Automaton of a slave pouring water and the Artuqid court

Introduction

This is a slave made of jointed copper. In his outstretched right hand, he holds a pitcher decorated with a bird. His left hand is raised and in the palm is a towel, a mirror and a comb(not seen in the picture). This copper slave assists the king in Wuḍū – his ritual ablutions.  This is one of five chapters in the book where the King is mentioned explicitly. I went to learn a bit more about the Artuqids and the Palace in Diyarbakır.

Automaton of a slave pouring water, Topkapi manuscript, 1206.

 How did it work?

The technical explanation, as always, will be colored in blue, so anyone who is not interested in siphons, floats, and pulleys can skip those bits. Essentially the mechanism is very similar to the Automatic Pitcher with a few additions, typical of al-Jazari. I modified the original drawing by al-Jazari and added captions to help follow the mechanism:

A modified drawing by al-Jazari with my captions, Topkapi manuscript, 1206.

In the beginning, a human servant removes the copper slave’s hat and pours water with a funnel into the water tank in the slave chest. In the drawing, the tank is half full. At the bottom of the tank, there is a rotary valve (in red). The servant brings the automaton to the King and rotates the hidden valve rod (in grey) near the neck. Water starts to flow through the pipe to the pitcher. There is a partition in the pitcher and the Pitcher spout, designed in the shape of a peacock’s neck, is a Siphon almost touching the partition. When the water rises they will block the airway through the spout, and the air only way out is through the whistle which will make a whistling sound. This is the part that was forgotten in the “Automatic Pitcher.” The siphon, spout, the partition, and even the rotary valve are identical to the “Automatic Pitcher”. The hand holding the pitcher is hardwired and will not move. The hand with the towel consists of an arm and forearm with an axis at the elbow and is free to move. The float is connected through the pulley to the elbow and would sink as the water exit, pulling the arm so that copper slave will offer the towel to the king.

For whom Al-Jazari designed his machines?

In the first chapter, “the Castel Water Clock” al-Jazari wrote :

” This is the basis of the work. Individual parts may be omitted or added according to the place for which it is constructed. For mosques and shrines it may be limited to what is necessary for telling the hours; for the palaces of kings, what may be fitting, such as pictures and other things.”

Naturally, I assumed that all al-Jazari machines were designed for the King and his court, after all, al-Jazari was the court engineer. But when I inspected the book carefully it turns out that the King was mentioned explicitly only in five chapters, including the current “Automaton of a slave pouring water” In only two chapters the  King is mention by his name King Salih, i.e. Salih Nasreddin Mahmud who ruled in Diyarbakir during the years 1200-1222. There are nine more chapters like Category VI chapter one, “the Palace Door” (only in Hebrew) or Category II, chapter four, ” A boat placed on a pool during a drinking party ” (also only in Hebrew) where the King is not mentioned, but from the description and the circumstances the machine was clearly designed for the Royal Court. There are thirty-six chapters which are machines with an unspecified designation. Nobody knows where the Elephant Clock or the Perpetual Flute were located at the time. They could be in the central square, the Palace itself or in some magnificent mosque. I don’t want to pretend that al-Jazari was an engineer in the service of the public. All he did was probably with the Artuqid King blessing. I set out to learn more about Artuqids and their court.

Artuqid kings

Al-Jazari had served three Artuqid kings. Only one of them is mentioned in the book by name: Salih Nasreddin Mahmud who ruled Diyarbakir 1200-1222.

Before him, al-Jazari served his brother Quṭb al-Dīn Sukmān II in the years  1185-1200 years, and he started his service in the Artuqid court for their father  Nūr al-Dīn Muḥammadin in 1181. All three are pretty minor figures in the history of the 12th and 13th centuries. Carole Hillenbrand, Professor Emeritus of History, University of Edinburgh wrote the book: “A Principality in Crusader Times Is: The Early Artuqid State” and several articles, but they contain mainly information about battles and alliances and less about the cultural life. I think if we remember the Artuqid is mainly due to its cultural enterprise. Twenty years or so before al-Jazari the Artuqid court hosted Usama Ibn Munkidh, a Muslim poet, author and knight who wrote كتاب الاعتبار‎ translated a to English as “The Book of Contemplation” which is probably the best-known Muslim source for the Crusader period. Upon the request of the Artuqid king, almost thirty years after the death of al-Jazari, al-Jawbari (الجوبري ) wrote “Book of Selected unveiling of Secrets.”This is a concise encyclopedia of tricks, practices, and devices used by fraudulent Ṣūfīs, false alchemists, jugglers, and quacks. To the best of my knowledge this was not translated to English (unfortunately!). You can add a new architectural language in Artuqid mosques explained in the Thesis of Sharon Talmor Sol(TAU) and Rachel Ward’s paper which present evidence for a workshop for copying manuscripts the Artuqid court. What was the cause of this cultural flourishing?

It is certainly not the size. The title “King” is perhaps a bit excessive. This is the map in the 12th century:

Map of the Principality of the Artuqids in 1200. Wikipedia.

The Artuqid Principality, as you can see, was tiny. Most of Turkey’s territory was controlled by the Byzantine Empire and the Sultanate of Rum. The later is what remained of the Seljuk Empire that controlled, at its prime, a vast area stretching from India to Antioch and from the Arabian Peninsula to Azerbaijan and contained most of the Muslim territories in Asia. However, by the 12th century, the Seljuk Empire was in decline, enabling the existence of small Principalities like the Artuqids. It’s not just the modest territory. Saladin, Sultan of Egypt and Syria, the founder of the Ayyubid dynasty in Cairo took Diyarbakir by storm in 1183 the Artuqids ruled by his grace. It is interesting to note that on the southern wall of the Palace in Diyarbakir appears الله اَلملك واحدي which means Allah is the ruler and drawing of Trebuchet. The Trebuchet is a powerful siege engine which uses a swinging arm to throw a projectile towards besieged city walls. In the second half of the 12th century, the Trebuchet was significantly improved, and those improvements appeared in a military manual written for Saladin. The drawing of the Trebuchet on the walls of Diyarbakir is unique, as far as I know. It can be interpreted as a quality assurance like “this wall would survive a barrage of Trebuchet” or it can be to commemorate the siege by Saladin as “Remember my siege and the horrendous Trebuchet I brought on your heads ” and maybe there is a different explanation altogether?

Picture of the Trebuchet on the southern wall of the fortress in Diyarbakir. Photographed by Lorenz Korn, 2008.

The historical information about the Artuqids doesn’t help me to understand or think about the book. There’s something very optimistic and perhaps even wonderful how this tiny Principality produced such a significant cultural-engineering heritage “It is impossible to overemphasize the importance of Al-Jazari’s work in the history of engineering, it provides a wealth of instructions for design, manufacture, and assembly of machines” Donald Hill in the History Engineering. From the foreword by Donald Hill.

I am adding two pictures of the Palace in Diyarbakir. This is the view from the palace of the  Valley of the Tigris. In Hebrew, the river is called ” Ḥîddeqel” following the ancient Akkadian name ” Idigina”. Most languages in the world follow the old Persian name, Tigrā:

Photo of the Tigris Valley view from the Palace.

Below is the Ulu Beden Tower, a black basalt stone tower in Diyarbakır. It was built in 1208, two years after the death of al-Jazari at age 70.

Ulu Beden Tower, Diyarbakir palace.

The double-headed eagle, the winged beasts and the beautiful Kufic inscription are, in my mind, related to the book. The double-headed eagle also appears on a coin of dirham minted by Mahmoud Nasreddin (the King of Al-Jazari):

A Dirham, 1218, minted in Ḥiṣn Kaifā where the Artukids court was before Diyarbakir.

Some claim that the double-headed Eagle is a Byzantine icon, and one head is facing Rome, and the other one is facing Constantinople. However, the double-headed Eagle symbolizes power and control from the time of Hittites and has countless appearances before and after Byzantium. Are the Tower, the currency, and the view of the Tigris valley helping you see al-Jazary at work? You decide.

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