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Azulejo decoration in a house entrance in Rua da Ilha, Coimbra, Portugal.
Azulejos are typical Portuguese tileworks.
Coimbra is a city at the Rio Mondego in Mid-Portugal with now over 100.000 inhabitants. The first settlement on the site probably was Celtic, later it was Roman, Visigothic and Moorish. In 1064 Coimbra was conquered by the Spanish King Fernando I of Castile. The first king of Portugal, Dom Afonso Henriques, was born here and integrated the city into the Portuguese territory in 1131.
Coimbra was the setting of the forbidden love of Dom Pedro I (Peter I of Portugal, 1357-67) and Dona Inês, a lady at court. The legend of their tragic love is omnipresent and still alive everywhere in Coimbra.
Although it served as the nation's capital during the High Middle Ages, Coimbra is better-known for its university, the Universidade de Coimbra, which is one of the oldest in Europe and the oldest academic institution in the Portuguese-speaking world.
The area around Coimbra University was inscribed in the UNESCO World Heritage list as University of Coimbra – Alta and Sofia in 2013.
Coimbra also is a city of the typical Portuguese music genre Fado. There are two main styles of Fado in Portugal, one is Lisbon Fado and one is Coimbra Fado, also known as Student Fado (Fado de Estudante).
Fado, Urban Popular Song of Portugal was declared as Intangible Cultural Heritage by the UNESCO.
Natur und Kultur in Mittelportugal (Nature and Culture in Mid-Portugal), Wikinger-Reisen, September 2011
The Alcazar of Seville occupies a large swathe of the southern edge of the old city. It was initially built inthe Moorish period as a fort and has been added to and embellished over the succeeding centuries to create the magnificent palace complex we see today (still an official residence of the Spanish royal family).
The Acazar is an outstanding example of Moorish and Mudejar architecture, being largely constructed in Arab / Islamic style, most of it dating from after the Spanish reconquest and illustrating the high esteem in which Moorish design and craftsmen were then held. Later generations added sections in more native styles, such as Gothic, Renaissance and Baroque.
The finest features of the palace are the courtyards, which with their cusped arches, filigree wall ornamentation and reflective pools are worthy rivals for the more famous Alhambra of Granada. There are also numerous rooms decorated with exquisite tilework, ceilings and doorways, culminating in a grand audience hall crowned by a gilded wooden dome.
This tilework graces the octagonal pavillion that Karim Khan built for official receptions.
According to Wikipedia, "Karim Khan Zand . . . (c. 1705- 1779), was the ruler and de facto Shah of Iran from 1749 until 1779." en.wikipedia.org/wiki/Karim_Khan
Since 1933, the building has been a museum whose collection focuses on the history of Fars Province and the life of Karim Khan . The paviliion is renowned for its tile panels and painted roof.
Shiraz, Iran.
"Ter herinnering aan de Eerste Steenlegging van de Oranjeschool der Vereeniging 'de vrije Cristelijke School' op den eersten mei 1909 door mevrouw Hillegonda Johanna de Zwart geboren Claus".
Tilework commemorating the laying of the foundation stone of this former school building on 1 May 1909 by Mrs Hillegonda Johanna de Zwart (née Claus). Note the spelling mistake in "Cristelijke", which should read "Christelijke". It is written correctly on tilework above the entrance of the school, which you see here.
The tilework is well conserved, probably owing to the fact that it is situated inside the building and rather high in a wall (out of reach), immediately behind the entrance. A mark in the right-hand bottom corner indicates that this panel was made in the renowned earthenware factory Thooft & Labouchere in Delft, the continuation of De Porceleyne Fles (see the note in the picture), cf. – www.delftsaardewerk.nl.
The building now houses (among other things) the studios of a number of artists. On the day this picture was taken they participated in "Open Ateliers De Pijp" [open studios in the Pijp], so the building was open to the public. A little more about that two-day event is here.
If, by the way, anyone knows more about the lady mentioned on the tilework, I am interested to hear!
The highlighting that washed out the tiles' colors also picked out the tiles' outlines, making it possible to see how the design was assembled, piece by piece.
Masjed-e Shah Mosque, Esfahan, Iran.
More photos from my car boot sale basket. This lot is quite intriguing to me. Aerial view of a sea line with interesting buildings. These four photos are all signed at the back but I can hardly decypher the handwriting :/. Someone cleverly marked key spots on the photos by puting x marks on the back with explanation. These are visible when looked at with a light source behind. I tried to show it on the photo below.
Any suggestions as to what it might be? And most importantly where was it taken?
Thanks to ART NAHPRO we know where this place is. Good detective work there!!!
The former Majestic Theatre on New Bridge Road, in Singapore's Chinatown district. It was built in 1928 initially as a Cantonese Opera House, and later converted to a cinema. More recently it has been used as a shopping mall.
It's Art Deco facade is decorated with some beautiful tilework with Chinese opera characters and motifs, including a border of blue dragons.
We were in Oujda, Morocco, where we lived 40 years ago, and there was a new (to us) mosque with beautiful tile work.
Seen on a Vancouver-area Four Thirds Photographers photowalk with Herman, Jun-san, Jody and Tom. Chinatown, Vancouver. May 2, 2010.
Mosque Names: Masjed-e Jadid-e ʿAbbāsi, Masjed-e Šāh (the Royal Mosque), Masjed-e Emām (Imam Mosque, since 1979).
The mosque was completed c.1630 during the reign of 'Abbas's successor, Shah Safi (r.1629-1642).
Patron: ʿAbbās I, the Great 1571-1629, Safavid Shah (king) of Iran (r.1588-1629), son and successor of Solṭān Moḥammad Shah.
Shah Safi (Abu’l-Naṣr Sām Mirzā) 1611-1642, Safavid Shah (king) of Iran (r.1629-1642), grandson of ʿAbbās I.
Structural plan: Badi' al-Zaman Tuni.
Architect & Engineer: 'Ali Akbar Isfahani (Memar Bashi) b.1577, a pupil of Badi' al-Zaman Yazdi, the court architect of Shah Abbas.
Contractor: Mohib 'Ali Beyk (Abeyk).
This collage may give you an idea of the detail in this work. On the left is a 2-pic collage that gives you the big picture & on the right is a close-up shot of 1 small section
Founded in 771 by the Taym Arabs of the village Ṭirān on the outskirts of Yahudiya, one of the then twin towns
constituting the city of Isfahan.
The mosque was renovated between the late 10th century and the early 11th century by the Buyids (932-1055), an Iranian Shia Dynasty.
In 1051 Isfahan became the capital of the Seljuks, a sunni group from Central Asia who wanted the restoration of the Abbasid Caliphate.
In 1121 the Ismaʿilis set fire to the mosque and in its rebuilding, a quintessentially Seljuk mosque was created.
Nearly every significant architectural and decorative trend of the medieval period in Persian history, found its monumental representation in this mosque.
"Eerste Hollandsche Levensverzekerings Bank; kantoor Keizersgracht 174-176". This insurance company no longer exists. The left part of this advertisement shows its offices that can still be found at the address mentioned in this tilework advertisement. That building is from 1905, so this advertisement must be from the same year or later.
There are two very similar pieces of tilework elsewhere in Amsterdam. They are to be seen in pictures by another contributor to flickr: Raadhuisstraat 12 and Rozengracht 58.
Also see a tilework panel in The Hague.
If anyone knows to find more, please notify me.
Another picture taken at this location is here.
Azulejo is a form of Portuguese and Spanish painted tin-glazed ceramic tilework. Azulejos are found on the interior and exterior of churches, palaces, ordinary houses, schools, and nowadays, restaurants, bars and even railways or subway stations. They were not only used as an ornamental art form, but also had a specific functional capacity like temperature control in homes.
There is also a tradition of their production in former Spanish and Portuguese colonies in North America, South America, Goa, Lusophone Africa, East Timor and the Philippines.
Azulejos found particular success also in Liguria (Italy), due to the close relationships between both Christian and Islamic territories of the Iberian peninsula and the Republic of Genoa. Being imported at first (in most cases from Seville or the Nasrid Granada), they started to be produced in situ during the next centuries. Ligurian-made tiles inspired by azulejos are known as lagioin in Ligurian and, from this language, laggioni in Italian.
Azulejos still constitute a major aspect of Portuguese architecture as they are applied on walls, floors and even ceilings. Many azulejos chronicle major historical and cultural aspects of Portuguese history.
Here comes trouble ...
A gorgeous, playful dragon on Ming ceramic tilework from the 15th or 16th century.
In the China and South Asia Gallery of the British Museum, London WC1, 15 December 2017.
Another sneak shot (no photography at all in the Abbey) of the restoration work on the disintegrating Italian mosaic floor in front of the Main Altar at Westmister Abbey. Apparently this mosaic tilework is one of the prime treasures of the Abbey.
Beautiful tilework in the portico, in which there is an identical panel at the opposite side. The panels – both well preserved – have the full height of the portico and the only regrettable thing is that my camera cannot capture them in their entirety.
The house is part of an architectural unit from 1880 (Amsteldijk 27-31), and several have tiles in their porticos, but no two houses have the same tilework (see Amsteldijk 31 for other tilework in one of these porticos). This makes it probable that they date from later than the houses themselves.
–:+{}+:–
Prachtig tegeltableau in het portiek, waarin zich aan de tegenoverliggende zijde eenzelfde tableau bevindt. De tableaus – beide goed geconserveerd – strekken zich over de hele hoogte van het portiek uit en het is alleen jammer dat mijn camera ze niet in hun geheel kan vatten.
Het pand behoort tot een architectuureenheid uit 1880 (Amsteldijk 27-31) en verscheidene hebben een portiek met tegelpanelen, maar geen twee huizen hebben hetzelfde tegelwerk (zie Amsteldijk 31 voor een ander tegeltableau in één van deze portieken). Dit maakt het waarschijnlijk dat ze niet tijdens de bouw van de huizen zijn aangebracht.
Whoever designed the Khaju Bridge decided to decorate the structure with tiles in the triangular spaces adjacent to each of the bridge's arches.
I photographed the tilework because I discovered that each triangle was different from all the rest.
I think it's fascinating to see how many design variations are possible in a limited space and, in almost every case, with only three colors of tile to work with.
Mosque Names: Masjed-e Jadid-e ʿAbbāsi, Masjed-e Šāh (the Royal Mosque), Masjed-e Emām (Imam Mosque, since 1979).
The mosque was completed c.1630 during the reign of 'Abbas's successor, Shah Safi (r.1629-1642).
Patron: ʿAbbās I, the Great 1571-1629, Safavid Shah (king) of Iran (r.1588-1629), son and successor of Solṭān Moḥammad Shah.
Shah Safi (Abu’l-Naṣr Sām Mirzā) 1611-1642, Safavid Shah (king) of Iran (r.1629-1642), grandson of ʿAbbās I.
Structural plan: Badi' al-Zaman Tuni.
Architect & Engineer: 'Ali Akbar Isfahani (Memar Bashi) b.1577, a pupil of Badi' al-Zaman Yazdi, the court architect of Shah Abbas.
Contractor: Mohib 'Ali Beyk (Abeyk).
Terry in the amazing colonnaded corridor that surrounds the interior coutyard.
La Grande Mosquée de Paris, in the Latin Quarter
This set better viewed here:
www.darckr.com/set?setid=72157612300560064&submit=dis...
Or HERE:
www.flickriver.com/photos/cjb22222222/sets/72157612300560...
(from Wikipedia) The Shah Mosque (Persian: مسجد شاه , Masjed-e Shah) is a mosque in Isfahan (Eşfahān), Iran standing in south side of Naghsh-i 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-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 port of the mosque measures 27 meters high, crowned with two minarets 42 meters tall. The Mosque is surrounded with four iwans and arcades. All the walls are ornarnented with seven-color mosaic tile. The most magnificent iwan of the mosque is the one facing the Qibla measuring 33 meters high. Behind this iwan is a space which is roofed with the largest dome in the city at 52 meters height. The dome is double layered.
The acoustic properties and reflections at the central point under the dome is an amusing interest for many visitors. There are two seminaries at the southwest and southeast sections of the mosque.
Architectural Significance
The Seljuqs and the Safavids found the Shah Mosque as a channel through which they could express themselves with their numerous architectural techniques. The four- iwan format, finalized by the Seljuq dynasty, firmly established the courtyard facade of such mosques as more important than their exterior ones. During the Seljuq rule, as Islamic mysticism was on the rise in the region, the four-iwan arrangement came to be interpreted as seeking true meaning within the appearance. Their presence can serve the sole purpose of being the passageway between the material world and that of the spiritual. It must also be noted that glazed brickwork and tiling had little appeal to the Seljuqs as they primarily favored the distinct tranquil color of turquoise blue.
Covered with premeditated calligraphic fresco, the front doors are used as an apparatus to remind the spectator of the glory of God and of Shah Abbas I himself. Entering from the northern iwan, the compelling physical presence of the identical side iwans direct our attention to the soaring qibla iwan situated straight ahead. As a result such architecture stresses the degree of fidelity in the structure which makes it explicitly pervasive.
Whoever designed the Khaju Bridge decided to decorate the structure with tiles in the triangular spaces adjacent to each of the bridge's arches.
I photographed the tilework because I discovered that each triangle was different from all the rest.
I think it's fascinating to see how many design variations are possible in a limited space and, in almost every case, with only three colors of tile to work with.