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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
The Malwiyya: the famous spiraling, free-standing minaret of the Great Mosque of Samarra. It was repeatedly compared to Mesopotamian Ziggurats.
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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
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Stucco Decoration, Samarra Style: the style tended towards the abstraction of scrolls, stems, and leaves that belonged to the decorative vocabulary of Antiquity. Following the degree of abstraction, three styles have been identified: Style A: vine-leave ornament bearing resemblance to the Hellenistic, naturalizing origin. Style B: vegetal ornament with some abstraction such as no stalks from which the leaves grow. Style C: moulded pattern, very abstract with a combination of vegetal and geometric motifs. Patterns are normally inscribed within borders.
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Photograph
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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
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Al-Hakim Mosque: The old minaret within the encasement.
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Photograph
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Image courtesy of Nasser Rabbat of the Aga Khan Program at MIT.
MIT OpenCourseWare Course of Origin
4.615 The Architecture of Cairo, Spring 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
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Hooghly is a small town on the west bank of the holy river Ganges (Ganga), about 40 km from Kolkata (Calcutta), West Bengal, India.
Built on the land given by Mir Keramat Ali in 1861 by the famous Bengalee educationist & philanthropist Haji Muhammad Mahasin, this imposing building is an example of the past glory of Bengal. The tower is 150 feet tall, with a huge clock brought by Mir Keramat Ali from England. The clock has two dials run by a single central machine. It has three huge bells which rhyme till now. Probably the largest of such clock in India, it is a thing to see. Inside the Imambara there is a beautuful prayer hall called JARI DALAN where the holy Quran is recited & sermons are given by the Islamic priests. The biggest festival is Muharram, attended by people of all faiths.
The Tomb of Iltutmish at Delhi behind the Quwwat al-Islam (1210-35). Though using Hindu building techniques, this mausoleum is rooted, functionally and symbolically, in the Islamic tradition. Its Islamic character is formally expressed in the dome resting on squinches, mihrab, and Qur'anic inscriptions,.
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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
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Architect; Kamil Khan Mumtaz, 2009.
This mosque is being built for a new community by a private client. Once again all materials are natural – brick and lime mortar and render. Domes are being covered in traditional ceramic tile made in Thatta, using the same cobalt oxide as used in Mogul days. Terracotta decorations are made in a special kiln locally. The wood is taken out of trees chosen by the master craftsman, who then dries and cut the logs
and works on site to produce doors and frames.
The man sitting on the ground is master carpenter, who chooses the tree logs, cuts and cures them and proceed to make door frames and doors on a small electric cutting and planing table placed just on the other side of the first arch.
The proportions of the Mosque have been worked out using established rules of Islamic architecture. I will have to admit that the scale and ambience in and around Mosque is calming and quite enchanting.
For more see here
Tucked in south Delhi’s Deer Park, it is one of the Capital’s most beautiful Lodhi-era buildings. Bagh-I-Alam Ka Gumbad, circa 1501, is a small joy. Instead of being a lonely spinster, like the city’s other Lodhi tombs, it is full of life. Grass grows out of its battered stone slabs. Squirrels clamber over its arched niches. Pigeons perch at its Kangura battlements. Occasionally, their chatter gets so loud that you feel that there must be hundreds of birds inside, and that at any moment they would lift the monument and carry it along the Delhi sky..
The façade is built of dressed local stone with touches of red sandstone and blue ceramic tiles. It’s the surrounding slanting trees that tones down the ruin’s masculine touch..
Inside, there are three unknown tombs. The stone floor is splotched with bird droppings. The western wall has a mihrab recess. The eastern wall has stairs to the roof. The ceiling has delicate artwork etched within red bands. .
Adjoining the ruin is a Lodhi-era wall mosque. Octagonal domed towers guard the two ends of the wall, which faces west towards Mecca. The wall has five mihrab niches. Modestly sized minarets flank the central mihrab. The battlements are decorative. No longer used for prayers, the mosque’s character has grown a little elemental. The sights of its open-air yard are impressionistic: fallen leaves, dense moss and unknown tombs. Some good soul daily spreads out grains on the mosque’s floor for the pigeons to feed on. Come in the morning. As the day’s first rays fall on graves and the bird song rises in volume, you feel as if you are very close to God, or some such holy spirit..
The Taj Mahal in Agra (1632-54). (Crown Palace) The majestic mausoleum built for the empress Mumtaz Mahal by her husband Shah Jahan. Iconographically highly charged, it represents the epitome of Islamic mausolea. Its plan is that of a Hasht Bihisht with four minarets framing it on the four sides of its square platform.
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Photograph
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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
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The Funerary-Religious Complex of Sultan Qaytbay (1472-74). Probably the most beautiful funerary complex in Cairo, it has a mosque, a madrasa, and a qubba. It also has the most elegant 3-tiered minaret and the most intricately-carved stone dome with stellar patterns. (Image courtesy of the Fine Arts Library of the Harvard College Library.)
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Image courtesy of the Fine Arts Library of the Harvard College Library.
MIT OpenCourseWare Course of Origin
4.614 Religious Architecture and Islamic Cultures, Fall 2002
MIT Course Instructor
Rabbat, Nasser O.
MIT Department
Architecture
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The earthquake not only demolished all the blue tiles but also the structure. Reconstructiing still alot in progress.
citadel of salah el deen
u can find names of (sa7abah -صحابه -رضي الله عنهم) sculptured on the ceiling
Cousins enjoying a tub bath in the terrace at Gulberg. Summer 1994. water cools the summer heat when both kids after a playful day wanted to be together in a plastic tub even. these two enjoy a wonderful bond of love
Title: Cordoue. Interieur de la Mosquee.
Alternative Title: [Cordoba. Interior of the Mosque.]
Creator: Unknown
Date: ca. 1870-1899
Part of: Collection of photographs of Spain and Malta
Place: Cordoba, Spain
Physical Description: 1 photographic print on stereo card: albumen; 8 x 17 cm
Upload File Name: ag2015_0007_66_c.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, digitalcollections.smu.edu/cdm/ref/collection/eaa/id/2115
Digital Collection: Europe, Asia, and Australia: Photographs, Manuscripts, and Imprints
Moth Ki Masjid is a mosque located in Delhi, and was built in 1505 by Wazir Miya Bhoiya, Prime Minister during the reign of Sultan Sikander Lodi (1517–26). It was a new type of mosque developed by the Lodi dynasty in the fourth city of the medieval Delhi of the Delhi Sultanate.[1][2][3] The name of the mosque literally translated into English language means ‘Lentil Mosque’ and this name tag ‘Lentil’ has an interesting legend. This mosque was considered a beautiful Dome (Gumbad) structure of the period.[1].
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The mosque is now completely enclosed within the modern locality of South Extension Part II, Uday Park and Masjid Moth comprising residential and commercial establishments in the urban setting of South Delhi..
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It is famously narrated that when Sultan Sikandar Lodi was on a visit to a mosque in the vicinity of the present location of the Moth Ki Masjid for prayer, he knelt over a grain of moth (a kind of lentil), which had been dropped by a bird. His loyal Prime Minister Wazir Miya Bhoiya, who had accompanied the King, saw the lentil seed and observed that.
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A seed so honoured by His majesty must not be thrown away. It must be used in the service of God..
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So he took the moth seed and planted it in his garden for further growth. Over the years, the process of repeated planting and replanting of the moth seeds was carried out. In this process, the seeds multiplied several times. The Wazir finally sold the rich harvest and earned good money. With the proceeds of the sale he built the mosque after seeking permission from the Sultan to construct the Mosque.[1] Impressed by the ingenuity of his minister, Sikandar Lodi laid the foundation for building the mosque.
The Complex of Sultan Qalawun in Cairo (1284-85): Contains a bimaristan (hospital), a madrasa, and a mausoleum for the founder. The street façade is well articulated and shows the confluence of Syrian (Crusader and Islamic) arrangements. The madrasa is a four-iwan type with a basilical organization in the qiblai wan. The Dome of the mausoleum echoes the octagonal plan of the Dome of the Rock.
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
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Title: Granada. Alhambra. Sala del Reposo del Bano.
Alternative Title: [Granada. Alhambra. Interior of the Bathroom.]
Creator: Garzon, Rafael, 1863-1923
Date: ca. 1870-1899
Part Of: Collection of photographs of Spain and Malta
Place: Granada, Spain
Physical Description: 1 photographic print: albumen; 26 x 19 cm
File: ag2015_0007_19_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/eaa/id/2066
Digital Collection: Europe, Asia, and Australia: Photographs, Manuscripts, and Imprints
The Khanqah of Sultan Baybars al-Jashankir (1307-10): a structure with a biaxial plan, this Khanqa had a mausoleum added on its qibla side. It contained rooms for the sufis aligned on its two longitudinal sides.
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
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Al-Aqmar Mosque: A small masjid built in 1125 north of the caliphal palace. The central medallion above the entrance door with a Qur'anic verse inscribed around the central ring, which contains the words "Muhammad" and "Ali".
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
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The Masjid-i-Shah: The congregational 4-iwan mosque built between 1612 and 1638 that marks the south of the Maydan with its magnificent portal flanked by two minarets and its dazzling tiled dome.
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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
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The Masjid-i-Jomeh at Varamin (1322-26). Built under Abu Said, the son of Oljeïtu, this mosque is a very symmetrical composition which displays the ideal four-iwan plan. Its Dargah announces later developments.
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