Punjab - Pakistan

While staying in Muscat, we took a morning to visit the Sultan Qaboos Grand Mosque, one of Oman’s most iconic landmarks. In Islam, it’s encouraged for wealthy Muslims to build mosques as a way to give back to the community, and Sultan Qaboos followed this tradition by commissioning this incredible site. Completed in 2001, the mosque can hold up to 20,000 worshippers. The main prayer hall was impressive, featuring a massive Persian carpet that once held the title of the world’s largest hand-woven carpet. The chandelier hanging from the dome, made of Swarovski crystals, was equally striking. The mosque’s architecture beautifully blends Islamic, Omani, and modern styles, with its domes, minarets, and expansive marble courtyards creating a peaceful atmosphere – Muscat, Oman

Sheikh Zayed Grand Mosque,

Abu Dhabi

en.wikipedia.org/wiki/Nur_Jahan

Begum Nur Jahan (Persian/Urdu: نور جہاں ) (alternative spelling Noor Jahan, Nur Jehan, Nor Jahan, etc.) (1577–1645), also known as Mehr-un-Nisaa, was an Empress of the Mughal Dynasty, of Persian origin whose tomb lies in Lahore, Pakistan.

Begum Nur Jahan was the twentieth and favourite wife of Mughal Emperor Jahangir, who was her second husband - and the most famous Empress of the Mughal Empire. The story of the couple's infatuation for each other and the relationship that abided between them is the stuff of many (often apocryphal) legends. She remains historically significant for the sheer amount of imperial authority she wielded - the true "power behind the throne," as Jehangir was battling serious addictions to alcohol and opium throughout his reign - and is known as one of the most powerful women who ruled India with an iron fist.

Begum Nur Jahan (Persian/Urdu: نور جہاں ) (alternative spelling Noor Jahan, Nur Jehan, Nor Jahan, etc.) (1577–1645), also known as Mehr-un-Nisaa, was an Empress of the Mughal Dynasty, of Persian origin whose tomb lies in Lahore, Pakistan.

Begum Nur Jahan was the twentieth and favourite wife of Mughal Emperor Jahangir, who was her second husband - and the most famous Empress of the Mughal Empire. The story of the couple's infatuation for each other and the relationship that abided between them is the stuff of many (often apocryphal) legends. She remains historically significant for the sheer amount of imperial authority she wielded - the true "power behind the throne," as Jehangir was battling serious addictions to alcohol and opium throughout his reign - and is known as one of the most powerful women who ruled India with an iron fist.

Marriage with Sher Afghan

Mehr-Un-Nisaa was married to Sher Afghan Quli Khan when she was seventeen in 1594, the marriage arranged by Akbar. In 1605, Mehr-Un-Nisaa gave birth to a daughter, also called Mehr-Un-Nisaa (later at court she was named Ladli), Mehr-Un-Nisaa was the one and only child she ever had. In 1607, Sher Afghan Quli Khan was killed during a misunderstanding. During this time Sher Afghan Quli Khan had held the title of Sher Afghan, granted to him by Jahangir as Quli saved his life from an angry tigress. Also notice, during this time, Jahangir may have been asking Sher Afghan Quli Khan to give Mehr-Un-Nisaa to him, for his harem, although the truth of this is incertain, as Jahangir married her in 1611, after she had been at court (see below) for four years.

Marriage with Jahangir

The emperor Akbar died in 1605 and was succeeded by prince Salim, who took the regal name Jahangir. After her husband Sher Afghan (who was appointed as jagirdar of Bardhaman, a city in Bengal) was killed in 1607, Mehr-un-Nisaa became a lady-in-waiting to one of the Jahangir's stepmothers, Ruqayya Sultana Begum. Ruqayya was the most senior woman in the harem and had been Akbar's first and principal wife and was also the daughter of Mirza Hindal. The father of Mehr-un-Nisaa was, at that time, a diwan to an amir-ul-umra, decidedly not a very high post.

The year 1607 had not been particularly good for Mehr-un-Nisaa. Her family had fallen into disgrace. Her father, who had been holding important posts under Akbar and Jahangir, had succumbed to his only weakness, money, and had been charged with embezzlement. Moreover, due to possible involvement in the pro-Khusrau assassination attempt on Jahangir in 1607, two of Mehr-un-Nisaa's family members (one brother named Muhammad Sharif and her mother's cousin) were executed on the orders of the Emperor.

In March 1611, her fortune took a turn for the better. She met the emperor Jahangir at the palace meena bazaar during the spring festival Nowruz new year. Jahangir grew so infatuated by her beauty that he proposed immediately and they were married on May 25 of the same year becoming his twentieth wife.

Mehr-un-Nisaa received the name Nur Mahal (Light of the Palace), upon her marriage in 1611 and was conferred the title Nur Jahan (Light of the world) in 1616. Jahangir's actual name was Nur-ud-din Muhammad, and thus the name that he gave to his wife was his own first name combined with the first part of his regal name.

Mughal empress: For Mehr-un-Nisaa's own immediate family, marriage to Jahangir became a great boon with several members receiving sizeable endowments and promotions as a result. This affection led to Nur Jahan wielding a great deal of actual power in affairs of state. The Mughal state gave absolute power to the emperor, and those who exercised influence over the emperor gained immense influence and prestige. Jahangir's addiction to opium and alcohol made it easier for Nur Jahan to exert her influence. For many years, she effectively wielded imperial power and was recognized as the real force behind the Mughal throne. She even gave audiences at her palace and the ministers consulted with her on most matters. Indeed, Jahangir even permitted coinage to be struck in her name, something that traditionally defined sovereignty.

Through Nur Jahan's influence, her family, including her brother Asaf Khan, consolidated their position at court. Asaf Khan was appointed grand Wazir (minister) to Jahangir, and his daughter Arjumand Banu Begum (later known as Mumtaz Mahal) was wed to Prince Khurram (the future Shah Jahan), the third son of Jahangir, born by the Rajput princess, Jagat Gosaini. Jahangir's eldest son Khusrau had rebelled against the Emperor and was blinded as a result. The second son, Parviz, was weak and addicted to alcohol. The fourth son was Prince Shahryar, born by a royal concubine. Khurram rebelled against his father and a war of succession broke out. Due to Khurram's intransigence, Nur Jahan shifted her support to his younger brother, Shahryar. She arranged the marriage of her own daughter Ladli Begum, born of her first marriage, to her stepson Shahryar [a]. The two weddings ensured that one way or another, the influence of Nur Jahan's family would extend over the Mughal Empire for at least another generation.

Jahangir was captured by rebels in 1626 while he was on his way to Kashmir. Nur Jahan intervened to get her husband released. Jahangir was rescued but died on October 28, 1627. After Jahangir's death, Nur Jahan devoted some of her life to the making of perfume, particularly using falanja, an art form her mother had passed down.

Death

When Jahangir died in 1628, Nur Jahan's brother Asaf Khan took the side of his son-in-law Khurrum against his sister. It was Khurram who became the new Mughal emperor under the regal name Shah Jahan. Nur Jahan was confined to a comfortable mansion for the rest of her life.

During this period, she paid for and oversaw the construction of her father's mausoleum in Agra, known now as Itmad-Ud-Daulah's Tomb, and occasionally composed Persian poems under the assumed name of Makhfi [a].

Nur Jahan died in 1645 at age 68, and is buried at Shahdara Bagh in Lahore, Pakistan in a tomb she had built herself, near the tomb of Jahangir. Her brother Asaf Khan's tomb is also located nearby. The tomb attracts many visitors, both Pakistani and foreign, who come to enjoy pleasant walks in its beautiful gardens. All had been personally laid out and designed by Nur Jahan herself.

Nur Jahan in Pop Culture

•Novelist Indu Sundaresan has written two books revolving around the life of Nur Jahan, The Twentieth Wife and The Feast of the Roses

•Nur Jahan's Daughter by Tanushree Podder also provides an insight into the life and journey of Nur Jahan from being a widow to the Empress and after, as seen from the perspective of her daughter.

en.wikipedia.org/wiki/Tomb_of_Jahangir

Tomb of Jahangir, (Urdu: جهانگير کا مقبرہ) is the mausoleum built for the Mughal Emperor Jahangir who ruled from 1605 to 1627. The mausoleum is located near the town of Shahdara Bagh in Lahore, Pakistan. His son Shah Jahan built the mausoleum 10 years after his father's death. It is sited in an attractive walled garden. It has four 30 meter high minarets. The interior is embellished with frescoes and pietra dura inlay and coloured marble. The mausoleum features prominently on the Pakistan Rupees 1,000 denomination bank note.

The entrance to the mausoleum is through two massive gateways of stone and masonry opposite each other (to the north and south) which lead to a square enclosure known as the Akbari Serai. This enclosure leads to another one, on the western side, giving full view of the garden in front of the mausoleum, which is traversed by four-bricked canals proceeding from the centre, and in which many fountains were placed which are now in ruins. The corridor around the mausoleum is adorned with a most elegant mosaic, representing flowers and Quranic verses.

The interior of the mausoleum is an elevated sarcophagus of white marble, the sides of which are wrought with flowers of mosaic in the same elegant style as the tombs in the Taj Mahal at Agra, India. On two sides of the sarcophagus the ninety-nine attributes of God are inlaid in black. Beautiful 'jalis' admit light in various patterns.

The Sala de los Abencerrajes (Hall of the Abencerrages) derives its name from a legend according to which the father of Boabdil, last king of Granada, having invited the chiefs of that illustrious line to a banquet, massacred them here. This room is a perfect square, with a lofty dome and trellised windows at its base. The roof is exquisitely decorated in blue, brown, red and gold, and the columns supporting it spring out into the arch form in a remarkably beautiful manner. Opposite to this hall is the Sala de las dos Hermanas (Hall of the two Sisters), so-called from two very beautiful white marble slabs laid as part of the pavement. These slabs measure 50 by 22 cm (15 by 7½ in), and are without flaw or stain. There is a fountain in the middle of this hall, and the roof —a dome honeycombed with tiny cells, all different, and said to number 5000— is a magnificent example of the so-called "stalactite vaulting" of the Moors.

Sheikh Zayed Grand Mosque, UAE

The Nasrid Palace is the highlight of my trip and it's the gem of this place. The allocated time that I chose to enter Nasrid palace was at 10 am. Ticket was bought through internet, otherwise you have to line up as early as 6 am.

The place was well kept and it was really a gem . But unfortunately "The court of lions" was under renovation and the lion statues were kept in a room for us to visit without letting us taking the photo.

Location : The Court of Lion , Nasrid Palace - Alhambra , Spain

Sultanahmet Camii (the Blue Mosque) was commissioned by Sultan Ahmed in 1616, and built opposite Haghia Sophia and directly on top of Constantine's Great Palace to stress the supremacy of Islam and the Ottoman Empire over Christian Byzantium

The Alhambra (Arabic: الحمراء = Al-Ħamrā; literally "the red one"; the complete name is "Qal'at al-Hambra", which means "The red fortress") is a palace and fortress complex of the Moorish rulers of Granada in southern Spain (known as Al-Andalus when the fortress was constructed), occupying a hilly terrace on the southeastern border of the city of Granada. 37°10′37″N 3°35′24″W37.17686, -3.589901

Once the residence of the Muslim rulers of Granada and their court, the Alhambra is now one of Spain's major tourist attractions exhibiting the country's most famous Islamic architecture, together with Christian 16th century and later interventions in buildings and gardens that marked its image as it can be seen today. Within the Alhambra, the Palace of Charles V was erected by Charles V, Holy Roman Emperor in 1527. Coordinates: 37°10′36.81″N 3°35′23.95″W

The terrace or plateau where the Alhambra sits measures about 740 m (2430 ft) in length by 205 m (674 ft) at its greatest width. It extends from WNW to ESE and covers an area of about 142,000 m².

Its most westerly feature is the alcazaba (citadel); a strongly fortified position. The rest of the plateau comprises a number of palaces, enclosed by a relatively weak fortified wall, with thirteen towers, some defensive and some providing vistas for the inhabitants.

The river Darro passes through a ravine on the north and divides the plateau from the Albaicín district of Granada. Similarly, the Assabica valley, containing the Alhambra Park on the west and south, and, beyond this valley, the almost parallel ridge of Monte Mauror, separate it from the Antequeruela district.

Completed towards the end of Muslim rule in Spain by Yusuf I (1333-1353) and Muhammed V, Sultan of Granada (1353-1391), the Alhambra is a reflection of the culture of the last days of the Nasrid emirate of Granada. It is a place where artists and intellectuals had taken refuge as Christian Spain won victories over Al Andalus. The Alhambra mixes natural elements with man-made ones, and is a testament to the skill of Muslim craftsmen of that time.

The literal translation of Alhambra "red fortress" derives from the colour of the red clay of the surroundings of which the fort is made. The buildings of the Alhambra were originally whitewashed; however, the buildings now seen today are reddish.

The first reference to the Qal’at al Hamra was during the battles between the Arabs and the Muladies during the rule of the ‘Abdullah ibn Muhammad (r. 888-912). In one particularly fierce and bloody skirmish, the Muladies soundly defeated the Arabs, who were then forced to take shelter in a primitive red castle located in the province of Elvira, presently located in Granada. According to surviving documents from the era, the red castle was quite small, and its walls were not capable of deterring an army intent on conquering. The castle was then largely ignored until the eleventh century, when its ruins were renovated and rebuilt by Samuel ibn Naghralla, vizier to the King Bādīs of the Zirid Dynasty, in an attempt to preserve the small Jewish settlement also located on the Sabikah hill. However, evidence from Arab texts indicates that the fortress was easily penetrated and that the actual Alhambra that survives today was built during the Nasrid Dynasty.

Ibn Nasr, the founder of the Nasrid Dynasty, was forced to flee to Jaén in order to avoid persecution by King Ferdinand and his supporters during attempts to rid Spain of Moorish Dominion. After retreating to Granada, Ibn-Nasr took up residence at the Palace of Bādis in the Alhambra. A few months later, he embarked on the construction of a new Alhambra fit for the residence of a king. According to an Arab manuscript published as the Anónimo de Granada y Copenhague, "This year 1238 Abdallah ibn al-Ahmar climbed to the place called "the Alhambra" inspected it, laid out the foundations of a castle and left someone in charge of its construction…" The design included plans for six palaces, five of which were grouped in the northeast quadrant forming a royal quarter, two circuit towers, and numerous bathhouses. During the reign of the Nasrid Dynasty, the Alhambra was transformed into a palatine city complete with an irrigation system composed of acequias for the gardens of the Generalife located outside the fortress. Previously, the old Alhambra structure had been dependent upon rainwater collected from a cistern and from what could be brought up from the Albaicín. The creation of the Sultan's Canal solidified the identity of the Alhambra as a palace-city rather than a defensive and ascetic structure.

The Muslim rulers lost Granada and Alhambra in 1492 without the fortress itself being attacked when King Ferdinand II of Aragon and Queen Isabella of Castile took the surrounding region with overwhelming numbers.

The decorations within the palaces typified the remains of Moorish dominion within Spain and ushered in the last great period of Andalusian art in Granada. With little influence from the Islamic mainland[citation needed], artists endlessly reproduced the same forms and trends, creating a new style that developed over the course of the Nasrid Dynasty. The Nasrids used freely all the display of stylistical resorts that had been created and developed during eight centuries of Muslim rule in the Peninsula as the Calliphal horse-shoe arch, the Almohad sebka or the Almoravid palm, and unused combinations of them, beside novelties as the stilted arches and the capitals of muqarnas, among others. The isolation with the rest of the Islam, and the commercial and political relationship with the Christian kingdoms also influenced in the space concepts. Columns, muqarnas and stalactite-like ceiling decorations, appear in several chambers, and the interiors of numerous palaces are decorated with arabesques and calligraphy. The arabesques of the interior are ascribed, among other kings, to Yusef I, Mohammed V, and Ismail I.

Damage produced in Later Era After the Christian conquest of the city in 1492, the conquerors began to alter the Alhambra. The open work was filled up with whitewash, the painting and gilding effaced, and the furniture soiled[citation needed], torn, or removed. Charles V (1516–1556) rebuilt portions in the Renaissance style of the period and destroyed the greater part of the winter palace to make room for a Renaissance-style structure which has never been completed. Philip V (1700–1746) Italianised the rooms and completed his palace in the middle of what had been the Moorish building; he had partitions constructed which blocked up whole apartments.

Over subsequent centuries the Moorish art was further damaged, and, in 1812, some of the towers were destroyed by the French under Count Sebastiani, while the whole building narrowly escaped the same fate. Napoleon had tried to blow up the whole complex. Just before his plan was carried out, a soldier who secretly wanted the plan of Napoleon — his commander — to fail, defused the explosives and thus saved the Alhambra for posterity.[citation needed] In 1821, an earthquake caused further damage. The work of restoration undertaken in 1828 by the architect José Contreras was endowed in 1830 by Ferdinand VII; and after the death of Contreras in 1847, it was continued with fair success by his son Rafael (d. 1890) and his grandson. Designed to reflect the very beauty of Paradise itself, the Alhambra is made up of gardens, fountains, streams, a palace, and a mosque, all within an imposing fortress wall, flanked by 13 massive towers. [1]

Moorish poets[who?] described it as "a pearl set in emeralds," in allusion to the colour of its buildings and the woods around them. The palace complex was designed with the mountainous site in mind and many forms of technology were considered. The park (Alameda de la Alhambra), which is overgrown with wildflowers and grass in the spring, was planted by the Moors with roses, oranges and myrtles; its most characteristic feature, however, is the dense wood of English elms brought by the Duke of Wellington in 1812. The park has a multitude nightingales and is usually filled with the sound of running water from several fountains and cascades. These are supplied through a conduit 8 km (5 miles) long, which is connected with the Darro at the monastery of Jesus del Valle, above Granada.

In spite of the long neglect, willful vandalism and sometimes ill-judged restoration which the Alhambra has endured, it remains an atypical example of Muslim art in its final European stages, relatively uninfluenced by the direct Byzantine influences found in the Mezquita of Córdoba. The majority of the palace buildings are, in ground-plan, quadrangular, with all the rooms opening on to a central court; and the whole reached its present size simply by the gradual addition of new quadrangles, designed on the same principle, though varying in dimensions, and connected with each other by smaller rooms and passages. Alhambra was added onto by the different Muslim rulers who lived in the complex. However, each new section that was added followed the consistent theme of "paradise on earth." Column arcades, fountains with running water, and reflecting pools were used to make add to the aesthetic and functional complexity. In every case, the exterior is left plain and austere. Sun and wind are freely admitted. Blue, red, and a golden yellow, all somewhat faded through lapse of time and exposure, are the colours chiefly employed.

The decoration consists, as a rule, of stiff, conventional foliage, Arabic inscriptions, and geometrical patterns wrought into arabesques. Painted tiles are largely used as panelling for the walls. The palace complex is designed in the Mudéjar style which is characteristic of western elements reinterpreted into Islamic forms and largely popular during the Reconquista, a period of history in which the Christian kings reconquered Spain from the Muslims.

The Alhambra resembles many medieval Christian strongholds in its threefold arrangement as a castle, a palace and a residential annex for subordinates. The alcazaba or citadel, its oldest part, is built on the isolated and precipitous foreland which terminates the plateau on the northwest. That is all massive outer walls, towers and ramparts are left. On its watchtower, the Torre de la Vela, 25 m (85 ft) high, the flag of Ferdinand and Isabella was first raised, in token of the Spanish conquest of Granada on January 2, 1492. A turret containing a large bell was added in the 18th century and restored after being damaged by lightning in 1881. Beyond the Alcazaba is the palace of the Moorish rulers, or Alhambra properly so-called; and beyond this, again, is the Alhambra Alta (Upper Alhambra), originally tenanted by officials and courtiers.

Access from the city to the Alhambra Park is afforded by the Puerta de las Granadas (Gate of Pomegranates), a triumphal arch dating from the 15th century. A steep ascent leads past the Pillar of Charles V, a fountain erected in 1554, to the main entrance of the Alhambra. This is the Puerta Judiciaria (Gate of Judgment), a massive horseshoe archway surmounted by a square tower and used by the Moors as an informal court of justice. The hand of Fatima, with fingers outstretched as a talisman against the evil eye, is carved above this gate on the exterior; a key, the symbol of authority, occupies the corresponding place on the interior. A narrow passage leads inward to the Plaza de los Aljibes (Place of the Cisterns), a broad open space which divides the Alcazaba from the Moorish palace. To the left of the passage rises the Torre del Vino (Wine Tower), built in 1345 and used in the 16th century as a cellar. On the right is the palace of Charles V, a smaller Renaissance building.

The Royal Complex consists of three main parts: Mexuar, Serallo, and the Harem. The Mexuar is modest in decor and houses the functional areas for conducting business and administration. Strapwork is used to decorate the surfaces in Mexuar. The ceilings, floors, and trim are made of dark wood and are in sharp contrast to white, plaster walls. Serallo, built during the reign of Yusef I in the 14th century, contains the Patio de los Arrayanes. Brightly colored interiors featured dado panels, yesería, azulejo, cedar, and artesonado. Artesonado are highly decorative ceilings and other woodwork. Lastly, the Harem is also elaborately decorated and contains the living quarters for the wives and mistresses of the Arabic monarchs. This area contains a bathroom with running, hot and cold water, baths, and pressurized water for showering. The bathrooms were open to the elements in order to allow in light and air. The Harem also features representations of human forms, which is forbidden under Islamic law. The Christian artisans were most likely commissioned to design artwork that would be placed in the palace and the tolerant Muslim rulers allowed the work to stay.

The present entrance to the Palacio Árabe, or Casa Real (Moorish palace), is by a small door from which a corridor connects to the Patio de los Arrayanes (Court of the Myrtles), also called the Patio de la Alberca (Court of the Blessing or Court of the Pond), from the Arabic birka, "pool". The birka helped to cool the palace and acted as a symbol of power. Because water was usually in short supply, the technology required to keep these pools full was expensive and difficult. The aim of the pools was to give the impression that the pool had mystical powers because it never evaporated, making them form a good opinion of their leader.[citation needed] This court is 42 m (140 ft) long by 22 m (74 ft) broad; and in the centre, there is a large pond set in the marble pavement, full of goldfish, and with myrtles growing along its sides. There are galleries on the north and south sides; that on the south is 7 m (27 ft) high and supported by a marble colonnade. Underneath it, to the right, was the principal entrance, and over it are three windows with arches and miniature pillars. From this court, the walls of the Torre de Comares are seen rising over the roof to the north and reflected in the pond.

The Salón de los Embajadores (Hall of the Ambassadors) is the largest in the Alhambra and occupies all the Torre de Comares. It is a square room, the sides being 12 m (37 ft) in length, while the centre of the dome is 23 m (75 ft) high. This was the grand reception room, and the throne of the sultan was placed opposite the entrance. It was in this setting that Christopher Columbus received Isabel and Ferdinand's support to sail to the New World. The tiles are nearly 4 ft (1.2 m) high all round, and the colours vary at intervals. Over them is a series of oval medallions with inscriptions, interwoven with flowers and leaves. There are nine windows, three on each facade, and the ceiling is decorated with inlaid-work of white, blue and gold, in the shape of circles, crowns and stars. The walls are covered with varied stucco works, surrounding many ancient escutcheons.

The Patio de los Leones (Court of the Lions) is an oblong court, 116 ft (35 m) in length by 66 ft (20 m) in width, surrounded by a low gallery supported on 124 white marble columns. A pavilion projects into the court at each extremity, with filigree walls and light domed roof. The square is paved with coloured tiles, and the colonnade with white marble; while the walls are covered 5 ft (1.5 m) up from the ground with blue and yellow tiles, with a border above and below enamelled blue and gold. The columns supporting the roof and gallery are irregularly placed. They are adorned by varieties of foliage, etc.; about each arch there is a large square of arabesques; and over the pillars is another square of filigree work. In the centre of the court is the Fountain of Lions, an alabaster basin supported by the figures of twelve lions in white marble, not designed with sculptural accuracy, but as symbols of strength and courage.[citation needed]

The Sala de los Abencerrajes (Hall of the Abencerrages) derives its name from a legend according to which the father of Boabdil, last king of Granada, having invited the chiefs of that line to a banquet, massacred them here.[citation needed] This room is a perfect square, with a lofty dome and trellised windows at its base. The roof is decorated in blue, brown, red and gold, and the columns supporting it spring out into the arch form in a remarkably beautiful manner. Opposite to this hall is the Sala de las dos Hermanas (Hall of the two Sisters), so-called from two white marble slabs laid as part of the pavement. These slabs measure 50 by 22 cm (15 by 7½ in). There is a fountain in the middle of this hall, and the roof —a dome honeycombed with tiny cells, all different, and said to number 5000— is an example of the so-called "stalactite vaulting" of the Moors.

Among the other features of the Alhambra are the Sala de la Justicia (Hall of Justice), the Patio del Mexuar (Court of the Council Chamber), the Patio de Daraxa (Court of the Vestibule), and the Peinador de la Reina (Queen's Robing Room), in which there is similar architecture and decoration. The palace and the Upper Alhambra also contain baths, ranges of bedrooms and summer-rooms, a whispering gallery and labyrinth, and vaulted sepulchres.

The original furniture of the palace is represented by the vase of the Alhambra, a specimen of Moorish ceramic art, dating from 1320 and belonging to the first period of Moorish porcelain. It is 1.3 m (4 ft 3 in) high; the ground is white, and the enamelling is blue, white and gold.

Of the outlying buildings in connection with the Alhambra, the foremost in interest is the Palacio de Generalife or Gineralife (the Muslim Jennat al Arif, "Garden of Arif," or "Garden of the Architect"). This villa probably dates from the end of the 13th century but has been restored several times. Its gardens, however, with their clipped hedges, grottos, fountains, and cypress avenues, are said to retain their original Moorish character.[who?] The Villa de los Martires (Martyrs' Villa), on the summit of Monte Mauror, commemorates by its name the Christian slaves who were forced to build the Alhambra and confined here in subterranean cells. The Torres Bermejas (Vermilion Towers), also on Monte Mauror, are a well-preserved Moorish fortification, with underground cisterns, stables, and accommodation for a garrison of 200 men. Several Roman tombs were discovered in 1829 and 1857 at the base of Monte Mauror.

The Alhambra, Generalife and Albayzín of Granada are listed as World Heritage Sites by UNESCO.

Alhambra in literature

Parts of the following novels are set in the Alhambra:

•Washington Irving's Tales of the Alhambra. It is a collection of essays, verbal sketches, and stories. Irving lived in the palace while writing the book and was instrumental in reintroducing the site to Western audiences.

•Salman Rushdie's The Moor's Last Sigh

•Amin Maalouf's Leon L'Africain, depicting the reconquest of Granada by the Catholic kings.

•Philippa Gregory's The Constant Princess.

•Langston Hughes's poem "Movies" in his collection Montage of a Dream Deferred (1951)

•Federico Garcia Lorca's play Dona Rosita the Spinster, mentioned by title character Dona Rosita in her song/speech to the Manola sisters.

•Paulo Coelho's novel The Alchemist

•Ali Smith's The Accidental

Alhambra in music

Alhambra has directly inspired musical compositions as Francisco Tárrega's famous tremolo study for guitar Recuerdos de la Alhambra (Memories of the Alhambra)[1], Claude Debussy's piece for 2 pianos Lindaraja (composed in 1901) and the prelude La Puerta del Vino (in the 2nd book of preludes, composed 1912-13).[2].

"En los Jardines del Generalife", first movement of Manuel de Falla's Noches en los Jardines de España, and other pieces by composers such as Ruperto Chapí (Los Gnomos de la Alhambra,1891) Tomás Bretón [2] and many others are included in a stream called by scholars "Alhambrismo".[3] [4]

In pop and folk music, Alhambra is the subject of the Ghymes song of the same name.[citation needed] The rock band, The Grateful Dead, released a song called Terrapin Station on the 1977 album of the same name. The song itself was a series of small compositions penned by Robert Hunter and put to music by Jerry Garcia, a lyrical section of this Terrapin Station "suite" was called Alhambra.

In September 2006, Canadian singer/composer Loreena McKennitt performed live at the Alhambra. The resulting footage premiered on PBS and was later released as a three-disc DVD/CD set entitled Nights from the Alhambra.

Alhambra is the title of an EP by Canadian rock band The Tea Party, containing acoustic versions of a few of their songs.[citation needed]

British composer Julian Anderson's Alhambra Fantasy (1999–2000), commissioned by the London Sinfonietta, was influenced by the architecture of the Alhambra Palace. In two sharply contrasting sections the work relates different facets of the Alhambra – the first, rough and energetic, is related to the building of the Palace itself[citation needed], dominated by the sounds of hammering and banging on percussion. Short counterpointed and juxtaposed motifs create, for some, the impression of a mosaic[citation needed]. The second section evokes the beautiful landscape of the Vega[citation needed]. The composer is careful to point out[citation needed] that he has not written programmatic music, although his concern is with the splendour of the palace itself, its place in the landscape and its relevance to the complex and turbulent history of the region.

In 1976, filmmaker Christopher Nupen filmed "The Song of the Guitar" at the Alhambra. It was an hour long program featuring the legendary Spanish guitarist Andres Segovia. It is now available on DVD.

M. C. Escher's visit in 1922 inspired his following work on regular divisions of the plane after studying the Moorish use of symmetry in the Alhambra tiles.

Influence in 19th- and 20th-century architecture

From 19th-century Romantic interpretations until the present day, many buildings and portions of buildings worldwide have been inspired by the Alhambra: there is a Moorish Revival house in Stillwater, Minnesota which was created and named after the Alhambra. Also, the main portion of the Irvine Spectrum Center in Irvine, California, is a postmodern version of the Court of the Lions.

One also recalls the Alhambra Theatre in central Bradford, England [3].

Entrance corridor to the Khanqa and Mausoleum of Sultan Faraj ibn Barquq (1382-1399 AD), City of the Dead (Cairo necropolis), Cairo, Egypt

With all my ❤️ I thank you for your ⭐ or 💬 or just for 👀 it.

A 📷 taken by me + Camera Raw

THIS PHOTO IT'S NOT AI 📀

You can look at the Exif data on your right.➡️ in pc, and on phone below the comments 👇

A quiet prayer of colors filters through the intricate lattice of the mosque, where geometry becomes sacred and light finds its own language. Blues, greens, and golden hues whisper stories across centuries-old stone, like the sky bowing in reverence.

Built for #summerjoust2024 Middle East Category. Always fun to have an excuse to build in microscale!

#lego #moc #islamicarchitecture #microscale #middleeast #fantasy #castle #mountian #legocastle #legofantasy

The Sheikh Lotf Allah mosque, Isfahan, Iran

Hassan II mosque, Casablanca, Morocco.

© Safia Osman

Facebook page | 500px |

Follow me on Twitter |

Follow me on Pinterest |

Follow me on Instagram

© All rights reserved. Please do not use this image on websites, blogs or other media without my permission. Thank you

The Shrine of Hazrat Ali, also known as the Blue Mosque, is a mosque in Mazar-i-Sharif, Afghanistan. It is one of the reputed burial places of Ali, cousin and son-in-law of Muhammad. It is the building which gives the city in which it is located, Mazar-i-Sharif (meaning "Tomb of the Exalted") its name.

According to Shi'a Muslim belief, Ali was originally buried by his two sons, Hasan and Husayn in an undisclosed location, which was later made known by the great, grandson of Husayn and Sixth Shi'a Imam, Ja'far as-Sadiq - as the grave that is found within Imam Ali Mosque in Najaf, Iraq.

The story the founding of the shrine indicates that, shortly after the murder of Ali and the burial of his body at Najaf, near Baghdad, some of Ali's followers worried that his body would be desecrated by his enemies, and they placed his remains on a white female camel. Ali's followers traveled with the camel for several weeks, until the camel ultimately fell to the ground exhausted. The body was then reburied where the camel fell. The body was said to be rediscovered there in the 12th century.

Blue Mosque in Beirut, Lebanon

The Wazir Khan Mosque in Lahore, Pakistan, is famous for its extensive faience tile work. It has been described as ' a mole on the cheek of Lahore'. It was built in seven years, starting around 1634-1635 A.D., during the reign of the Mughal Emperor Shah Jehan. It was built by Shaikh Ilm-ud-din Ansari, a native of Chiniot, who rose to be the court physician to Shah Jahan and later, the Governor of Lahore. He was commonly known as Wazir Khan. (The word wazir means 'minister' in Urdu language.) The mosque is located inside the Inner City and is easiest accessed from Delhi Gate.

In his published notes, F H Andrews, former Principal of the Mayo School of Arts, describes the mosque thus: 'The material used in the construction of the Mosque is a small tile-like brick universally used by the Mughals when stone was unusable or too costly. The only stone used in the building is used for brackets and some of the fretwork (pinjra). The walls were coated with plaster (chunam) and faced with a finely-soft quality of the same material tooled to a marble-like surface and coloured. All the external plasterwork was richly coloured a rich Indian red, in true fresco, and the surface afterwards picked out with white lines in the similitude of the small bricks beneath. The extreme severity of the lines of the building is relieved by the division of the surfaces into slightly sunk rectangular panels, alternatively vertical and horizontal, the vertical panels having usually an inner panel with arched head or the more florid cusped mihrab. These panels, where they are exposed to weather, are generally filled with a peculiar inlaid faience pottery called kashi, the effect of which must have been very fine when the setting of deep red plaster of the walls was intact.'

'The facade of the sanctuary is practically covered with kashi and is divided into the usual oblong panels. A beautiful border is carried rectangularly round the centre archway, and inscriptions in Persian characters occur in an outer border, in a long panel over the archway, and in horizontal panels along the upper portions of the lower walls to right and left. The spandrels are filled in with extremely fine designs.'

'With the minars, however, the facade of the sanctuary, and the entrance gateway, where a small portion of the surface was left for plaster, the effect of the gorgeous colours against the soft blue of a Punjabi sky, and saturated with brilliant sunlight and glowing purple shadow is indescribably rich and jewel-like.'

'Right and left of the sanctuary are two stately octagonal minars 100 feet in height. On the long sides of the quadrangle are ranged small khanas or cells, each closed by the usual Indian two-leaved door set in a slightly recessed pointed arch, of which there are thirteen on each side by a pavilion rising above the general level, containing larger apartments and an upper story reached by two flights of steps, which also give access to the roof of the arcading and pavilions...these pavilions occur, in the centre of the north and south sides of the lower level of the pavement. In the pavilion on the south side is a fountain set in a circular scalloped basin, and served from the main which supplies the tank in the quadrangle.'

Within the inner courtyard of the mosque lies the subterranean tomb of Syed Muhammad Ishaq, known as Miran Badshah, a divine from Iran who settled in Lahore during the time of the Tughluq dynasty. The tomb, therefore, predates the mosque.

One of those Masjid in Sharjah that reflects strong influence of Islamic Art, Architecture and quotes.....

One of the doorways that showcases the Arabic architecture within the Albaicín. No visit to the south of Spain is complete until you have visited one of Andalusia’s most unique neighborhoods, the charming Arabic quarter filled with Muslim influence. The Albaicín, is located in the city of Granada, across the Darro River from the Alhambra fortress and palace. This Moorish “barrio” is just one of the many treasures of traveling through Andalusia and southern Spain.

treasuresoftraveling.com/visiting-albaicin-granada-spain/

#TreasuresOfTraveling #Granada #Albaicín #Albayzín #Spain #españa #Andalusia #ArabicArchitecture #TravelSpain #españaviaje #Europe #SpanishTreasures #ArabicQuater #MoorishNeighborhood #IslamicArchitecture #Caves #TravelBlog #WorldTraveler #TravelBlogger #TravelPhotos #GlobeTrotter #PassportStamps #TravelTheWorld #BestPlacesToGo #TheGlobeWanderer #TravelGram #FollowMeFarAway #Wanderlust #GuysWhoTravel #GayTraveler

While walking through the Albaicín, you will hear music, specifically flamenco and other traditional Spanish music echoing off the walls. This musician was playing their guitar in the Albaicín, under one of the gates of the city. No visit to the south of Spain is complete until you have visited one of Andalusia’s most unique neighborhoods, the charming Arabic quarter filled with Muslim influence. The Albaicín, is located in the city of Granada, across the Darro River from the Alhambra fortress and palace. This Moorish “barrio” is just one of the many treasures of traveling through Andalusia and southern Spain.

treasuresoftraveling.com/visiting-albaicin-granada-spain/

#TreasuresOfTraveling #Granada #Albaicín #Albayzín #Spain #españa #Andalusia #ArabicArchitecture #TravelSpain #FlamencoMusic #Europe #SpanishTreasures #ArabicQuater #MoorishNeighborhood #IslamicArchitecture #SpanishGuitar #SpanishMusic #WorldTraveler #TravelBlogger #TravelPhotos #GlobeTrotter #PassportStamps #TravelTheWorld #BestPlacesToGo #TheGlobeWanderer #TravelGram #FollowMeFarAway #Wanderlust #GuysWhoTravel #GayTraveler

Sarajevo, Bosnia

Many women in North Morocco (Rif area) wear the Mendil, a local traditional hat.

I wanted to travel to Morocco by boat in order to experiment visually the continent change from Europa to Africa. Only on land travelling make the passenger really feel the distance and the cultural evolution all along the way. Since I had previously visited Sevilla, Malaga was for me an obvious starting point for a short Morocco trip. Then I would go to gibraltar, Tarifa and take the boat for Tangier, my first Morocco city. The trip lasted 3 weeks until I reach south of Atlas Mountain Range, just before the desert.

The conclusion of my travel is that I could not recognize any Moroccan people anymore since I could realize that from north to south, and depending of the mountain side landscape, geography and people are totally different.

The Sultan Ahmed Mosque - built from 1609 to 1616 - is an historical mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is popularly known as the Blue Mosque for the blue tiles adorning the walls of its interior.

While still used as a mosque, it has also become a popular tourist attraction.

Explored # 444 - August 15 2012

Thank you all for your kind visits and comments!

Please note: This image is protected under copyright laws and cannot be printed or reproduced without my prior permission

en.wikipedia.org/wiki/Tomb_of_Jahangir

Tomb of Jahangir, (Urdu: جهانگير کا مقبرہ) is the mausoleum built for the Mughal Emperor Jahangir who ruled from 1605 to 1627. The mausoleum is located near the town of Shahdara Bagh in Lahore, Pakistan. His son Shah Jahan built the mausoleum 10 years after his father's death. It is sited in an attractive walled garden. It has four 30 meter high minarets. The interior is embellished with frescoes and pietra dura inlay and coloured marble. The mausoleum features prominently on the Pakistan Rupees 1,000 denomination bank note.

The entrance to the mausoleum is through two massive gateways of stone and masonry opposite each other (to the north and south) which lead to a square enclosure known as the Akbari Serai. This enclosure leads to another one, on the western side, giving full view of the garden in front of the mausoleum, which is traversed by four-bricked canals proceeding from the centre, and in which many fountains were placed which are now in ruins. The corridor around the mausoleum is adorned with a most elegant mosaic, representing flowers and Quranic verses.

The interior of the mausoleum is an elevated sarcophagus of white marble, the sides of which are wrought with flowers of mosaic in the same elegant style as the tombs in the Taj Mahal at Agra, India. On two sides of the sarcophagus the ninety-nine attributes of God are inlaid in black. Beautiful 'jalis' admit light in various patterns.

Khiva looks like a fantasy city when viewed from a minaret.

en.wikipedia.org/wiki/Tomb_of_Jahangir

Tomb of Jahangir, (Urdu: جهانگير کا مقبرہ) is the mausoleum built for the Mughal Emperor Jahangir who ruled from 1605 to 1627. The mausoleum is located near the town of Shahdara Bagh in Lahore, Pakistan. His son Shah Jahan built the mausoleum 10 years after his father's death. It is sited in an attractive walled garden. It has four 30 meter high minarets. The interior is embellished with frescoes and pietra dura inlay and coloured marble. The mausoleum features prominently on the Pakistan Rupees 1,000 denomination bank note.

The entrance to the mausoleum is through two massive gateways of stone and masonry opposite each other (to the north and south) which lead to a square enclosure known as the Akbari Serai. This enclosure leads to another one, on the western side, giving full view of the garden in front of the mausoleum, which is traversed by four-bricked canals proceeding from the centre, and in which many fountains were placed which are now in ruins. The corridor around the mausoleum is adorned with a most elegant mosaic, representing flowers and Quranic verses.

The interior of the mausoleum is an elevated sarcophagus of white marble, the sides of which are wrought with flowers of mosaic in the same elegant style as the tombs in the Taj Mahal at Agra, India. On two sides of the sarcophagus the ninety-nine attributes of God are inlaid in black. Beautiful 'jalis' admit light in various patterns.

Capture of the beatiful Sheik Zayed Grand Mosque in Abu Dhabi - one of the most stunning mosque's I have ever been!

Naghsh-e Jahan Square (Persian: ميدان نقش جهان maidaan-e naqsh-e jehaan; trans: "Image of the World Square"), known as Imam Square (میدان امام), formerly known as Shah Square (میدان شاه), is a square situated at the center of Isfahan city, Iran. Constructed between 1598 and 1629, it is now an important historical site, and one of UNESCO's World Heritage Sites. It is 160 meters wide by 508 meters long (an area of 89,600 m2). The square is surrounded by buildings from the Safavid era. The Shah Mosque is situated on the south side of this square. Today, Namaaz-e Jom'eh (the Muslim Friday prayer) is held in the Shah Mosque. The square is depicted on the reverse of the Iranian 20,000 rials banknote.

en.wikipedia.org/wiki/Naqsh-e_Jahan_Square

The Shah Mosque or Masjed-e Shah (Persian: مسجد امام), formerly known as Imam Mosque, is a mosque in Isfahan, Iran standing in south side of Naghsh-i Jahan Square. Built during the Safavid period, it is an excellent example of Islamic architecture of Iran, and regarded as one of the masterpieces of Persian Architecture. The Shah Mosque of Esfahan is one of the everlasting masterpieces of architecture in Iran. It is registered, along with the Naghsh-i Jahan Square, as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-colour mosaic tiles and calligraphic inscriptions. The mosque is one of the treasures featured on Around the World in 80 Treasures presented by the architecture historian Dan Cruickshank. The mosque is depicted on the reverse of the Iranian 20,000 rials banknote.

en.wikipedia.org/wiki/Shah_Mosque

DSC_0929

Women @ Ommayad Mosque

en.wikipedia.org/wiki/Tomb_of_Jahangir

Tomb of Jahangir, (Urdu: جهانگير کا مقبرہ) is the mausoleum built for the Mughal Emperor Jahangir who ruled from 1605 to 1627. The mausoleum is located near the town of Shahdara Bagh in Lahore, Pakistan. His son Shah Jahan built the mausoleum 10 years after his father's death. It is sited in an attractive walled garden. It has four 30 meter high minarets. The interior is embellished with frescoes and pietra dura inlay and coloured marble. The mausoleum features prominently on the Pakistan Rupees 1,000 denomination bank note.

The entrance to the mausoleum is through two massive gateways of stone and masonry opposite each other (to the north and south) which lead to a square enclosure known as the Akbari Serai. This enclosure leads to another one, on the western side, giving full view of the garden in front of the mausoleum, which is traversed by four-bricked canals proceeding from the centre, and in which many fountains were placed which are now in ruins. The corridor around the mausoleum is adorned with a most elegant mosaic, representing flowers and Quranic verses.

The interior of the mausoleum is an elevated sarcophagus of white marble, the sides of which are wrought with flowers of mosaic in the same elegant style as the tombs in the Taj Mahal at Agra, India. On two sides of the sarcophagus the ninety-nine attributes of God are inlaid in black. Beautiful 'jalis' admit light in various patterns.

View from the street of the Hassan II Mosque.

Casablanca, Morocco

The Hassan II Mosque (Arabic: مسجد الحسن الثاني‎, French: Grande Mosquée Hassan II) is a mosque in Casablanca, Morocco. It is the second largest functioning mosque in Africa and is the 7th largest in the world. Its minaret is the world's second tallest minaret at 210 metres (689 ft). Completed in 1993, it was designed by Michel Pinseau under the guidance of King Hassan II and built by Moroccan artisans from all over the kingdom. The minaret is 60 stories high topped by a laser, the light from which is directed towards Mecca. The mosque stands on a promontory looking out to the Atlantic Ocean; worshippers can pray over the sea but there is no glass floor looking into the sea. The walls are of hand-crafted marble and the roof is retractable. A maximum of 105,000 worshippers can gather together for prayer: 25,000 inside the mosque hall and another 80,000 on the mosque's outside ground.—from Wikipedia

Explored !

Jame-e-Abbasi Mosque ( Shah Mosque or Imam Mosque ) , as shown in my previous photos, situated at the south part of Naghsh-e-Jahan Square.

Built during the Safavids period, it is an excellent example of Islamic architecture of Iran, and regarded as the masterpiece of Persian Architecture. The Shah Mosque of Esfahan is one of the everlasting masterpieces of architecture in Iran and all over the world. It is registered along with the Naghsh-e Jahan Square as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-color mosaic tiles and calligraphic inscriptions.

The mosque is depicted on the reverse of the Iranian 20,000 rials banknote.

More information : en.wikipedia.org/wiki/Shah_Mosque

معروف به: مسجد مهديه، مسجد المهدی، مسجد جامع عباسي، مسجد سلطاني جديد، مسجد شاه

موقعيت: ضلع جنوبي ميدان امام

سال تاسيس: 1020 هجري (دوره شاه عباس اول)

معمار: استاد علي اكبر اصفهان و ناظر ساختمان محب علي بيك الله

خطاط: عليرضا عباسي، عبدالباقي تبريزي، محمد رضا امامي، محمد صالح امامي

ويژگيهاي مسجد عبارت است از:

در بيست و چهارمين سال سلطنت شاه عباس اول بنا شده است

كتيبه سر در مسجد به خط ثلث علي رضا عباسي حاكي از آن است كه شاه عباس اين مسجد را از مال خالص خود بنا كرده و ثواب آن را به روح جد اعظم خود شاه طهماسب اهدا نموده است.

در كتيبه ديگر سردر، از مقام معماري و مهندسي معمار مسجد جامع جديد اصفهان تجليل شده است

از نكات جالب اين مسجد انعكاس صوت در مركز گنبد بزرگ جنوبي آن است

گنبد عظيم مسجد 52 متر، ارتفاع مناره هاي داخل آن 48 متر و ارتفاع مناره هاي سر در آن در ميدان امام 42 متر است

قطعه سنگ ساده اي به شكل شاخص كه ظهر حقيقي را در چهار فصل نشان مي دهد

قطعات بزرگ سنگ هاي مرمر يك پارچه، سنگ هاي نفيس

منبع و اطلاعات بيشتر