The Art of the Saljuqs in Iran and Anatolia: Proceedings of a Symposium Held in Edinburgh in 1982, ed. by Robert Hillenbrand. Costa Mesa, CA: Mazda Publishers, 1994. xxii + 313 pages. $65. Published 12 years after the 1982 symposium on the Saljuqs closed in Edinburgh, this practical and sensibly produced volume, edited by the symposium's organizer, presents us with a record of 37 of the papers. The problems of editing art-historical conference proceedings these days are extremely vexing; without large subsidies, it is difficult to find a publisher, and the coordination of visual material, especially given the nearextortionate fees demanded by some museums for permission to publish, is enough to dissuade all but the most persistent and highly motivated editors. Fortunately, Robert Hillenbrand showed almost superhuman persistence over a dozen years, and, with the assistance of Mazda Publishers, he succeeded. The resulting volume is a substantial enrichment of our knowledge of the artistic legacy of the Turkic rulers of Iran and Anatolia in the 11th, 12th, and 13th centuries of the Common Era. As might be expected, the 37 papers differ markedly in scope of focus, in method, and in subject matter. Some are archaeological in nature, such as Gonil Oney's discussion of ceramics found in the Samosata excavations. Others deal with single monuments, many of them either not covered or only briefly mentioned in the monumental Suney of Persian Art produced in the 1930s under the direction of Arthur Upham Pope. Bernard O'Kane's discussion of the minaret of Vabkent, Sheila Blair's reading of an inscription on a domed chamber in Barujird, and Douglas Pickett's study of the tile revetments of the Masjid-I Jami` of Ashtarjan, to mention but a few examples, all shed new light on individual monuments. Not surprisingly, a large number of papers deal with ceramics, including Barbara Schmitz's discussion of Shah-nameh scenes painted on a mina'i (13th-century ceramic) bowl, Robert Hillenbrand's excellent and thought-provoking article on the relationship between ceramic painting and book painting, and Oliver Watson's discussion of dated examples of mina'i wares and their relationship to lustrepainted ceramics. There are several papers dealing primarily with complex issues of iconography, including a preliminary study of peacock images by `Abbas Daneshvari, Assadullah Souren Melikian-Chirvani's magisterial epigraphical discussion of candlesticks as metaphors for heaven, and the late Emel Esin's article on Oghuz epics and their relationship to Saljuq iconography. …