The selection committee chose this essay because of the important new light it sheds on the visual culture of post-Seljuk Anatolia, specifically with regard to the region’s little-known tradition of manuscript illumination. Focusing on the works of a particular artist and his circle, the author has produced a meticulous and clearly articulated study of the material. Her codicological examination of the manuscripts and visual analysis of the connections between them support her argument for the existence of a semantically resonant “Konya school” with possible links to Byzantine iconography. This conclusion may result in revisiting comparable works that have hitherto been labeled as “Mamluk” or “Ilkhanid.” The essay adds, moreover, to the growing and much-needed scholarship on individual artists from the Islamic world, especially those of the medieval period. Already an impressive contribution, this study could be developed into a more far-reaching published article, particularly if expanded to include references to similar decorations in other media such as metalwork. A broader context for the manuscripts would substantiate their significance and further elucidate the workings of the kind of “school” proposed by the author.