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Grand Room of SAAM; a beautiful, colorful room and full of history. Word’s out there that once, this was the biggest room in America. #art #smithsonian #smithsonianamericanartmuseum #dc #Washington #usa #ceiling #design #paintedglass #stars #geometricpatterns #layers #architecture #hallway# #interiordesign #artgallery# #triangles #octagon #saam #hallway #interiorarchitecture #reflection #symmetry #longexposure #raw_longexposure #geometry #arch #triangle #grandroom #champions
Have a happy Saturday, thank you for your visit :)))
Light and shadow reveal the rhythm of the Renaissance sgraffito façade of Hipolit House.
📌 Hipolit House (Kamienica Hipolitów), Kraków, Poland
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Tagliata dalla luce
Luce e ombra rivelano il ritmo della facciata rinascimentale a sgraffito di Casa Hipolit.
📌 Casa Hipolit (Kamienica Hipolitów), Cracovia, Polonia
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Do not use any of my images on websites, blogs or other media without my explicit written permission.
All rights reserved - Copyright © Paola Morosin
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Detail of lattice work, which is made from a single piece of pink Jaipur sandstone.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Arche sainte et mur côté Est - Inaugurée en 1357 par Samuel Halevi Abulafia, trésorier de Pierre le Cruel, cette synagogue est transformée en église lors de l'expulsion des juifs d'Espagne en 1492.
in the stillness of an airport terminal, rows of empty seats stretch out like a quiet invitation, leading the eye toward the distant gates. the sleek, reflective floors capture a subtle play of light and shadow, while the ceiling tiles and lines create a rhythmic pattern above. two figures in the background add a sense of movement and purpose, their reflections hinting at stories of departures and arrivals. it's a moment caught between places — a brief pause in the journey, framed by the architecture of transit.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Legend has it that Empress Mumtaz Mahal (who is entombed in the Taj Mahal in Agra) told her husband Emperor Shah Jehan that she had a dream in which she looked up at the stars, and each star had her face on it. The Emperor was so taken by his Empress that he decided to make her dream come true, and built the Sheesh Mahal, the walls and ceilings of which were embedded with thousands of convex mirrors and precious/semi-precious stones, so that anywhere one looked they would see a reflection of themselves. Unfortunately, Mumtaz Mahal died before she could visit Sheesh Mahal, and the grieving emperor built the magnificent Taj Mahal as his wife's final resting place.
For more information on Sheesh Mahal, please see: www.pakistantoday.com.pk/2016/11/20/the-mirror-palace/
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
A Torre Hassan, em Rabat, Marrocos, é o minarete incompleto da ambiciosa Mesquita de Hassan, um projeto do califa almóada Yaqub al-Mansur, iniciado em 1195. Desenhada para ser uma das maiores mesquitas do mundo islâmico ocidental, rivalizando com as de Marraquexe e Sevilha, a sua construção foi abruptamente interrompida em 1199 com a morte do califa, deixando o minarete com 44 metros de altura, metade do planeado. A torre, construída em arenito avermelhado, é adornada com intrincados relevos geométricos e padrões sebka, típicos da arquitetura mourisca, e destaca-se no conjunto que integra também as colunas truncadas que delineavam o vasto salão de orações, nunca concluído. O local, classificado como Património Mundial da UNESCO e sobrevivente do terramoto de 1755, simboliza a ambição dinástica dos almóadas e a história interrompida de Rabat, integrando-se hoje num espaço cívico e memorial próximo do Mausoléu de Mohammed V, unindo passado medieval e presente marroquino.
The Hassan Tower in Rabat, Morocco, is the incomplete minaret of the ambitious Hassan Mosque, a project of the Almohad caliph Yaqub al-Mansur, begun in 1195. Designed to be one of the largest mosques in the Western Islamic world, rivaling those in Marrakesh and Seville, its construction was abruptly halted in 1199 with the death of the caliph, leaving the minaret 44 meters high, half of what was planned. The tower, built in reddish sandstone, is adorned with intricate geometric reliefs and sebka patterns, typical of Moorish architecture, and stands out in the complex, which also includes the truncated columns that outlined the vast prayer hall, never completed. The site, classified as a UNESCO World Heritage Site and survivor of the 1755 earthquake, symbolizes the dynastic ambition of the Almohads and the interrupted history of Rabat. Today, it is part of a civic and memorial space near the Mausoleum of Mohammed V, linking the medieval past and the Moroccan present.
photo rights reserved by Ben
The Archaeological Park of Stobi is home to some of the finest early Christian mosaics in the Balkans. Once a thriving Roman city and an important center of Christianity, Stobi flourished between the 1st century BC and the 6th century AD. Among its greatest treasures are the magnificent floor mosaics that decorated churches, baptisteries, and wealthy residences. This photograph captures a beautifully preserved section of the 5th-century mosaic floor in the octagonal baptistery of the Episcopal Basilica. Created from thousands of tiny stone tesserae, the mosaic combines intricate geometric designs with symbolic motifs representing eternal life, faith, and the harmony of God's creation. The remarkable craftsmanship, vibrant natural colors, and exceptional state of preservation make these mosaics among the finest surviving examples of early Christian art in North Macedonia. Extensive conservation work, supported in part by the U.S. Ambassadors Fund for Cultural Preservation, has helped preserve these extraordinary mosaics for future generations. Standing beside them today, it is remarkable to realize that they have survived for more than fifteen centuries.
An exquisitely preserved 5th-century mosaic in the octagonal baptistery of Stobi's Episcopal Basilica, showcasing the exceptional craftsmanship of the early Christian world.
Het Archeologisch Park Stobi herbergt enkele van de mooiste vroegchristelijke mozaïeken van de Balkan. Ooit was Stobi een bloeiende Romeinse stad en een belangrijk centrum van het vroege christendom. Tussen de 1e eeuw v.Chr. en de 6e eeuw n.Chr. bereikte de stad haar grootste bloei. Tot de indrukwekkendste overblijfselen behoren de rijk versierde vloermozaïeken die ooit kerken, baptisteria en luxueuze woningen sierden. Deze foto toont een prachtig bewaard gebleven deel van de 5e-eeuwse mozaïekvloer in het achthoekige baptisterium van de Bisschopsbasiliek. Het mozaïek is opgebouwd uit duizenden kleine natuurstenen tesserae en combineert verfijnde geometrische patronen met symbolische motieven die verwijzen naar het eeuwige leven, het christelijk geloof en de harmonie van de schepping. De uitzonderlijke detaillering, de warme natuurlijke kleuren en de uitstekende staat van bewaring maken deze vloer tot een van de mooiste voorbeelden van vroegchristelijke mozaïekkunst in Noord-Macedonië. Dankzij omvangrijke restauratie- en conserveringswerkzaamheden, mede mogelijk gemaakt door het U.S. Ambassadors Fund for Cultural Preservation, zijn deze bijzondere mozaïeken voor toekomstige generaties behouden gebleven. Wanneer je er vandaag naast staat, is het bijna niet te bevatten dat dit kunstwerk al meer dan vijftien eeuwen oud is.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its current configuration.
Long distance communication in the contemporaneous era was undertaken by trained pigeons. These pigeon holes were the bases from which royal communications were dispatched and received. Even though technology has made messenger pigeons redundant, their descendants still occupy these dwellings.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
A imagem ilustra o interior do reduto central, especificamente o átrio da Casa do Governador, no Forte da Graça (ou Forte de Lippe), uma fortificação setecentista situada em Elvas. A perspetiva picada, obtida a partir da abertura circular do piso superior, realça o pavimento trabalhado em mármore regional, possivelmente de Estremoz, disposto em rigorosos padrões geométricos policromáticos. Nas paredes curvas, observam-se inscrições e representações de âncoras datadas de 1890, um aditamento decorativo posterior à edificação original.
The image shows the interior of the central stronghold, specifically the atrium of the Governor's House, in Forte da Graça (or Forte de Lippe), an 18th-century fortification located in Elvas. The bird's-eye view, obtained from the circular opening on the upper floor, highlights the flooring made of regional marble, possibly from Estremoz, arranged in strict polychromatic geometric patterns. On the curved walls, there are inscriptions and representations of anchors dating from 1890, a decorative addition made after the original building was constructed.
A striking, sepia-toned monochromatic photograph capturing an iconic architectural dome nestled against a dense backdrop of evergreen trees. The central composition highlights the stark geometry of the structure's rounded roof and exterior maintenance stairs, creating a nostalgic, timeless feel that evokes a sense of mid-century exploration, solitude, and quiet curiosity under an open sky.
About:
The David Dunlap Observatory is an astronomical observatory site in Richmond Hill, Ontario, Canada. Established in 1935, it was owned and operated by the University of Toronto until 2008.
Like many buildings from the Mughal Empire, the Akbar's Tomb in Sikandra is a showcase in monumental architecture, often decorated with intricate tile art of geometric patterns.
Late afternoon sunlight transforms a public space into a private sanctuary. Surrounded by geometric shadows and warm timber tones, a young woman becomes absorbed in her notebook while the city continues unnoticed around her.
Although not the most valuable object that I own, this is one of my most precious pieces. This is my Great Grandmother’s small Anglo-Indian jewellery box, which she brought back from India after she and my Grandfather finished a period in the diplomatic corps during the Raj just before the Great War. It is precious to me because it holds some of the most tangible memories I have of my Great Grandmother and my Grandmother. This sat on my Great Grandmother’s dressing table and housed some of her everyday jewellery. I remember visiting her and watching her take out her pearls and cameos and glittering rings when she was getting ready to receive visitors or to go out. Even when I hold it now or hear the rich sounds of the box lid as it closes, in my mind I can still smell her violet and lily of the valley perfumes and her cold cream. When she died, my Grandmother inherited it and it sat on her dressing table. When I hold it, I can hear her laugh as I played with the pearl necklaces, earrings and rings that she kept in there, including the Regency ebony and ivory earrings I called “Flora” and “Fauna”. The yellowing of the ivory is a sign of its advanced age, and its edges have been worn by many hands touching them over the last century: not least of all mine.
The theme for Smile on Saturday for the 15th of May is “full of memories”. The challenge was to search for something that brings back a certain memory, take a picture of it and share what memories it brings back for you. I have inherited so many items from my Grandparent’s estates that hold great sentimental value for me. The hard part for me about this challenge, was choosing one object out of the many. As I have used my Grandfather’s chess set several times before for other challenges in this group, I settled upon this beloved little jewellery box, which is full of memories.
The jewellery box itself is an Anglo-Indian (Indian made but designed for the British market who lived in India during the Raj) made in the 1890s. It is fashioned from ebony and rosewood with the most exquisite hand-made geometric marquetry inlay of ivory and mother of pearl. The detail photos show how intricate the geometric pattern is, and how perfectly each piece is fitted. This might impress you even more when you think that the box itself is ten and a half centimetres long, by six and half centimetres wide and four and a half centimetres deep. The ebony frames to the hexagons on the lid are one millimetre thick, the vertical rosewood bands on the ivory edge of the lid are half a millimetre in width, the smallest triangles on the sides each have sides of one millimetre in length and the triangles around the flowers on the lid have sides less than half a millimetre in length: and all of this was made with precision by hand by a master artisan more than a century ago.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Legend has it that Empress Mumtaz Mahal (who is entombed in the Taj Mahal in Agra) told her husband Emperor Shah Jehan that she had a dream in which she looked up at the stars, and each star had her face on it. The Emperor was so taken by his Empress that he decided to make her dream come true, and built the Sheesh Mahal, the walls qne ceiling of which were with thousands of convex mirrors and precious/semi-precious stones, so that anywhere one looked they would see a reflection of themselves. Unfortunately, Mumtaz Mahal died before she could visit Sheesh Mahal, and the grieving emperor built the magnificent Taj Mahal as his wife's final resting place.
For more information on Sheesh Mahal, please see: www.pakistantoday.com.pk/2016/11/20/the-mirror-palace/
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Coney Island’s Riegelmann Boardwalk dates to 1923. The public promenade has linked Brooklyn’s beach and seaside amusements for generations.
Background: edc.nyc/press-release/city-launches-rfq-design-build-team...
zelology ( zel.o.lo.gy or zllgy ) n. 1. the science and study of an innovative and original photographer, zelnunes 2. master of minimalistic geometric shapes, patterns, designs.
3. ttl wzrd 4. I know many of you are already familiar with his work, but if not, be sure to visit his stream... and wait till you see what he does with his titles. 5. this explains the cryptic wording of (3) 6. Zel, this is for you!
At first sight of this structure, I was struck by the hypnotic pattern of parallel lines flowing through space. The contrast between light and dark, combined with the graceful curve, created an almost abstract composition. I chose black and white to emphasize the geometric purity of the design.
photo rights reserved by Ben
On our way to the Shar Mountain National Park, we planned a short stop at Šarena Džamija. The mosque stands right along the busy main road of Tetovo, woven into the fabric of everyday city life. That contrast is what makes the place so special. While cars, buses, and pedestrians pass by continuously, the mosque remains calm and unmoved — modest in form, yet rich in color. For the photograph, this meant patience: waiting for the right moment, until the traffic briefly cleared and the road fell silent for a few seconds, allowing a sense of calm to emerge that doesn’t come naturally here. From the outside, the mosque appears almost understated. No massive dome, no overwhelming grandeur. But as soon as you come closer, every wall reveals itself as a canvas filled with color, patterns, and refined details. Floral motifs, geometric shapes, and symbolic images flow into one another, as if the façade itself is telling a story — layer upon layer, generation after generation. Built in the 15th century and later fully painted, the mosque is a rarity in the Islamic world. Its slender minaret rises straight into the deep blue sky, like a quiet anchor in the landscape. Not an isolated monument in a tranquil setting, but a historic building that has been moving in rhythm with the city for centuries.
A short stop at the Šarena Džamija in Tetovo, North Macedonia, reveals a striking contrast: a calm, vividly painted mosque standing directly along the city’s busy main road. Modest in form but rich in detail, it remains a quiet landmark woven into everyday urban life.
Onderweg naar het Shar Mountain National Park wilden we bij Šarena Džamija even halt houden. De moskee staat midden aan de drukke hoofdweg van Tetovo, ingebed in het dagelijkse stadsleven. Dat contrast maakt de plek extra bijzonder. Terwijl auto’s, bussen en voetgangers voorbijtrekken, staat de moskee er onverstoorbaar bij —bescheiden van vorm, rijk aan kleur. Voor de foto betekende dat geduld: even wachten tot het verkeer precies goed viel, tot de weg een paar seconden leeg was en de rust zichtbaar werd die je hier niet vanzelf krijgt. Van buiten oogt de moskee bijna bescheiden. Geen massieve koepel, geen overweldigende grandeur. Maar zodra je dichterbij komt, zie je hoe elke muur is bedekt met kleur, patronen en verfijnde details. Bloemmotieven, geometrische vormen en symbolische afbeeldingen lopen in elkaar over, alsof de gevel zelf een verhaal vertelt — laag over laag, generatie na generatie. Deze moskee werd gebouwd in de 15e eeuw en later volledig beschilderd, een zeldzaamheid in de islamitische wereld. De slanke minaret rijst recht omhoog tegen de strakblauwe lucht, als een stil ankerpunt in het landschap. Geen geïsoleerd monument in een stille omgeving, maar een historisch gebouw dat al eeuwen meedraait in het ritme van de stad.
An abstract, high-contrast look-up tracking the sweeping glass curves of One Blackfriars (informally known as The Vase) against a patterned geometric baseline.
Designed by the award-winning firm SimpsonHaugh Architects and completed in 2018, this 50-story, 170-meter neo-futuristic residential tower stands as an icon of London's South Bank. The building's unique asymmetrical form was famously inspired by a piece of 1950s art—the legendary Lansetti glass vessel sculpted by Finnish designer Timo Sarpaneva. Its complex double-skin facade is wrapped in 5,476 individually shaped glass panels, capturing and twisting the city's shifting cloud cover into fluid reflections.
A Torre de Hassan e os vestígios da mesquita inacabada em Rabat, Marrocos, constituem um dos exemplos mais relevantes da arquitetura almóada do século XII. A construção foi iniciada em 1195 pelo califa Yaqub al-Mansur, com a intenção de erguer o maior minarete e a maior mesquita do mundo islâmico ocidental; no entanto, a obra foi interrompida em 1199 após a sua morte, resultando numa torre com cerca de 44 metros, bem abaixo dos 80 planeados. O minarete, feito de arenito e adornado com complexos padrões geométricos do tipo sebka, destaca-se no panorama urbano. O vasto pátio circundante, pontuado por colunas truncadas que nunca sustentaram o teto da mesquita, abriga um impressionante conjunto arqueológico e simboliza a ambição dinástica dos almóadas. Classificado como Património Mundial da UNESCO em 1995, o local, que inclui o Mausoléu de Mohammed V, reflete a continuidade histórica entre o período medieval e a era moderna, sendo um espaço cívico e memorial em Rabat.
The Hassan Tower and the remains of the unfinished mosque in Rabat, Morocco, are one of the most important examples of 12th-century Almohad architecture. Construction began in 1195 under Caliph Yaqub al-Mansur, who intended to build the tallest minaret and largest mosque in the Western Islamic world. However, work was halted in 1199 after his death, resulting in a tower measuring approximately 44 meters, well below the planned 80 meters. The minaret, made of sandstone and adorned with complex sebka geometric patterns, stands out in the urban landscape. The vast surrounding courtyard, punctuated by truncated columns that never supported the mosque's roof, houses an impressive archaeological site and symbolizes the dynastic ambition of the Almohads. Listed as a UNESCO World Heritage Site in 1995, the site, which includes the Mausoleum of Mohammed V, reflects the historical continuity between the medieval period and the modern era, serving as a civic and memorial space in Rabat.
photo rights reserved by Ben
The monumental Hazrati Imam Complex in Tashkent is impressive for its symmetry, enormous entrance portals and beautiful blue and turquoise tilework. The richly decorated arches and warm brick façades make it one of the most recognizable examples of Islamic architecture in the Uzbek capital. Yet amid all this monumental architecture, everyday life simply continues. An maintenance worker crosses the vast courtyard while pushing a cart filled with freshly cut grass. As he passes, he turns towards the camera with a friendly smile. His green and yellow work clothes stand out against the warm brickwork, while his long shadow and the lines of the cart create a strong sense of movement through the image. The worker breaks the strict symmetry of the architecture and brings a spontaneous human moment into the scene. Hazrati Imam, also known as Khast Imam, developed around the tomb of Abu Bakr Kaffal Shashi, a respected 10th-century Islamic scholar. Today, the complex brings together several mosques, madrasas and historic religious buildings and remains one of the most important spiritual centres of Tashkent.
At Hazrati Imam in Tashkent, a friendly smile turns an everyday working moment into something memorable.
Het monumentale Hazrati Imam-complex in Tasjkent maakt indruk door zijn symmetrie, enorme toegangspoorten en prachtige blauwe en turquoise tegeldecoraties. De rijk versierde bogen en warme bakstenen gevels maken het tot één van de meest herkenbare voorbeelden van islamitische architectuur in de Oezbeekse hoofdstad. Maar tussen al die monumentale architectuur gaat het dagelijkse leven gewoon door. Een onderhoudsmedewerker steekt de enorme binnenplaats over met een kar vol vers gemaaid gras. Terwijl hij passeert, kijkt hij met een vriendelijke glimlach naar de fotograaf. Zijn groene en gele werkkleding steekt mooi af tegen het warme metselwerk, terwijl zijn lange schaduw en de lijnen van de kar een sterk gevoel van beweging aan de foto geven. De medewerker doorbreekt de strakke symmetrie van de architectuur en brengt een spontaan menselijk moment in het tafereel. Hazrati Imam, ook bekend als Khast Imam, ontwikkelde zich rond het graf van Abu Bakr Kaffal Shashi, een gerespecteerde islamitische geleerde uit de 10e eeuw. Tegenwoordig bestaat het complex uit verschillende moskeeën, madrassa’s en historische religieuze gebouwen en is het nog altijd een van de belangrijkste spirituele centra van Tasjkent.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Ornate carvings directly on the stone pillars evidence the meticulous details and refinements that Mughal architects are famous for.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
My usual walking route.
I often take my Nikon D70 along for these walks.
The reason is that I never know when a CompactFlash card might fail, so I hesitate to rely on it for longer trips.
It was breakfast time for the sparrows, and I found one perched on a motorcycle parked beside a house.
Lately, I’ve noticed that once it hits 9 or 10 o'clock, the sparrows finish their meal and start appearing in parks and at shrines to socialize.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Legend has it that Empress Mumtaz Mahal (who is entombed in the Taj Mahal in Agra) told her husband Emperor Shah Jehan that she had a dream in which she looked up at the stars, and each star had her face on it. The Emperor was so taken by his Empress that he decided to make her dream come true, and built the Sheesh Mahal, the walls and ceiling of which were embedded with thousands of convex mirrors and precious/semi-precious stones, so that anywhere one looked they would see a reflection of themselves. Unfortunately, Mumtaz Mahal died before she could visit Sheesh Mahal, and the grieving emperor built the magnificent Taj Mahal as his wife's final resting place.
For more information on Sheesh Mahal, please see: www.pakistantoday.com.pk/2016/11/20/the-mirror-palace/
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
The Throne Balcony was added to the Diwan-e-Aam by Emperor Shah Jehan from where he could display the pomp and grandeur of the Mughal Empire.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
photo rights reserved by Ben
From the observation deck at Shah-i-Zinda in Samarkand, Uzbekistan, Kanitha enjoys a wonderful view over one of the most impressive parts of the necropolis. Rising directly behind her are the distinctive turquoise domes of the Kazi-Zade Rumi Mausoleum, one of the largest monuments within the Shah-i-Zinda complex. The mausoleum dates from the 15th century and is especially striking for its monumental proportions and richly decorated tilework. From this elevated viewpoint, the domes can be seen from a completely different perspective, with the warm brick architecture of Samarkand stretching out behind them. For me, Kanitha's colourful coat works beautifully with the blues and turquoise of the historic architecture, adding a cheerful human moment to this remarkable place.
Kanitha and the turquoise domes of the Kazi-Zade Rumi Mausoleum, seen from the observation deck at Shah-i-Zinda in Samarkand, Uzbekistan.
Vanaf het observatiedek van Shah-i-Zinda in Samarkand, Oezbekistan geniet Kanitha van het uitzicht over één van de indrukwekkendste delen van de necropolis. Direct achter haar rijzen de karakteristieke turquoise koepels van het Kazi-Zade Rumi Mausoleum op, één van de grootste monumenten binnen het Shah-i-Zinda-complex. Het mausoleum dateert uit de 15e eeuw en valt vooral op door zijn monumentale afmetingen en rijk versierde tegelwerk. Vanaf dit hogere standpunt zie je de koepels vanuit een heel ander perspectief, met daarachter de warme bakstenen architectuur van Samarkand. Wat ik zelf mooi vind aan deze foto is hoe de kleurrijke jas van Kanitha samengaat met het blauw en turquoise van de historische architectuur. Zo wordt het niet alleen een foto van een bijzonder monument, maar ook een persoonlijk moment tijdens onze reis.