Casting a spell means taking it from where it is, which is usually the hand (but abilities like Flashback or cards like Isochron Scepter can change that), and put it on the stack so that it can resolve and have some effect. This process also involves (among other things) choosing modes for a modal spell, choosing targets for spells that target, and paying the cost of the spell (after taking into account and alternative or additional costs).
For you example, as Door of Destinies enters the battlefield you choose a creature type (I will assume that Human was picked, though it would also work if Soldier were chosen). Then when you cast the Akroan Crusader since it is a Human it will trigger the Door's ability.
In order to equip a card onto a creature you must activate its equip ability, this is not a spell — it is an ability and will not trigger the Crusader's ability. Similarly the "{R}: equipped create gets +/1+1 until end of turn" is also an ability and also will not trigger the Crusaders ability.
601.2. To cast a spell is to take it from where it is (usually the hand), put it on the stack, and pay its costs, so that it will eventually resolve and have its effect. Casting a spell includes proposal of the spell (rules 601.2a–d) and determination and payment of costs (rules 601.2f–h). To cast a spell, a player follows the steps listed below, in order. A player must be legally allowed to cast the spell to begin this process (see rule 601.3), ignoring any effect that would prohibit that spell from being cast based on information determined during that spell’s proposal. (Such effects are considered during the check detailed in rule 601.2e.) If, at any point during the casting of a spell, a player is unable to comply with any of the steps listed below, the casting of the spell is illegal; the game returns to the moment before the casting of that spell was proposed (see rule 720, “Handling Illegal Actions”).
Introduction
The sixth and final category in the book contains five dissimilar designs. The first and most grand of all is the Artuqids Palace door in Diyarbakir, Eastern Anatolia. Al-Jazari opens this chapter with some enthusiastic message very unusual for him:
“It is the masterpiece; to view it saddles are strapped on. Truly it is the pearl, the orphan, a priceless possession.”
This passionate text surprised me because this door, engineering speaking, is quite simple and doesn’t contain the inventions and surprises included in most of al-Jazari works. The beauty is not in engineering, but in the art and the craft. Donald Hill, translator, and interpreter of the book, Engineer by heart, was interested mainly in the casting technology: “Of particular importance, also, is the first unequivocal description of metal casting in closed mould-boxes with green sand, a method not used in the West until the end of the fifteenth century.” Casting is a manufacturing process in which a liquid metal (al-Jazari used copper, brass, and bronze) is poured into a mold with the desired shape. “Green” sand is used even today. The name is a bit confusing as the sand is not green color at all. Instead, the sand is called “green” because it is “wet” sand, which contains water and organic bonding compounds much like we say “green wood” in carpentry.
I have two very different questions:
Description of the door and its beauty
It is a door with two leaves which rise to the height of about four and a half meters (originally 18 spans ( شِبْر) ) and the width of each leave is a meter and a half.
In the center of each leave, there is a complex geometric pattern that includes Hexagram (Star of David) and Octagram. It is interesting to note that both these shapes belong to the family of Magic stars. A magic star is a star polygon in which numbers are placed at each of the n vertices and n intersections, such that the four numbers on each line sum to the same magic constant: M=4n+2. The solutions I know to magic stars are only from the 20th century, but the use of the two was very common in the Muslim world. Is it possible that al-Jazari sensed mathematical beauty without knowing the math?
Since it is a relatively complicated pattern, I colored the drawing to see Magic Stars:
Islamic art makes frequent use of geometric patterns which were developed over the centuries. There is “artistic unity” across time and place. I bring three pictures of three doors with different geographical, cultural and historical background, both Shi’ite and Sunni Islam
The Islamic aesthetic shift toward complex geometric structures is attributed to the prohibition in the Qur’an of figurative images to avoid becoming objects of worship. Geometric structures are abstract, emphasized symmetries, and suggested infinity and therefore reminding Muslims the idea of the infinite nature of Allah. This explanation does not satisfy me since the second commandment :
” Thou shalt not make unto thee any graven image or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. Thou shalt not bow down thyself to them, nor serve them”
Did not yield a similar tradition in Jewish art. I don’t see anything that would justify the special enthusiasm from the geometric patterns of al-Jazari. However, if any of my readers find some special beauty or a hidden message, please comment as I would love to learn.
The pattern was bounded by brass plates a which carried Kufic((كوفي ) inscriptions and leaf motif decorations. This reads “the dominion is God’s, the One, the Conqueror”
Kufic is the oldest calligraphic form of the various Arabic scripts. Kufic developed around the end of the 7th century in Kufa, Iraq, from which it takes its name, and other centers. Kufic was prevalent in manuscripts from the 7th to 10th centuries. In the late 12th century, when the door was made, it was less used, and I do not know if this choice has a special meaning?
The calligraphy is surrounded by bronze plates which were decorated with red copper leaves:
The process is relatively complex; firstly, he casted bronze panels. Using a scalpel, he carved the leaf template and poured melted red copper.
In the drawing, there are no brass domes, but in the text, there is a detailed explanation and diagram of a dome. I took the liberty to add this to the original drawing by al-Jazari:
I did not cover every detail, but I cannot ignore the door’s knockers from cast brass in the shape of two connected serpents, their heads facing each other. Their mouths are open as if they wished to devour the lion between them. The door did not survive (I am convinced it was built, and not just designed, because of the richness and the details in the text). It is interesting to note that very similar Bronze door-knockers from the Great Mosque in Cizre are now in the Museum of Turkish and Islamic Arts in Istanbul. To my surprise, pretty similar versions have found their way to Copenhagen and Berlin museums.
We will never know what caused al-Jazari to be that happy with this door. Maybe he enjoyed his geometric patterns and thought particularly beautiful, Maybe He enjoyed his success in the complex casting or his work with various metals, brass, copper, and silver, maybe he was happy the amount and richness of the details and possibly it was a combination of all.
Military engineers and engineering history
Engineering has existed since ancient times, the invention of a pulley, the construction of the Egyptian pyramids or the copper production process are all “Engineering” according to all modern definitions but only in the 14th century was the first use of the term engine’er. The origin of the word is from Latin words “in generare” meaning “to create” but relating to the designing or creating engines of war like the catapult or assault towers. For many years all the engineers were military engineers. Archimedes, a gifted mathematician and scientist had a major role in the Second Punic War. He improved the power and accuracy of the Catapult, He designed a giant claw to destroy Roman ships, and the peak of his inventions was burning the Roman fleet using mirrors. Leonardo da Vinci engineering career included military chapters as evident from his letter to Ludovico Sforza, ruler of Milan. He wrote:
“I have plans for very light, strong and easily portable bridges with which to pursue and, on some occasions, flee the enemy.. Also, if one cannot, when besieging a terrain, proceed by bombardment either because of the height of the glacis or the strength of its situation and location, I have methods for destroying every fortress.”
The Faculty of engineering at the Technion is still called “civil engineering,” to be separated from military engineering, although the former has become almost a non-issue in the modern world of engineering.
It is somewhat surprising that there is no military engineering chapter al-Jazari’s work and even when he builds the door for the Palace, no considerations of strength or defense capability are mentioned, not even a single word. Two possible explanations:
A change in Diyarbakir and al-Jazari as an “engineering magician.”
The dynasty was founded by Artuk Bey, a general under the Seljuq emir of Damascus. In 1086 he was appointed the governor of Jerusalem, a surprising twist to a story about a Muslim dynasty which ruled in Diyarbakir Anatolia. We need to remember that the Middle East map in the 11th and 12th centuries is very different from the map we know today. After Artuk death in 1091 his sons, Sökmen and Ilghazi were expelled from Jerusalem by the Fatimid vizier and set themselves up in Diyarbakır and Mardin in Anatolia.
This door was installed at the Artuqid Palace in Diyarbakir where al-Jazari was the court engineer. The Palace was built within the walls of Diyarbakir during the reign of Salih Nasreddin Mahmud (1200-1222) Artuqid king who employed al-Jazari like his father and brother before him. The Palace was excavated in the 1960s, but most of it is still buried under the mound, and I have a fantasy that the site will be excavated a second time and we will find some of the remains of al-Jazari’s work. In the 12th century, there were a few battles with the Crusaders, with Georgia and clashes of within the Muslims. I don’t think a peaceful period is the explanation of the absence of the military aspect in al-Jazari’s work.
The Artuqids are a Turkmen dynasty which started as a warrior tribe, and its original power was military. In the 12th century, they were settling in the old cities of Amida (the previous name Diyarbakir ) and Mardin. These are ancient cities with urban culture since the Assyrians. The population is diverse and includes veteran Christian and newcomer Turkmen population as well as other migrants from Iran and other places that continued through the 13th century. Beyond the monumental Al- Jazari book, there was probably a workshop for copying and illustrating manuscripts. Rachel Ward identified two other illuminated manuscripts that were produced there. There were new architectural designs, Sharon Talmor as part of her graduate work at the University of Tel Aviv found three which mark a new era in Islamic architecture. As a part of the assimilation of a warrior tribe into the urban setting, there was probably a need for a change, and there was a thirst for cultural and artistic activities. I’d love to hear other suggestions too, but this is a possible explanation for the absence of military engineering.
So the circle closes. The question of the beauty of the door is connected to the role of al-Jazari. As we step into the book, I think we will be more convinced of his role as “a magician of engineering” the man who harness science and technology to create and beauty and astonishment.
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