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By Andrew Peacock, Sara Nur Yildiz

This paintings brings jointly key new pondering at the Seljuks, together with clean research of unique and Persian old assets, making it crucial examining for college students and students of the medieval heart East.

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We are very grateful to Peter Maxwell-Stuart for the translation of this passage. 2. There is a misprint in the Latin text. For alumnis read aluminis. 3. Simon de Saint-Quentin, Histoire des Tartares, ed. I42, XXXII. 143 (pp. 66, 68-70). 4. Ibn Sa'id, Kitab al-jughrajiya, ed. Isma'il al-'Arabi (Beirut: al-Maktab al-Tijari, 1970), pp. 184-7,195. 5. ), The Cambridge History 0/ Turkey, i: Byzantium to Turkey, 1071-1453 (Cambridge: Cambridge University Press, 2009), p. 52. 6. ), Les Seljoukides d'Anatolie (Mesogeios 25-6 [2005}).

19. Scott Redford, Landscape and the State in Medieval Anatolia: Seljuk Gardens and Pavilions of Alanya, Turkey (Oxford: Archeopress, 2000), p. 2. 20. , p. 108. 21. A recent exception is the important volume edited by Albrecht Fuess and Jan Peter Hartung, Court Cultures in the Muslim World: Seventh to nineteenth centuries (London: Routledge, 2011). 22. H. Uzunc;aq;tlt, Osmanlt Devleti Tqkilattna Medhal (Ankara: TUrk Tarih Kurumu, 1941; 4th edition, 1988), pp. 78-86, the term saray te}kilatt is likewise employed by Erdogan Merc;il in his Selfuklular'da Saray ve Saray Te}kilatt (Istanbul: Bilge KUltUr Sanatl, 2011).

How Menglijekid claims to power continued to be broadcast in Divrigi beyond the expansionist agenda of 'Ala' al-Din Kayqubad in the 1220s and 1230s and the Mongol invasion in the nearby Battle of Kosedag in 1243 is quite puzzling. Proclaiming Malik Salil} as the 'crown of the family of Menglijek' (taj-i al-i Mangujak), the roots of the dynastic pride expressed in the Arslanburc; inscription can be traced to the last decades of the twelfth century when Sayf aI-Din Shahanshah ruled in Divrigi. Building for Divrigi's 'King of Kings': The Architecture of Sayf al-Din Shahanshah Two buildings - a mosque and a tomb - from the patronage of Shahanshah in Divrigi reflect the intersection of political ambition with architectural projects at the end of the twelfth century, providing a focal point for investigating aspects of dynastic self-identification and self-proclamation at a time of flux in Anatolia and beyond.

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