banbhore and Rani Kot; (b) training (theoretical and on the job) to selected students and officers of the DAS. The Italian group works under the sponsorship of the Italian Ministry for Foreign Affairs (now Ministry for Foreign Affairs and International Cooperation/MAECI). Scientific director for the Italian Team is Prof. Valeria Piacentini, member of the Board of Directors of the Research Centre CRiSSMA of the Catholic University.
 In the following dissertation I won’t linger on the debated issue about the identification of the site of Banbhore with historic sites on the Indus delta (the historical Mihrān river) mentioned and described in the written sources of the past. Too many respected scholars and archaeologists have entered this debate since the end of the 19th Century, for which I refer to a well-known exhaustive literature. In the “50s of the previous century, Leslie Alckok – then official to the Department of Archaeology of Pakistan – carried out some preliminary excavations, followed by Dr Rafique Mughal and F.A. Khan. This latter carried out a systematic and extensive archaeological campaign of several years between the “50s and the “60s, well backed by one of the most authoritative Pakistani historians, N.A. Baloch. Khan brought to light extraordinary archaeological and architectural evidence, but, unfortunately, his excavation-notes have gone lost and little or nothing has been published. Thence, our research-work had to start from nothing.
 First of all and most urgent was an updated planimetric and altimetric study of the site by kite-photos: a massive wall of c. 1,4 km with 55 towers, 7 posterns, and major and secondary accesses to the citadel (2010-2012 by Y. Ubelman, S. Reynard, A. Tilia), regularly updated with advanced technologies (A. Tilia).
 Then, in collaboration with Dr M. Kervran, head of the French Team, we undertook an accurate study of the bastions and the shapes of its towers (squared, U-shaped, circular), which has brought to envisage three main occupational phases of the intra-moenia area: 1. Indo-Parthian/Indo-Kushan phase (c. III-II Century b.CE – III-IV Century CE); 2. Sasanian/Indo-Sasanian phase (c. III-IV Century – early VIII Century CE); 3. Islamic phase (VIII – XII/early XIII Century CE). Decay and/or abandonment and end of any settled life on the site can be dated around the XII-early XIII Century, due to attacks and pillaging by Turco-Mongol nomadic tribes, and/or the deviation of this branch of the Indus delta and consequent filling of the harbour, or both. Archaeological evidence come to light confirms the historical information.
 Our third aim (2010-2015) was to arrive to a first chronological panorama of the site through levels in stratigraphy and the assemblage of pottery and other significant evidence with the individual levels (N. Manassero – A. Fusaro – A. Tilia). Deep trenches were excavated (T/7 and T/9 on the Italian side; T/1 on the French side near the western portion of the bastions skirting the Hindu Temple. These brought to the very early Sasanian period or late Indo-Parthian (c. II-III Century CE), then the water-table invaded the trenches preventing us to go deeper; however, drillings (T/9) have allowed to go deeper for c.1,8 mt of shards …thus reaching a much earlier occupational phase. The question about an Hellenistic occupation at the bottom of the site (Arrian’s harbour of Alexander) is still unanswered… a dream…but the importance of Banbhore has induced to take it seriously and include it within our priorities.
 Ours and the French trenches have also produced significant information on the architectural panorama of the site for its earlier periods of life. A main N-S and E-W road axis was traced. The site was organised in insulae, each insula with its pits of organic and inorganic refusals, densely built along narrow roads by small mono-nuclear houses, roofed, bases in local stones and the elevation in unbacked bricks. Interesting the presence of refusals of some crafts, as if each building had at the same time the function of “home” and workshop. The refusals shew activities of ivory-working (T/1,T/4, T/9), and other crafts carried out “within the bastions of the citadel”, such as glass, shells and mother of pearl, alloys and various metallurgic activities, too, and so on. Significant the presence of a wealth of clay-moulds. T/5 has produced a clay-mould nearly intact in its shape. No less interesting, in the deeper layers, the presence of a well arranged organisation of the hydraulic resources (small canals, little domed cisterns in roughly cut local stones, wells..: T/9).
 One element of the site attracted our attention: the so called “Partition Wall”. It has a North-South direction; then, it bends Eastwards, including the Mosque and the Eastern lagoon, but cutting out the majestic Southern Gate. So far, it had been interpreted as a Wall that had a “religious” or “social” function to separate – after the Islamic conquest – the Muslims from the non-Muslim inhabitants of the site. Manassero dedicated the 2014 Field-Season to investigate: T/7 and T/8 were the trenches that gave a new profile to this structure and to the general occupational organisation of the citadel during its last period of life. The round-shaped tower in mud-bricks and the walls on both sides show that they had been hurriedly erected in a late phase of the life of the citadel (around the end of the X – early XI Century CE). They had been built on the top of pre-existing buildings either abandoned and collapsed or hastily flatted-down, likely to defend this eastern portion of the site and its Mosque by some human ravage that had succeeded to open a breach in the lower western bastion leaving the higher north-eastern area exposed to attacks (the skeleton found by Dr Kervran on her portion of the wall, and Khan’s skeletons with arrow-heads in their skulls and chests). According to F.A. Khan’s excavations and what he left us in his little booklet that so far – printed and re-printed – is the guide for visitors to Banbhore, in the eastern portion of the site during the latest stage of its life still stood beautiful palaces, the Friday Mosque, markets, and an eastern gate where a staircase (still in situ in the 2015) brought to a lagoon at the foot of the eastern bastions and to the river.
 At the end of this first stage of our historical and archaeological research-work, the identification of the site of Banbhore with the historic Sasanian/Indo-Sasanian fortified harbour-town seemed quite feasible. When we resumed our field-work in the 2017, we decided to go deeper in this direction. In the meantime, Dr Manassero had resigned due to personal choices of life. Dr Simone Mantellini bravely accepted to be our Field-Director for the archaeological sector. T/9 had unearthed an imposing Building (Building 1) running along the East-West road-axis, parallel to a second Building (Building 2). The road – wide about 5 meters – must have been a major road, that had played a central role within the general architectural urban asset of the site. Building 2 had the typical structure of the local houses: base in rough stones, elevation in mud-bricks. Excavations of Building 1 produced fillings well flatted and an endless chronological procession of floors in row mud, likely the re-occupation of an important palace during the last phase of the occupational life of Banbhore. The material (pottery and others) associated with the various levels in stratigraphy (Dr A. Fusaro) confirmed the dating of the dug portion from c. the early XIII to the XI Century CE. Historically speaking, it makes sense: chronicles of the time report about the invasion of Lower Sindh by the Seljuks (second half of the XI Century CE); they indulge on the assaults against the walls of its great harbour-town named Daybul, its long siege concluded with a peace-treaty that fixed the border with Makrān at Gwadar and gave to Daybul an autonomous status (nāḥiya) within the Seljuk dominion of Qāvurd-Khān ibn Chaghrī Beg. More interesting was the copious filling with ivory refusals. Along Building 2, were found semi-worked shells, glass, iron and brass rivets, iron instruments, alloys, coins and other. This induced to think to a late quarter of work-shops outside the Partition Wall, built on previous buildings. Lastly, some surveys extra-moenia and in the Lahiri Bandar and Mullah-ka Kot islands have revealed a close connection and interaction between these spaces and the citadel. Around the bastions: the remains of a densely settled area and a well organised regulation of the waters and the territory, rock quarries, urban quarters, dwellings, cairn-tombs (some of them re-used), an artificial lake of sweet water delimited to the south by a “barrage”, wells, and a vast so called “industrial area” to the north-northwest of the bastions, pottery kilns and others completed the image of a urban asset at least for a given span of time. Architectural and archaeological evidences have regularly been graphically, photographically and topographically documented (A. Tilia).
 Archaeometric analyses on the job (pottery, metals, alloys, coins…) and in Italy (ivory, glass, clay-moulds, shards…) have provided precious support and new elements to the archaeological work.
 We are now confronted with the plan of a positive shahristān. Banbhore is no longer only a fortified citadel. Written sources in Arabic and Persian confirm this feature. After the Jan.-Feb. 2018 field-season, the Islamic occupational phase of Banbhore and the “archaeological park” surrounding it enhanced this image: a positive fluvial and maritime system stemmed out, a well-fortified system and harbour-town, a centre of mercantile power, production and re-distribution of luxury goods, an international centre of pilgrimage and religious learning, too, outlet to the sea of the capital-city of the moment.
 For the forthcoming field-seasons, it was decided to concentrate the attention on the sector where the North-South axis crosses the East-West one. In particular: to further investigate Building 1; to look for the ivory-workshops that must be there around – given the copious pieces so far brought to light and used as refilling (more than 9.000 fragments) and some fragments of rough ivory (specialist of the Italian Team G. Affanni); to organise a deep-trench in the Pakistani sector (T/11), in order to resume Manassero’s investigations on the urban and architectural features of the pre-Islamic phases...and (why not?) try to overcome the water-table problem with the technological support offered by the Bahrya University of Karachi…the much dreamed quest of Alexander the Macedonian’s port.
 All in all and to conclude. Nowadays, at the end of this first stage of historical and archaeological research-work in collaboration with the DAS, the identification of the site of Banbhore and its surrounding area with the Sasanian/Indo-Sasanian and the Early-Islamic well-fortified harbour-town of Daybul/Debol can be confirmed. No other site with the characteristics described by the written sources of the time (chronicles, geographies, travelogues…plus Marco Polo and some significant Genoese archival documents) has so far come to light on the Indus deltaic region. Conversely, still un-answered are other queries: Banbhore can be identified also with the great harbour of Alexander the Macedonian? Or with the Barbaricum/Barbarikon/Barbariké, harbour-town of Parthian rulers or local lords of “Skuthia”, also mentioned in the Periplus Maris Erythraei? Or again with Dib/Deb, harbour mentioned in a Parthian-Manichaean text? Or again the Dibos of Greek sources? Or the Dêbuhl/Dêphul of an Arminian text à propos of the Prophet Mani? Wishful thinking; however, these queries represent some amongst the ambitious aims of our future research-work.

Historic-Archaeological Research of the Catholic University of the Sacred Heart of Milano on the Indus Delta (2010-2018). The following text is only an abridged note on the excavations at Banbhore and some significant extra-moenia surveys carried out by the Italian Team within the Institutional framework of a "Pak-French-Italian Historical and Archaeological Research at Banbhore" on the basis of a Licence issued by the competent Pakistani Authorities (2010-2015 - Coordinator of the Project Dr Kaleemullah Lashari), and, some later, within a new institutional asset: a "Memorandum of Understanding" (MoU) signed in the 2017 between the Director General of the Department of Antiquities of Sindh (Manzoor A. Kanasro) and the Magnifico Rettore of the Catholic University of the Sacred Heart of Milan (Prof. Franco Anelli). Aims of the said MoU are: (a) historical-archaeological research-work at Banbhore and Rani Kot; (b) training (theoretical and on the job) to selected students and officers of the DAS. The Italian group works under the sponsorship of the Italian Ministry for Foreign Affairs (now Ministry for Foreign Affairs and International Cooperation/MAECI). Scientific director for the Italian Team is Prof. Valeria Piacentini, member of the Board of Directors of the Research Centre CRiSSMA of the Catholic University.
 In the following dissertation I won't linger on the debated issue about the identification of the site of Banbhore with historic sites on the Indus delta (the historical Mihrān river) mentioned and described in the written sources of the past. Too many respected scholars and archaeologists have entered this debate since the end of the 19th Century, for which I refer to a well-known exhaustive literature. In the "50s of the previous century, Leslie Alckok – then official to the Department of Archaeology of Pakistan – carried out some preliminary excavations, followed by Dr Rafique Mughal and F.A. Khan. This latter carried out a systematic and extensive archaeological campaign of several years between the "50s and the "60s, well backed by one of the most authoritative Pakistani historians, N.A. Baloch. Khan brought to light extraordinary archaeological and architectural evidence, but, unfortunately, his excavation-notes have gone lost and little or nothing has been published. Thence, our research-work had to start from nothing.
 First of all and most urgent was an updated planimetric and altimetric study of the site by kite-photos: a massive wall of c. 1,4 km with 55 towers, 7 posterns, and major and secondary accesses to the citadel (2010-2012 by Y. Ubelman, S. Reynard, A. Tilia), regularly updated with advanced technologies (A. Tilia).
 Then, in collaboration with Dr M. Kervran, head of the French Team, we undertook an accurate study of the bastions and the shapes of its towers (squared, U-shaped, circular), which has brought to envisage three main occupational phases of the intra-moenia area: 1. Indo-Parthian/Indo-Kushan phase (c. III-II Century b.CE – III-IV Century CE); 2. Sasanian/Indo-Sasanian phase (c. III-IV Century – early VIII Century CE); 3. Islamic phase (VIII – XII/early XIII Century CE). Decay and/or abandonment and end of any settled life on the site can be dated around the XII-early XIII Century, due to attacks and pillaging by Turco-Mongol nomadic tribes, and/or the deviation of this branch of the Indus delta and consequent filling of the harbour, or both. Archaeological evidence come to light confirms the historical information.
 Our third aim (2010-2015) was to arrive to a first chronological panorama of the site through levels in stratigraphy and the assemblage of pottery and other significant evidence with the individual levels (N. Manassero – A. Fusaro – A. Tilia). Deep trenches were excavated (T/7 and T/9 on the Italian side; T/1 on the French side near the western portion of the bastions skirting the Hindu Temple. These brought to the very early Sasanian period or late Indo-Parthian (c. II-III Century CE), then the water-table invaded the trenches preventing us to go deeper; however, drillings (T/9) have allowed to go deeper for c.1,8 mt of shards …thus reaching a much earlier occupational phase. The question about an Hellenistic occupation at the bottom of the site (Arrian's harbour of Alexander) is still unanswered… a dream…but the importance of Banbhore has induced to take it seriously and include it within our priorities.
 Ours and the French trenches have also produced significant information on the architectural panorama of the site for its earlier periods of life. A main N-S and E-W road axis was traced. The site was organised in insulae, each insula with its pits of organic and inorganic refusals, densely built along narrow roads by small mono-nuclear houses, roofed, bases in local stones and the elevation in unbacked bricks. Interesting the presence of refusals of some crafts, as if each building had at the same time the function of "home" and workshop. The refusals shew activities of ivory-working (T/1,T/4, T/9), and other crafts carried out "within the bastions of the citadel", such as glass, shells and mother of pearl, alloys and various metallurgic activities, too, and so on. Significant the presence of a wealth of clay-moulds. T/5 has produced a clay-mould nearly intact in its shape. No less interesting, in the deeper layers, the presence of a well arranged organisation of the hydraulic resources (small canals, little domed cisterns in roughly cut local stones, wells..: T/9).
 One element of the site attracted our attention: the so called "Partition Wall". It has a North-South direction; then, it bends Eastwards, including the Mosque and the Eastern lagoon, but cutting out the majestic Southern Gate. So far, it had been interpreted as a Wall that had a "religious" or "social" function to separate – after the Islamic conquest – the Muslims from the non-Muslim inhabitants of the site. Manassero dedicated the 2014 Field-Season to investigate: T/7 and T/8 were the trenches that gave a new profile to this structure and to the general occupational organisation of the citadel during its last period of life. The round-shaped tower in mud-bricks and the walls on both sides show that they had been hurriedly erected in a late phase of the life of the citadel (around the end of the X – early XI Century CE). They had been built on the top of pre-existing buildings either abandoned and collapsed or hastily flatted-down, likely to defend this eastern portion of the site and its Mosque by some human ravage that had succeeded to open a breach in the lower western bastion leaving the higher north-eastern area exposed to attacks (the skeleton found by Dr Kervran on her portion of the wall, and Khan's skeletons with arrow-heads in their skulls and chests). According to F.A. Khan's excavations and what he left us in his little booklet that so far – printed and re-printed – is the guide for visitors to Banbhore, in the eastern portion of the site during the latest stage of its life still stood beautiful palaces, the Friday Mosque, markets, and an eastern gate where a staircase (still in situ in the 2015) brought to a lagoon at the foot of the eastern bastions and to the river.
 At the end of this first stage of our historical and archaeological research-work, the identification of the site of Banbhore with the historic Sasanian/Indo-Sasanian fortified harbour-town seemed quite feasible. When we resumed our field-work in the 2017, we decided to go deeper in this direction. In the meantime, Dr Manassero had resigned due to personal choices of life. Dr Simone Mantellini bravely accepted to be our Field-Director for the archaeological sector. T/9 had unearthed an imposing Building (Building 1) running along the East-West road-axis, parallel to a second Building (Building 2). The road – wide about 5 meters – must have been a major road, that had played a central role within the general architectural urban asset of the site. Building 2 had the typical structure of the local houses: base in rough stones, elevation in mud-bricks. Excavations of Building 1 produced fillings well flatted and an endless chronological procession of floors in row mud, likely the re-occupation of an important palace during the last phase of the occupational life of Banbhore. The material (pottery and others) associated with the various levels in stratigraphy (Dr A. Fusaro) confirmed the dating of the dug portion from c. the early XIII to the XI Century CE. Historically speaking, it makes sense: chronicles of the time report about the invasion of Lower Sindh by the Seljuks (second half of the XI Century CE); they indulge on the assaults against the walls of its great harbour-town named Daybul, its long siege concluded with a peace-treaty that fixed the border with Makrān at Gwadar and gave to Daybul an autonomous status (nāḥiya) within the Seljuk dominion of Qāvurd-Khān ibn Chaghrī Beg. More interesting was the copious filling with ivory refusals. Along Building 2, were found semi-worked shells, glass, iron and brass rivets, iron instruments, alloys, coins and other. This induced to think to a late quarter of work-shops outside the Partition Wall, built on previous buildings. Lastly, some surveys extra-moenia and in the Lahiri Bandar and Mullah-ka Kot islands have revealed a close connection and interaction between these spaces and the citadel. Around the bastions: the remains of a densely settled area and a well organised regulation of the waters and the territory, rock quarries, urban quarters, dwellings, cairn-tombs (some of them re-used), an artificial lake of sweet water delimited to the south by a "barrage", wells, and a vast so called "industrial area" to the north-northwest of the bastions, pottery kilns and others completed the image of a urban asset at least for a given span of time. Architectural and archaeological evidences have regularly been graphically, photographically and topographically documented (A. Tilia).
 Archaeometric analyses on the job (pottery, metals, alloys, coins…) and in Italy (ivory, glass, clay-moulds, shards…) have provided precious support and new elements to the archaeological work.
 We are now confronted with the plan of a positive shahristān. Banbhore is no longer only a fortified citadel. Written sources in Arabic and Persian confirm this feature. After the Jan.-Feb. 2018 field-season, the Islamic occupational phase of Banbhore and the "archaeological park" surrounding it enhanced this image: a positive fluvial and maritime system stemmed out, a well-fortified system and harbour-town, a centre of mercantile power, production and re-distribution of luxury goods, an international centre of pilgrimage and religious learning, too, outlet to the sea of the capital-city of the moment.
 For the forthcoming field-seasons, it was decided to concentrate the attention on the sector where the North-South axis crosses the East-West one. In particular: to further investigate Building 1; to look for the ivory-workshops that must be there around – given the copious pieces so far brought to light and used as refilling (more than 9.000 fragments) and some fragments of rough ivory (specialist of the Italian Team G. Affanni); to organise a deep-trench in the Pakistani sector (T/11), in order to resume Manassero's investigations on the urban and architectural features of the pre-Islamic phases...and (why not?) try to overcome the water-table problem with the technological support offered by the Bahrya University of Karachi…the much dreamed quest of Alexander the Macedonian's port.
 All in all and to conclude. Nowadays, at the end of this first stage of historical and archaeological research-work in collaboration with the DAS, the identification of the site of Banbhore and its surrounding area with the Sasanian/Indo-Sasanian and the Early-Islamic well-fortified harbour-town of Daybul/Debol can be confirmed. No other site with the characteristics described by the written sources of the time (chronicles, geographies, travelogues…plus Marco Polo and some significant Genoese archival documents) has so far come to light on the Indus deltaic region. Conversely, still un-answered are other queries: Banbhore can be identified also with the great harbour of Alexander the Macedonian? Or with the Barbaricum/Barbarikon/Barbariké, harbour-town of Parthian rulers or local lords of "Skuthia", also mentioned in the Periplus Maris Erythraei? Or again with Dib/Deb, harbour mentioned in a Parthian-Manichaean text? Or again the Dibos of Greek sources? Or the Dêbuhl/Dêphul of an Arminian text à propos of the Prophet Mani? Wishful thinking; however, these queries represent some amongst the ambitious aims of our future research-work.

Wood art is one of the arts products, starting from the early periods of Turkish-Islamic art. The origin of wood is the Arabic hasebin (wood, timber) and its plural wood. It means wood material and timber used for production purposes. The beginning of the use of wood with its durability and texture, needs of people, has led to the emergence of woodworking in architecture, art history and handicrafts. It has changed and developed in the historical process. The samples found in the kurgans in the Altai show that the Central Asian Turks were interested in wood. The first examples of Islamic architecture in Syria, the wooden works of the Umayyad’s and later the Abbasids bear the traces of woodwork of the period. The Seljuk’s were also interested in wood, and the Ottomans brought woodworking to the highest level. They created works such as pulpit, mihrap, lectern, Qur'an case, drawer and coffin from wood used in architecture as building materials. Mihrab is a word derived from the root of harp, meanings the Arabic palace, the harem, the sultan's throne is located place, the statue cell of the Christian saints, the arbor, the pavilion, the high place, the head of the assembly. In the historical course, it became the name of the place where the imam stood in mosques. The pulpit, the stepped architectural element in mosques to be seen better and to be heard better while giving a sermon, is the word is derived from the root nebr meaning raising. It’s the place you go up gradually. Kürsü is Kürsi in Arabic means a chair that is placed on top of each other or formed from various parts and sat on. In Anatolia, the art of wood maintains its importance with cultural interaction and changes until today. With the use of technological innovations, today the number of masters who produce handicrafts has decreased considerably. In this study, information has been given about Ali Önder, one of the masters who set his heart on this work, and the construction stages of the pulpit, lectern and mihrap he prepared, and about the wooden art. Önder was born in 1933 in the Gürün district of Sivas. He started to learn woodworking from his father at the age of seven, and has been continuing his professional life, for 35-40 years by making mihrab, pulpits and lecterns. Önder does not charge for the works he prepared for mosques, was awarded the International Goodness Award given to seven people from different parts of the world by the Turkish Religious Foundation.

<div class="Section0"><p><em>Javanese karawitan music is a part of Javanese community cultural. Globalization, and time and technology development lead to cultural acculturation between Javanese and out-of-Javanese cultural values in Javanese gending (musical composition for gamelan) or song as the representation of Javanese karawitan artists’ behavior that is also affected because Javanese values like good behavior, good manner and etiquette are manifested into pakem. Contemporary Javanese Gending Karawitan divides social identity of artists into classical and contemporary gending artists. This research studies the phenomenon using Tajfel & Turner’s and Hogg & Abrams’s theory. The research was conducted on karawitan artists of Surakarta City using qualitative method with phenomenological approach. Technique of collecting data used was interview with contemporary-style karawitan composers and Abdi Dalem Niyaga of Surakarta Kasunanan Palace as the classical-style karawitan artists to obtain primary data. Data validation was carried out using source triangulation and data analysis using taxonomy technique. The result of research showed the categorization of social identity for Javanese karawitan artist into classical and contemporary ones, followed with emotionality in each of groups. At social categorization stage, artists divide the category by classical and contemporary gendings, and thereby the two groups are separated into in-group and out-group. Therefore, the perfection of social identity should be made at social categorization stage by growing their awareness of identity as the artists of Javanese karawitan. The perfection of social identity can compare their social identity inside group with the one outside Javanese karawitan art. </em><em></em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><strong><em>: Social Identity, Cultural Acculturation, Javanese Gending Karawitan, Artists.</em></strong></p><p><strong><em> </em></strong></p><h2>Abstrak</h2><p>Kesenian musik karawitan Jawa merupakan bagian dari kebudayaan masyarakat Jawa. Globalisasi, perkembangan zaman dan teknologi menyebabkan adanya akulturasi budaya antara nilai-nilai budaya Jawa dan luar Jawa dalam gending atau lagu Jawa sebagai representasi perilaku seniman karawitan Jawa ikut terpengaruh karena nilai-nilai masyarakat Jawa seperti ajaran berperilaku baik, sopan santun dan unggah-ungguh dituangkan dalam pakem. Gending karawitan Jawa kontemporer yang membagi identitas sosial seniman menjadi seniman gending klasik dan kontemporer. Penelitian ini mengkaji fenomena tersebut dengan teori identitas sosial Tajfel & Turner serta Hogg & Abrams. Penelitian dilakukan terhadap seniman karawitan Kota Surakarta menggunakan metode kualitatif dengan pendekatan fenomenologi. Teknik pengumpulan data menggunakan wawancara terhadap komposer karawitan gaya kontemporer dan Abdi Dalem Niyaga Kraton Kasunanan Surakarta selaku seniman karawitan gaya klasik sebagai data primer. Validitas data menggunakan teknik triangulasi sumber dan analisis data menggunakan teknik taksonomi. Hasil penelitian menunjukkan terjadi pembagian identitas sosial seniman karawitan Jawa menjadi gaya klasik dan kontemporer yang diikuti rasa emosional pada masing-masing kelompok. Pada tahap social categorization, seniman membagi kategori berdasar gending klasik maupun kontemporer, sehingga kedua kelompok terpilah menjadi in-group dan out-group. Oleh karena itu perlu dilakukan penyempurnaan identitas sosial pada tahap social categorization dengan menumbuhkan kesadaran identitas mereka sebagai seniman karawitan Jawa. Penyempurnaan identitas sosial dapat membentuk komparasi sosial identitas mereka tidak lagi di dalam kelompok melainkan terhadap kelompok di luar kesenian karawitan Jawa.</p><p> </p><strong>Kata Kunci: Identitas Sosial, Akulturasi Budaya, Gending Karawitan Jawa, Seniman</strong></div>

Abbara, Suhny Abbott, J Dawn Abe, Jun-ichi Abraham, William T. Achenbach, Stephan Ackerman, Michael J. Adabag, Selcuk Adams, Ted Adatya, Sirtaz Ades, Philip A. Ahmed, Bina Aikawa, Elena Ailawadi, Gorav Aizawa, Yoshifusa Aizer, Anthony Akagi, Teiji Akar, Fadi Akhter, Shahab Al Khatib, Sana Al-Ahmad, Amin Al-Mallah, Mouaz Alberts, Mark J. Alexander, John H.. Alexander, Mark Ali, Mo Allen, Larry A. Allen, Norrina B. Allison, Matthew A. Ambrosio, Giuseppe Amsterdam, Ezra Anand, Inder S. Andelfinger, Gregor Anderson, Mark E. Andresen, Brad Antoniucci, David Anversa, Piero Anyanwu, Ani Aon, Miguel A. Appel, Lawrence J. Armstrong, Paul W. Arnold, Suzanne Arslanian-Engoren, Cynthia Ascheim, Deborah D. Ashraf, Muhammad Asirvatham, Samuel Asmis, Reto Assmus, Birgit Atar, Dan Atkins, Dianne L. Atluri, Pavan Atz, Andrew M. Auchampach, John A. Avkiran, Metin . Aylward, Philip Baas, Arnold Babikian, V L. Bacha, Emile Bache, Robert J. Badano, Luigi Badimon, Juan Jose Bailey, Steven R. Baines, Christopher P. Baird, Alison Balaban, Robert Baltatu, Ovidiu C. Bansilal, Sameer Barbosa, Marcia Barnason, Susan A. Barouch, Lili A.. Barter, Philip Bass, John Basson, Craig Todd. Bates, Eric R. Bax, Jeroen Becker, Richard Beckie, Theresa Beckman, Joshua A. Beiser, David Beitelshees, Amber Belziti, Cesar Benditt, David Bengel, Frank Benjamin, Emelia Berger, Alan Keith K. Berman, Daniel S. Berrebi, Alain Berry, Jarett D. Berul, Charles Bettmann, Michael Bhakta, Deepak Bhatt, Deepak Bhave, Nicole bianchi, cesario Bierhals, Andrew Bisognano, John Bittner, Vera Blankenship, James Blankstein, Ron Blaxall, Burns Bloch, Kenneth Bluemke, David A. Blume, Elizabeth Blumenthal, Roger Bobrow, Bentley Bocchi, Edimar A. Boehmer, John Boersma, Eric Bolling, Steven Bonnet, Sebastien Boodhwani, Munir Borden, William B. Borger, Michael A. Bornfeldt, Karin Borzak, Steven bossone, eduardo Bourge, Robert Boyle, Gerard Bradley, Scott . Brazilai, Ben Breen, Jerome F. Brewer, H. Bryan. Brindis, Ralph Brinton, Eliot A. Brown, Angela Brugada, Joseph Bruneau, Benoit Brutsaert, Dirk L. Budoff, Matthew Buja, L. Maximilian Burch, Michael Burke, Lora E. Burnett, John C. Burnett, Mary Susan Cai, Hua Linda Calhoun, David A. Callans, David Callaway, Clifton W. calleja, anna Cameron, Duke Cannom, David S. Cannon, Christopher P. Canter, Charles E. Capogrossi, Maurizio Cappola, Thomas Carabello, Blase A. Cardinale, Daniela Carnes, Cynthia Carnethon, Mercedes Carretero, Oscar A. Carson, Peter Cassidy-Bushrow, Andrea E. Catanzano, Tara Cha, Yong-mei . Chade, Alejandro Chae, Claudia Chaitman, Bernard R. Champion, Hunter Chang, Byung-Chul Chang, Gene Chareonthaitawee, Panithaya Chaturvedi, Seemant Chen, Edward Chen, Eugene Chen, Hong Chen, Jaunian Chen, Jersey Chen, Jonathan Chen, Ju Chen, Lin Chen, Peng-Sheng Chen, Shiyou Chen, Xiongwen Chen, Yabing Chen, Yan-fang Chen, Yeong-Renn Cheng, Alan Cherney, David Chetcuti, Stanley Cheung, Anson Cheung, Bernard Chiamvimonvat, Nipavan Chilian, William Chin, Michael Cho, Goo-Yeong Christensen, Geir Chugh, Sumeet Church, Timothy Chyun, Deborah Cogswell, Rebecca Cohen, David Cohen, Jerome D.. Cohen, Marc Cohen, Mauricio Cohen, Meryl S. Cohen, Michael V. Cohen, Mitchell Coke, Lola Colan, Steven D. Coleman, Bernice . Conte, John Cooper, Joshua M. Cooper, Lawton S. Cooper, Leslie Corbalan, Ramon Coromilas, James Costa, Marco Costacou, Tina Costanzo, Maria Rosa Cox, Dermot Crane, Patricia B. Cuchel, Marina Cuculich, Philip Cui, Mei-Zhen Curtis, Anne B. Curtis, Jeptha Curtiss, Linda K. Cushman, Mary Cutlip, Donald E.. Danenberg, Haim Daniels, Curt Daniels, Stephen Danser, A Danziger, Robert S. Das, Dipak K. Das, Sandeep Daubert, James Dauerman, Harold Daugherty, Alan David, Rubenson Davidson, Charles J. Davidson, Patricia M. Davidson, Sean Davies, James Daviglus, Martha Davignon, Jean Davis, Michael E. Dawn, Buddhadeb De Cristofaro, Raimondo De Ferranti, Sarah de Lemos, James De Michelis, Natalie De Paola, Angelo A. De Tombe, Pieter P. Deedwania, Prakash Delafontaine, Patrice Delgado, Victoria Delmar, Mario Delp, Judy M. Denke, Margo deRoos, Albert Desai, Milind Desai, Nimesh D. Deschenes, Isabelle Desjardins, Benoit Després, Jean-Pierre DeVon, Holli A. Dhalla, Naranjan Dickfeld, Timm Dickstein, Kenneth Díez, Javier Dilsizian, Vasken DiMarco, John Dimmeler, Stefanie Disalvo, Thomas G. Diver, Daniel J. Diwan, Abhinav Dobrev, Dobromir Doering, Lynn V. Donahue, J. Kevin Dong, Feng Donino, Michael Dorn, Gerald W. Dostal, David Drachman, Douglas Drazner, Mark Drew, Barbara J. Du, Xiaoping Duan, Dayue Dudley, Samuel Duell, Barton Dukkipati, Srinivas Dullum, Mercedes K. C. Duncker, Dirk Dunlap, Mark Duprez, Daniel Durante, William Dustin, Mark G. Dzavik, Vladimir Eapen, Zubin Eaton, Charles B. Ecelbarger, Carolyn M. A. Eckman, Peter Edelson, Dana Edvardsen, Thor Efimov, Igor Eghbali, Mansoureh . Eghtesady, Pirooz Eguchi, Satoru . Eisner, David A. Eitzman, Daniel Ellinor, Patrick T.. Elrod, John Emanueli, Costanza Endoh, Masao . Engelhardt, Stefan Engler, Marguerite M. Engler, Mary B. Ernst, Sabine Eshtehardi, Parham Evangelista, Lorraine Everett, Brendan M. Ewald, Gregg C. Fadel, Elie Fairman, Enrique Fay, William P. Fazio, Sergio Feinberg, Mark Feingold, Brian Feingold, Kenneth Feit, Frederick Feldman, David Felker, Michael Fifer, Michael A.. Fink, Gregory D. Fischbach, Peter Fischell, Tim Fischer, Jens Fisher, John Fitzgerald, Michael L. Flachskampf, Frank Fleg, Jerome Fleischmann, Dominik Floras, John S. Fonarow, Gregg C. Fontana, Gregory Foody, JoAnne Fornage, Myriam Fox, Caroline S. Franklin, Barry Franklin, Sarah Freedman, Jane E. Fremes, Stephen French, John K.. Frisbee, Jefferson C. Froehlich, James Fuentes, Lisa Fujita, Masatoshi Fujita, Toshiro Fukai, Tohru Fukuda, Keiichi Funk, Marjorie Galkina, Elena Gardner, Timothy J. Garovic, Vesna Garry, Daniel J. Gary, Rebecca Gawaz, Meinrad Geirsson, Arnar Geocadin, Romergryko Georgiou, Demetrios Gerszten, Robert Getz, Godfrey S. Ghali, Jalal K. Ghanbari, Hamid Ghosh, Shobha Giles, Thomas D. Gillam, Linda gimelli, alessia Gitt, Anselm K. Giugliano, Robert P. Glatter, Kathy Glembotski, Christopher Gogo, Prospero B. Gold, Michael R.. Goldberg, Anne Goldberg, Caren Goldberg, Lee R. Goldberger, Zachary Goldmuntz, Elizabeth Goldstein, Sidney Gomberg-Maitland, Mardi Gomes, Antoinette Gomez-Sanchez, Celso Gomez-Sanchez, Elise P. Goodman, Shaun Goodney, Philip Gorcsan, John Gore, M. Odette Gorlach, Agnes Goto, Yoichi Gottlieb, Stephen S. Goyal, Abhinav Granger, Christopher B. Grassi, Guido Greenlund, Kurt Gregoratos, Gabriel Grinfeld, Liliana Gross, Garrett J. Grossi, Eugene Grossman, P Michael Gruber, Peter J. Guallar, Eliseo Guo, Yiru Gupta, Himanshu Gurm, Hitinder Gurvitz, Michelle Gustafsson, Asa Gutterman, David D. Guzik, Tomasz Guzman, Luis A. Gyorke, Sandor Haddad, Francois Hall, Jennifer L. Halperin, Henry R.. Hamburg, Naomi Hamm, Larry Handy, Diane E. Hankinson, Arlene Hare, Joshua Harrington, Robert Harrison, David G. Harrison-Bernard, Lisa Hasegawa, Koji Hasenfuss, Gerd Hatem, Stéphane Hauer, Richard N. Hauptman, Paul J. Hayes, David L. Hayman, Laura L. Hazen, Stanley L. Hegele, Robert Heidenreich, Paul Hemphill, Linda Henriques, Jose Henry, Michel Henry, Timothy Henzlova, Milena J. Hermiller, James . Hernandez, Adrian F. Hernandez, Teri Hetzer, Roland Hickey, Kathleen Hill, Joseph A.. Hill, Michael Hirooka, Yoshitaka Hirsch, Alan T. Ho, Michael Ho, Vincent B. Hoffmann, Udo Hoit, Brian D. Holinstat, Michael Holman, William Hong, Geu-Ru Hood, Maureen N. Horie, Minoru Horowitz, John D. Houser, Steven R. Hsich, Eileen . Hsu, Daphne T. Hsu, Tsui Lieh Huang, Spencer C-c S. Hudson, Michael P.. Huffman, Mark Hundley, William Hung, Judy Husain, Mansoor Hussain, M Mahmood. Hwang, Paul M.. Ichinose, Fumito Idris, Ahamed H. Ikonomidis, John Ilkhanoff, Leonard Imaizumi, Tsumotu Imamura, Fumiaki Insel, Paul A. Isshiki, Takaaki Ivy, D. Dunbar Jackson, Elizabeth A. Jacobs, Alice K. Jacobs, Jill Jacobs, Marshall L. Jacobson, Terry A. Jaff, Michael Jaffe, Allan Jaffe, Ronen Jain, Mukesh Jain, Renuka Jakubowski, Hieronim Jang, Ik-Kyung Janssen, Paul Janssens, Stefan Januzzi, James Jeevanandam, Valluvan Jenny, Nancy S. Jeremias, Allen Jerosch-Herold, Michael Jessen, Michael Jialal, Ishwarlal John, Roy Johnson, Andrew Jones, Lee Jones, Steven P. Jones, W. Schuyler Jose, Pedro Joseph, Susan Jouan, Jerome Jung, Hae Ok Jurgens, Corrine Kadish, Alan H. Kajstura, Jan Kaplan, Aaron V. Kapur, Navin Karagueuzian, Hrayr Karas, Richard H. Karliner, Joel Kasper, Edward Kass, David A. Kass, Robert Kassahun, Helina Kastrati, Adnan Kathiresan, Sekar Katusic, Zvonimir S. Katz, Amos Kaufmann, Philipp Kaul, Sanjiv Kavey, Rae-Ellen Kern, John Kern, Karl Kern, Mort Khandheria, Bijoy K.. Khera, Amit Kibbe, Melina Kim, Hyo-Soo Kimm, Sue Kimmelstiel, Carey D. Kimura, Akinori Kimura, Takeshi Kinlay, Scott Kirsch, Jacobo Kirsh, Joel . Kirshenbaum, James . Kirshenbaum, Lorrie A. Kishore, Raj Kitakaze, Masafumi Kleber, Andre Kleiman, Neil S. Klein, Allan Klein, Helmut U. Klein, Liviu Kline Rogers, Eva Kloner, Robert A. Knollmann, Bjorn Knowlton, Kirk Kociol, Robb D. Koelling, Todd Koenig, Wolfgang Konety, Suma Konstam, Marvin Koplan, Bruce A. Koren, Gideon Kormos, Robert Kort, Smadar Kosiborod, Mikhail Kotchen, Jane M. Kourembanas, Stella Kraemer, Frederic Kramer, Christopher M. Krieger, Jose Kugelmass, Aaron Kuiper, Johan Kukreja, Rakesh Kuller, Lewis H. Kumbhani, Dharam Kwan, Jun Kwang, J W. Kwok, Wai-meng Ky, Bonnie Lackland, Daniel T. Lai, Wyman Lakoski, Susan G. Lamberti, John J. Lampert, Rachel J. Lancellotti, Patrizio Lang, Roberto Laskey, Warren k. Lauer, Michael Lawton, Jennifer Lazar, Harold L. Leary, Marion Leatherbury, Linda Lee, Christopher S. Lee, Vivien Leenen, Frans Lefer, David J. Lefevre, Thierry Leier, Carl V.. Leipsic, Jonathon Leiter, Lawrence Lemaire, Scott Lemery, Robert Lemieux, Isabelle Lentz, Steven R. Leosco, Dario Lerakis, Stamatios Leri, Annarosa Levitsky, Sidney Levy, Jerrold H. Lewandowski, E . Li, Ji Li, Ren-Ke Li, Xia Liao, Ronglih Lichtenstein, Alice H. Liebeskind, David S. Lim, Chee Lima, Joao A. Limacher, Marian Lincoff, A. Michael Lindman, Brian R.. Lindquist, Ruth Lindsay, Bruce Ling, Frederick Link, Mark Liotta, Robert Litt, Harold Little, Stephen Litwin, Sheldon Liu, Kiang Liu, Ming Lin Liu, Shizhen Liu, Zhenguo Liu, Zhi-ping Lloyd-Jones, Donald M. Lohmeier, Thomas Lohr, Jamie L. London, Barry Long, Carlin Lookstein, Robert A. Lopaschuk, Gary . LOPEZ, JOHN J. Lopez, Leo Lucchesi, Pamela Luepker, Russell V. Ma, Xin Machado, Roberto Mackey, Rachel H. Mackman, Nigel MacRae, Calum A. Madias, Christopher Mahaffey, Kenneth W. Mahle, William Maisel, Alan S. Makan, Majesh Makaryus, Amgad N.. Malaisrie, S Christopher Malik, Marek Mallat, Ziad Maltais, Simon Mangion, Judy Mankad, Sunil V. Mann, Douglas L. Manoukian, Steven Marber, Michael S.. Marchlinski, Francis Marelli, Ariane Margulies, Kenneth Marian, Ali J. Markowitz, Steven . Martin, Cindy M. Marx, Steven O. Marzilli, Mario Masoudi, Frederick A. Mathias, Wilson Mathier, Michael A. Matkovich, Scot Matsumoto, Alan H. Matsuoka, Rumiko Mattos, Luiz A P. Mauri, Laura Mayr, Manuel McCabe, Pamela McCarthy, Patrick M.. McCrindle, Brian McFalls, Edward O. McGuire, Darren K. McKinley, Sharon McNamara, Coleen A. McSweeney, Jean C.. Mehta, Laxmi Mehta, Nehal Menasche, Philippe Menick, Donald R. Mentzer, Robert Merchant, Raina Merkus, Daphne Mertens, Luc Messenger, John Miano, Joseph Michaud, Gregory Michelakis, Evangelos D. Mieres, Jennifer H. Mietus-Snyder, Michele Miles, William Milewicz, Dianna Millar, John S. Miller, D. Craig Miller, Edgar R. Miller, Edward Miller, John Miller, Jordan D. Miller, Todd D. Min, James K. Min, Wang Mintz, Gary S. Misra, Sanjay Mital, Seema Mitamura, Hideo . Mitchell, Gary F. Mitchell, Judith E. Mittal, Suneet Miyamoto, Shelley D. Miyazaki, Shunichi Mizuno, Kyoichi Moazami, Nader Mobasseri, Sara Mohr, Friedrich Moliterno, David Moon, Marc Moore, Kathryn J. mora-mangano, christina Morady, Fred Morillo, Carlos A. Morrow, David Moser, Martin Moslehi, Javid Moss, Arthur Muehlschlegel, Jochen Mueller, Gisela Mukamal, Kenneth J. Muller, Dominik N. Murali, Srinivas Muraru, Denisa Murphy, Daniel Murphy, Elizabeth Nachman, Ralph Nadkarni, Vinay Nagueh, Sherif Nahrendorf, Matthias Naidu, Srihari naka, yoshifumi Nakagawa, Yoshihisa Nakamura, Kazufumi Nakanishi, Toshio Nakatani, Satoshi Narayan, Sanjiv M. Natale, Andrea Natarajan, Rama Nattel, Stanley Navar, L Gabriel Nazarian, Saman Neilan, Tomas Neubauer, Stefan Newton-Cheh, Christopher Nichol, Graham Nikolaou, Konstantin Nistala, Ravi Niwa, Koichiro Nixon, John Node, Koichi Nohara, Ryuji Nussmeier, Nancy O'Brien, Emily C. O'Connell, Tim O'Gara, Patrick T. Obal, Detlef Obrien, Edward R. Oechslin, Erwin Ogle, Brenda Ohye, Richard G. Ono, Koh Orchard, Trevor Ordovas, Karen Otsu, Kinya Ozaki, C Keith Pagani, Francis D. Palacios, Igor F. Pandian, Natesa G. Pang, Jinjiang Panza, Julio A. Parashar, Susmita Parikh, Nisha Parikh, Sahil Park, Jeong Bae Passman, Rod S. Patel, Hemal H. Patel, Shailesh B.. Patterson, Cam C. Paul, Thomas Pearson, Thomas A.. Pelter, Michele M. Peltz, Matthias Pena, Constantino Pepper, John R Pereira, Mark A. Periasamy, Muthu Perrault, Louis Peter, Karlheinz Peters, Anne Pfister, Gbaby Kuster Pfister, Otmar Philipson, Ken Phillips, Robert A. Picard, Michael H. Pietra, Bill Pina, Ileana L. Pitt, Geoffrey S. Poirier, Paul Polsani, Venkateshwar Ponikowski, Piotr Porter, Thomas R. Portman, Michael Post, Mark J. Post, Wendy Prabhu, Sumanth Prasad, Abhiram Pratico, Domenico Pratt, J Howard Priori, Silvia G.. Qi, Lu Qin, Gangjian Quaini, Federico Quinn, Laurie Radice, Glenn Radtke, Wolfgang A.K.. Raff, Gilbert Rahimtoola, Shahbudin H. Rahmouni, Kamal Raman, Kathleen G. Raman, Priya Ramires, Jose AF. Ramzy, Danny Randolph, Gwendalyn Rao, Sunil V. Rao, Vivek Rashba, Eric Rasmussen-Torvik, Laura Raveendran, Ganesh Ravishankar, Chitra Rea, Thomas Reddy, Gautham P. Redington, Andrew Rehman, Jalees Reichek, Nathaniel Reiffel, James A. Remaley, Alan T. Ren, Jun Rengo, Giuseppe Reynolds, Kristi Ribeiro, Antonio L. P. Rim, Se-Joong Rimm, Eric Rizzo, Maria Teresa Robert, Shamburek Roberts, Robert Rocic, Petra Rodeheffer, Richard J. Rodriguez, Carlos J. Rodriguez, E Rene Roe, Matthew Roger, Veronique L. Rohatgi, Anand Rosamond, Wayne D. Rosenthal, David rosenthal, lawrence S.. Rosenzweig, Anthony Ross, Heather Ross, Robert S. Rossi, Noreen Rota, Marcello Roy, Denis Rubenfire, Melvyn Ruberg, Frederick L.. Rubin, Geoffrey Rubinshtein, Ronen Ruel, Marc Ruiz, Carlos E. Rumsfeld, John S. Russo, Robert Rutter, Martin K. Ryan, Catherine Ryan, John Ryan, Michael Rybicki, Frank J. Rye, Kerry-Anne Sabbah, Hani Sable, Craig . Sadoshima, Junichi Saeed, Ibrahim Saffitz, Jeffrey E.. Sahn, David J. Sahoo, Susmita Saito, Shuichi Saku, Keijiro Sakuma, Hajime Salisbury, Adam C. Sanders, Stephen Santanam, Nalini Santos, Raul Sapp, John L. Sasse, Phillip Sasser, Jennifer Sasson, Comilla Satin, Jonathan Saucedo, Jorge Saul, Philip . 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Tseng, Elaine Tsimikas, Sotirios Tsutsui, Jeane Tu, Donna Tune, Jonathan Turan, Tanya Tyagi, Suresh Tzeng, Edith Tzivoni, Dan . Udelson, James E. Urbina, Elaine Ursell, Philip C. Uzark, Karen Valdivia, Hector H. Valente, Anne Marie Valgimigli, Marco Van Arsdell, Glen S. van Berlo, Jop H. Van Eyk, Jennifer Van Horn, Linda Vander Heide, Richard S. Vannan, Mani A. Vatakencherry, George Vatner, Dorothy Vatner, Stephen F. Veledar, Emir Ventura, Hector O. Ver Lee, Peter N. Verdino, Ralph Veronesi, Giovanni Villines, Todd Virmani, Renu Vogel-Claussen, Jens Volders, Paul G. A. Vondriska, Tom M. Voors, Adriaan Voruganti, V. Saroja Wagner, Mary B. Waksman, Ron Walsh, Mary N. Wan, Song Wang, Andrew Wang, Hong Wang, Shu Wang, Tracy Wang, Xian Wang, Xuejun Warach, Steven Wary, Kishore K. Webster, Keith A. Wehrens, Xander Weihrauch, Dorothee . Weinstock, Jonathan Weintraub, Andrew Weintraub, William Weisel, Richard Weiss, Robert Weissman, Neil J. 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