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Frank Dinger
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HISTORIC ISLAMIC WINDOWS with reflection affect,, in Alhassein Mosque,, ALAZHER ZONE ,,CAIRO EGYPT,, CANON EOS,, 2017
Built 1399 and 1404, commemorates Timur's wife buried in a tomb located in a madrasa complex close by.
A contemporary chronicler relates that Timur brought in architects from Iran and India for the project (he had sacked Delhi in 1398) and used ninety-five elephants to haul construction material. One of the models for the building likely was the great mosque erected in Sultaniyya by the Ilkhanid (Mongol) ruler Uljaytu.
"Timur's mosque was designed not only to continue Iranian imperial tradition, but also to symbolize his conquest of the world."
depts.washington.edu/silkroad/cities/uz/samarkand/bibi.html In the 15th century it was one of the largest and most magnificent mosques in the Islamic world. By the mid-20th century only a grandiose ruin of it still survived, but now major parts of the mosque have been restored.
After his Indian campaign in 1399 Timur decided to undertake the construction of a gigantic mosque in his new capital.
When Timur (Tamerlane) returned from his military campaign in 1404 the mosque was almost completed. However, Timur was not happy with the progress of construction, therefore he had immediately made various changes, especially concerning the main cupola.
From the beginning of the construction, problems of statistical regularity of the structure revealed themselves. Various reconstructions and reinforcements were undertaken in order to save the mosque. However, after just a few years, the first bricks had begun to fall out of the huge dome over the mihrab.
IIt forced Timur to retaliate often beyond the structural rules. His builders were certainly aware of that, however he didn't want to accept their opinion and reality. [4][5]
In the late 16th century the Abdullah Khan II (Abdollah Khan Ozbeg) (1533/4-1598), the last Shaybanid Dynasty Khan of Bukhara, cancelled all restoration works in Bibi Khonym Mosque.
After that, the mosque came down and became a ruins gnawed at by the wind, weather, and earthquakes. The inner arch of the portal construction collapsed in 1897.[7][8] During the centuries the ruins were plundered by the inhabitants of Samarkand in search of building material especially the brick of masonry galleries along with the marble columns.
Architecture
Follows the basic plan of the courtyard mosque.
The cupola of the main chamber is 40 m high.
Formerly, there were open galleries measuring 7.2 m high inside the courtyard. Their cover was formed from the juxtaposition of many small, flat brick vaults and domes supported by a forest of more than 400 marble columns and buttresses. Today, only hints of the galleries can be seen.
Four minarets at the outer corners of the site have been restored. Four other, more majestic minarets that flanked the Portal arch of the entrance and the Pischtak of the main domed building are not completed yet.
In the middle of the courtyard is located the stone pedestal - the huge Quran stand crafted from ornate marble blocks. This remarkable sight originates from the time of Timur.
The huge Bibi Khonym Mosque with its three domed rooms, the covered galleries and the open courtyard was intended to gather the entire male population of Samarkand city for the joint Friday prayers.
In the construction of three domes of Bibi-Khanym mosque, sophisticated in Timur's time, one important innovation was applied: a two-fold construction, where the internal dome hall neither by the form nor by height corresponds to the dome's shape from outside. There is a hollow space between the inner ceiling and the outer cupola. This dome construction allowed the main hall of the mosque to be committed to the proportions and the aesthetics of the 30 m high interior above the mihrab. Meanwhile, the 40 m high outer dome of the main building could be designed for maximal impression and visibility. This scheme was applied also to the lateral dome structures that allowed making modest buildings the figuration tower-like structures with elegant melon-shaped and longitudinally ribbed outer domes
From my 2012 Iran tour with dprk.youngpioneertours.com/
Travel with me to North Korea - americaninnorthkorea.com/
or ask for my referral and get 5% off a trip with dprk.youngpioneertours.com/
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
my photo is NOT better than that 1 ( in the link below) :)
www.flickr.com/photos/hsiam/2562607928/
the link above shows the same photo taken by Hussien Siam
Built 1399 and 1404, commemorates Timur's wife buried in a tomb located in a madrasa complex close by.
A contemporary chronicler relates that Timur brought in architects from Iran and India for the project (he had sacked Delhi in 1398) and used ninety-five elephants to haul construction material. One of the models for the building likely was the great mosque erected in Sultaniyya by the Ilkhanid (Mongol) ruler Uljaytu.
"Timur's mosque was designed not only to continue Iranian imperial tradition, but also to symbolize his conquest of the world."
depts.washington.edu/silkroad/cities/uz/samarkand/bibi.html In the 15th century it was one of the largest and most magnificent mosques in the Islamic world. By the mid-20th century only a grandiose ruin of it still survived, but now major parts of the mosque have been restored.
After his Indian campaign in 1399 Timur decided to undertake the construction of a gigantic mosque in his new capital.
When Timur (Tamerlane) returned from his military campaign in 1404 the mosque was almost completed. However, Timur was not happy with the progress of construction, therefore he had immediately made various changes, especially concerning the main cupola.
From the beginning of the construction, problems of statistical regularity of the structure revealed themselves. Various reconstructions and reinforcements were undertaken in order to save the mosque. However, after just a few years, the first bricks had begun to fall out of the huge dome over the mihrab.
IIt forced Timur to retaliate often beyond the structural rules. His builders were certainly aware of that, however he didn't want to accept their opinion and reality. [4][5]
In the late 16th century the Abdullah Khan II (Abdollah Khan Ozbeg) (1533/4-1598), the last Shaybanid Dynasty Khan of Bukhara, cancelled all restoration works in Bibi Khonym Mosque.
After that, the mosque came down and became a ruins gnawed at by the wind, weather, and earthquakes. The inner arch of the portal construction collapsed in 1897.[7][8] During the centuries the ruins were plundered by the inhabitants of Samarkand in search of building material especially the brick of masonry galleries along with the marble columns.
Architecture
Follows the basic plan of the courtyard mosque.
The cupola of the main chamber is 40 m high.
Formerly, there were open galleries measuring 7.2 m high inside the courtyard. Their cover was formed from the juxtaposition of many small, flat brick vaults and domes supported by a forest of more than 400 marble columns and buttresses. Today, only hints of the galleries can be seen.
Four minarets at the outer corners of the site have been restored. Four other, more majestic minarets that flanked the Portal arch of the entrance and the Pischtak of the main domed building are not completed yet.
In the middle of the courtyard is located the stone pedestal - the huge Quran stand crafted from ornate marble blocks. This remarkable sight originates from the time of Timur.
The huge Bibi Khonym Mosque with its three domed rooms, the covered galleries and the open courtyard was intended to gather the entire male population of Samarkand city for the joint Friday prayers.
In the construction of three domes of Bibi-Khanym mosque, sophisticated in Timur's time, one important innovation was applied: a two-fold construction, where the internal dome hall neither by the form nor by height corresponds to the dome's shape from outside. There is a hollow space between the inner ceiling and the outer cupola. This dome construction allowed the main hall of the mosque to be committed to the proportions and the aesthetics of the 30 m high interior above the mihrab. Meanwhile, the 40 m high outer dome of the main building could be designed for maximal impression and visibility. This scheme was applied also to the lateral dome structures that allowed making modest buildings the figuration tower-like structures with elegant melon-shaped and longitudinally ribbed outer domes
Interior view of the prayer hall of al-Aqsa Mosque.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Architect; Abdel Wahed Al-Wakil, Under construction.
The workmanship of exposed brickwork in two colours of engineering bricks is immaculate. Despite being decorative, it is likely to be covered with decorations in keeping with the traditions.
In 1646 AD, the brothers Abdul Haq and Lotfi Mohammad Kanani children. Qama to build a house in the Alley Aini Street next to the house Abdul Rahman Hirawi and just a few meters from the Al-Azhar mosque. Where the text indicates the Constitutive the wrapper roof seat this house, that the origin is Haji Abdul Haq and brother Lotfy boys Mohammad Kanani year 1074 AH / 1664 AD and then took ownership of the house to move even signed its key in the hands of el-set Wasela "Khatun girl Abdullah Al Beida Matoukh" The last of the inhabited house and therefore knew her name
Shah Mosque (Persian: ﻣﺴﺠﺪ ﺷﺎﻩ , Masjed-e Shāh) is a mosque in Isfahan (Eşfahān), Iran standing in south side of Naghsh-i Jahan Square. After the Islamic Revolution, it was renamed to Imam Mosque.
Built during the Safavids period, it is an excellent example of Islamic architecture of Iran, and regarded as the masterpiece of Persian Architecture. The Imam 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-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-color mosaic tiles and calligraphic inscriptions.
The Mosque of Ali Shah in Tabriz (1315): Considered the largest iwan mosque of its time, this huge vaulted structure overlooking a large court with a big central pool (possibly meant as a reflective pool) was seen as the Islamic challenge to the legendary Iwan-i Kisra.
Format
Figure
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.Coste, Pascal
MIT Department
Architecture
License
Publisher
The Shah-i Zinda Complex in Samarqand (1360-1434). Named Shah-i Zinda (the Living King) after a cousin of the Prophet who reportedly disappeared in Samarqand, this funerary alley, dotted with exquisite domes built over 70 years for members of Timur's family, present the pinnacle of all the tile techniques known to the Timurids.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Sherefudin's White Mosque, Visoko, Bosnia (1980). Designed by the architect Zlatko Ulgjen, it masterfully assimilates modern influences, especially Le Corbusier's Ronchamp Cathedral, and traditional Ottoman forms and elements. This mosque is firmly anchored in the present, but whose indebtness to its past is well-articulated.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
The Tomb of Akbar at Sikandra (1604-13). A pavilion larger than Humayun's in the center of a larger chahar bagh, this tiered composition of four planes above the plinth creates an horizontal axis that terminates with a cenotaph open to the sky.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
The Imam al-Dur Dome, Samarra (ca. 1085): a brick tapering cube, similar to the Samanid tomb, and a pointed muqarnas dome whose exterior reciprocates the interior arrangement.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
Sherefudin's White Mosque, Visoko, Bosnia (1980). Designed by the architect Zlatko Ulgjen, it masterfully assimilates modern influences, especially Le Corbusier's Ronchamp Cathedral, and traditional Ottoman forms and elements. This mosque is firmly anchored in the present, but whose indebtness to its past is well-articulated.
Format
Photograph
Credit
Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
License
Publisher
The mosque is notable for its façade, which is elaborately decorated with inscriptions and geometric carving. This is both the first mosque in Cairo to have such decoration, and it also the first to have a façade which follows the line of the street, built at an angle to the rectangular hypostyle hall whose orientation is dictated by the qibla direction.
Architect; Abdel Wahed Al-Wakil, Under construction.
After a prolonged period of worrying about the insertion of an ‘alien’ skyline and style
in one of the most admired university towns in the country the outline of this project has finally emerged and public members are being allowed a closer look at this unfinished project.
The project is meant to be one of the finest examples of Islamic architecture with funding and craftsmen contributions coming from many countries and sources. The building programme has been seriously delayed, no doubt due to the nature of funding and desire to reach the high standards of craftsmanship.
The architectural attempts to create an amalgam of Moorish and other Islamic features and attempting to marry these with English Gothic style of Oxford appear too ‘self-conscious’ and look ill at ease. I felt that Jeremy Dixon and Edward Jones produced Said Business School with subtle Islamic feel without borrowing any Islamic elements.
OCIS web site and further information here www.oxcis.ac.uk/newbuilding.html
The mosque is notable for its façade, which is elaborately decorated with inscriptions and geometric carving. This is both the first mosque in Cairo to have such decoration, and it also the first to have a façade which follows the line of the street, built at an angle to the rectangular hypostyle hall whose orientation is dictated by the qibla direction.
Above the maqsura a richly decorated ribbed vault --forerunner of the famous ribbed vaulting in Gothic churches-- encloses a stunningly patterned small dome.
The beauty of the dome with its filigree abstractions, Kufic script, floral motifs, and cascading sunburst radiating from a tiny central star is enhanced by the light that filters and plays through eight latticed side windows.