Detail of a Kara-Khanid ruler, probably Uthman ibn Ibrahim,[1] sitting cross-legged on a throne in the complete reconstructed relief, Afrasiab, Samarkand, circa 1200 CE.[2][3] It was possibly defaced in 1212 when the Khwarazm shah Muḥammad b. Tekish took over Samarkand.[4]
Uthman was the son of the Karakhanid Ibrahim ibn Hussein (1178-1202/1203).[6]
According to Karev, Uthman came to power in 1202/1203.[6]
His residence was in Samarkand. According to Aufi, who knew him personally, Uthman was a highly educated person.[7]
Uthman led a policy of maneuvering between the Qara Khitai and the Khwarezmshah Muhammad b. Tekish. He bore a high Turkic title (ulug sultan as-salatin).[8] However, Uthman soon went over to the side of the Qara Khitans. Later he entered into an alliance with Muhammad Khwarezmshah as a vassal of the latter. In 1209-10, coins were minted in the name of these rulers. After the recognition of the power of the Khwarezmshahs by Uthman, other Karakhanids who ruled in Ferghana followed his example. Uthman married the daughter of Khwarezmshah Muhammad b. Tekish and went to live in Khwarezm. He returned to Samarkand, accompanied by the Khwarezm military. Uthman was dissatisfied with the Khwarezmians and revolted in 1211.[9] In 1212 Muhammad b. Tekish invaded the Kara-Khanid Khanate, conquered Samarkand, and massacred the entire population.[9] Uthman was executed following Samarkand's downfall.[9][8]
References
↑Frantz, Grenet (2022). Splendeurs des oasis d'Ouzbékistan. Paris: Louvre Editions. p.222. ISBN978-8412527858. 'Uthman ibn Brahim (...) très probablement commanditaire des peintures de Samarkand"
↑Karev, Yury (2013). Turko-Mongol rulers, cities and city life. Leiden: Brill. pp.114–115. ISBN9789004257009. The ceramics and monetary finds in the pavilion can be dated to no earlier than to the second half of the twelfth century, and more plausibly towards the end of that century. This is the only pavilion of those excavated that was decorated with paintings, which leave no doubt about the master of the place. (...) The whole artistic project was aimed at exalting the royal figure and the magnificence of his court. (...) the main scenes from the northern wall represents the ruler sitting cross-legged on a throne (see Figs 13, 14) (...) It was undoubtedly a private residence of the Qarakhanid ruler and his family and not a place for solemn receptions.
↑Frantz, Grenet (2022). Splendeurs des oasis d'Ouzbékistan. Paris: Louvre Editions. pp.221–222. ISBN978-8412527858. Peintures murales qui ornaient (...) la résidence privée des derniers souverains qarakhanides de Samarkande (fin du 12ième - début du 13ième siècle (...) le souverain assis, les jambes repliées sur le trône, tient une flèche, symbole du pouvoir (Fig.171).
↑Karev, Yury (2013). Turko-Mongol rulers, cities and city life. Leiden: Brill. p.120. ISBN9789004257009. We cannot exclude the possibility that this action was related to the dramatic events of the year 1212, when Samarqand was taken by the Khwarazmshah Muḥammad b. Tekish.
12Karev, Yury. "Qarakhanid wall paintings in the citadel of Samarqand: first report and preliminary observations." Muqarnas 22 (2005), p.80.
↑Karev, Yury. "Qarakhanid wall paintings in the citadel of Samarqand: first report and preliminary observations." Muqarnas 22 (2005), p.81.
12Davidovich, E. A. (1998), "The Karakhanids", in Asimov, M.S.; Bosworth, C.E. (eds.), History of Civilisations of Central Asia, vol. 4 part I, UNESCO Publishing, p. 134-135.
Baumer, Christoph (2016). The History of Central Asia: The Age of Islam and the Mongols. Vol.3. Bloomsbury Publishing.
Bosworth, C.E. (1996). The New Islamic Dynasties. Columbia University Press.
Davidovich, E. A. (1998), "The Karakhanids", in Asimov, M.S.; Bosworth, C.E. (eds.), History of Civilisations of Central Asia, vol. 4 part I, UNESCO Publishing, p.134-135.
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