Reading the Alhambra Chapter 5 Based on a transcript from the documentary: Reading the Alhambra. In this final posting, we go deeper in reading the more complex kufic scripts and the combination of it with cursive writings. The Nazareth motto "wala Ghalib illa Allah - There is no Victor but God" which it said was taken by the first Nazareth caliphs from the standard raised by the almohads sultan al-Mansur at the Battle of Alarcos; whilst it´s typical version in cursive script is ubiquitous throughout the Alhambra, inscribed in phrases both short and long on surrounding arches and windows, painted on wooden cornices and running along the tops of walls. Its Kufic counterpart forms interesting calligrams in many corners. Here in the pendentives of the Hall of the Two Sisters, creating a tripartite portico. In the arches above the entrance into the Halls of the Abencerrajes and the Two Sisters, the motto is at the center of a delightful triple arch accompanied by 'Barakah'. And on the entrance to the Mirador of Lindaraja, the calligraph changes subtly with 'Allah' forming the base and the rest of the design being completed with plaits arches and foliat motifs. Again, we can see it in the Partal Palace. A singular composition begins with the first half of the motto 'Wala ghalib' in broad Kufic lettering forming two stylised trees and the second half 'illa Allah' is smaller Kufic script tracing scalloped compostion which is repeated twice in each panel. Frequently, the calligrams are not isolated but are repeated to form rows of false arches or porticos. In the mihrab of the Partal obituary, two calligrams are combined "God provides in all adversity" develops into 3 architectural levels, housing foliat elements and an upper cartouche in which it is written "praise be to
Reading the Alhambra Chapter 5 Based on a transcript from the documentary: Reading the Alhambra. In this final posting, we go deeper in reading the more complex kufic scripts and the combination of it with cursive writings. “There is no victory other than from God”. Inscription frieze, Alhambra. Photo courtesy of Thierry Fétiveau. The
Reading the Alhambra Chapter 4 Based on a transcript from the documentary: Reading the Alhambra. In the posting, we study the fundamental of kufic scripts that forms the artistic inscriptions on the walls of Alhambra. While most of the poems are inscribed in cursive lettering, also outstanding is the use in the Alhambra of richly ornamental Kufic calligraphy, in many of the exclamatory phrases and sentences. The decorative elements of foliat and floral motifs which, by then, had already been incorporated into the repertoire of Kufic scripts, were even further embellished here with swashes and upward strokes in the shape of columns, platen, plane and scalloped arches, and enjambment. All of which create meta architectural designs which while they cloud the walls, evoke at the same time cunningly, attractive imaginary structures. These are the architectural calligram. The simplest of these use one of the most frequently repeated expressions in the Alhambra is "Barakah" - a blessing. The second of the two letters of the word form an arch which accommodates the first two in a symmetrical construction. Similar calagrams to this fill the walls of the Alhambra, even in its most hidden corners. "Yuum" - good fortune, is also to be seen wherever you look, appearing in friezes of the Mocarabes and cornices interspersed between rhomboid designs and accompanying shields or other expressions and every often repeated in mirror image. In the Hall of Comares, for instance, "God provides in all adversity" written here with Allah at the bottom and the letters of Allah being extended upwards into plaited peaks and arches that circumscribed the rest of the composition. All of which is set off by foliat motifs. And, above the capital for the Mexuar where you will see another commonly used expression in the Alhambra - Perpetual Happiness, forming
Reading the Alhambra Chapter 4 Based on a transcript from the documentary: Reading the Alhambra. In the posting, we study the fundamental of kufic scripts that forms the artistic inscriptions on the walls of Alhambra. Alhambra. Image by Maatkare from Pixabay While most of the poems are inscribed in cursive lettering, also outstanding is the
Reading the Alhambra Chapter 3 Based on a transcript from the documentary: Reading the Alhambra. In the posting, we witness the importance of poetry and how it forms the core to this architectural structure. "From me, both by day and night, mouths salutes youwith wishes of good fortune, happiness and friendship. She is the Highest Cupola and we are her daughters, though my favour and glory make me stand out. My Lord Yusuf, sustained by God, clothed mein dignity with robes of undeniable distinction, making me the throne of the kingdom, the grandeur of which is borned up thanks to the Light, the Seat and the Throne." This poem in the Hall of Comares forms the hub of the poetic access of the Royal Palace of Comares. The building of which was completed by Mohammad V when he added the Hall of the Boat and the Courtyard of the Myrtles, a somatic axis composed of eleven courtly poems, eight of which still remain just as they were orginally inscribed. Mohammad´s court poet Ibn Zamrak composed the 9 mural qasidas which together with their courtly paradisiacal references turned out particularly for their nuptial metaphors such as those in the niches in the doorway between the Hall of the Boat and the Courtyard of the Myrtles. "I, beautiful and perfect, am the chair in which the bride is presented. Look at the vase and you will know how true my words are." And once again, in following arch, forming the entrance to the Hall of Comares. "The fingers of my maker wove my fabric, after setting the jewels in my crown. I resemble a nuptial throne, or even excel it, and I assure happiness to the bride and groom." The adjoining Palace of the Lions also built by Mohammad V is arranged
Reading the Alhambra Chapter 3 Based on a transcript from the documentary: Reading the Alhambra. In the posting, we witness the importance of poetry and how it forms the core to this architectural structure. Palace of Comares "From me, both by day and night, mouths salutes youwith wishes of good fortune, happiness and friendship. She
Reading the Alhambra Chapter 2 Based on a transcript from the documentary: Reading the Alhambra The inscriptions of verses from the Qur´an provide the buildings with sacred evocations of both the earthy and heavenly paradise, such as those in the oldest of the niches for jars of water in the Alhambra at the entrance of the hall of the Partal Palace. Their thirst will be slaked with pure wine sealed to others. The seal, therefore, will be musk and, for this, let those who aspire, who has aspirations, with it will be given a mixture water of Tasnim. Or inscribed upon the wooden cornice of the North Portico of the Generalife. "That He may admit the men and women who believe, to Gardens beneath which rivers flow, to dwell therein for aye..." But it is in the Hall of Comares built in honour of Yusuf I were a passage from the Quranic Surah on divine sovereignty painted in white upon the wooden cornice beneath the ceiling acquires its greatest architectural dimension. "Blessed be He in Whose hands is Dominion; and He over all things hath Power; He Who created Death and Life, that He may try which of you is best in deed: and He is the Exalted in Might, Oft-Forgiving; He Who created the seven heavens one above another: No want of proportion wilt thou see the Creation of the Most Gracious, So turn thy vision again, seest thou any flaw? Again turn thy vision a second time: thy vision will come back to thee dull and discomfited." Thus, we were told the ceiling reproduces the seven heavens of the celestial Islamic paradise. The light of which emanates form the divine throne at its center. The symbolic meaning of the hall is a royal seat is completed by the poem
Reading the Alhambra Chapter 2 Based on a transcript from the documentary: Reading the Alhambra The inscriptions of verses from the Qur´an provide the buildings with sacred evocations of both the earthy and heavenly paradise, such as those in the oldest of the niches for jars of water in the Alhambra at the entrance of
Reading the Alhambra Chapter 1 Based on a transcript from the documentary: Reading the Alhambra When you visit the Alhambra, you will enter into the most original and beautiful architectural world of words. The visual of the semantic prominence of its devout, regal voltive and Quranic phrases and sentences, inscribed in a subtle variety of Kufic and cursive lettering, combined with the images of its mural verse and calligrams, turn it into a magnificent tri-dimentional manuscript which converses with the water, the garden and the landscapes. In viewing the very buildings themselves with a sonorous, vital rhythm of the Arabic language and its poetry. The walls of the Alhambra are the pages of a book. The similarity between the tiles in many of the rooms and the covers of the books of that time with their artistic tracer in colouring is not mere chance. The tiles protect and act as a foil to the mural texts in the same way that the covers do to the pages of the Koran and other courtly works. The stucco work itself shares the same decorative motifs and calligraphic forms as contemporary manuscripts. Including the small arches contained within some of the Kufic calligrams. The incorporation of words into the architecture leads to a symbolic transfiguration of the spaces it encloses. Look where you will, and you will find metaphors idealising the figure of the sultan who built them and of the virtues of the palaces themselves. Other metaphors like in parts of the Alhambra to the stars in the firmament, or to gardens, or to heaven, in a similar way to the descriptions of the paradise found in the Qur´an. Yet others in nuptial vein personify its rooms as brides prepared to welcome their Lord. The whole intent is to identify these royals
Reading the Alhambra Chapter 1 Based on a transcript from the documentary: Reading the Alhambra When you visit the Alhambra, you will enter into the most original and beautiful architectural world of words. The visual of the semantic prominence of its devout, regal voltive and Quranic phrases and sentences, inscribed in a subtle variety of
Discover Granada Must See Sights Dobla de Oro Islamic Heritage Discover Granada Must See Sights Dobla de Oro Islamic Heritage. World Heritage Sites protected by UNESCO tell you the history of old Al-Andalus in Andalusia (Spain) History After the fragmentation of the Umayyad Caliphate of Cordoba in the 11th Century the city of Granada began to acquire an increasingly important position on the map of Al Andalus. The Zirid Dynasty established a kingdom in the city, building the Qadima, a fortress protected by defensive walls and glorified by palace buildings in what is today the high part of the Albayzin. With the arrival of the Almoravids and above all the Almohads, the city went from strength to strength. When Al-Ahmar de Arjona proclaimed himself the first King of the Nasrid dynasty in 1238, he turned his attention to the hill opposite known as La Sabika. The Alhambra was born and the Albayzin became a residential district. Under the Nasrids the Alhambra and the Albayzin enjoyed a period of burgeoning architectural heritage until 1492 when Isabel and Ferdinand conquered Granada. The new rulers decided to develope the city in other directions. The Albayzin was left as the last bastion of the Moriscos, the Muslims who remained in the Iberian Peninsula after the Christian conquest. Over time the Albayzin underwent dramatic urban development with the widening of its streets, the construction of churches on top of what once were mosques, the arrival of new religious orders and the construction of grand palaces for the local nobility on the bank of the River Darro. The close links between the Albayzin and the Alhambra show that the designs used in one are often imitated in the other. The Court of Myrtles in the Alhambra is a house of palatial dimensions, which the surviving Moorish houses in the Albayzin reproduce at
Discover Granada Must See Sights Dobla de Oro Islamic Heritage Discover Granada Must See Sights Dobla de Oro Islamic Heritage. World Heritage Sites protected by UNESCO tell you the history of old Al-Andalus in Andalusia (Spain) History After the fragmentation of the Umayyad Caliphate of Cordoba in the 11th Century the city of Granada began to acquire an increasingly important
Alhambra Palace & Generalife An Islamic World Heritage Alhambra Palace & Generalife are definitely Granada highlights, keep reading and discover why. The name Alhambra comes from an Arabic root which means "red castle", perhaps due to the hue of the towers and walls that surround the entire hill which by sunlight is transformed into gold. But there is another more poetic version, its said that the construction of the Alhambra fortress was done "by the light of torches", the reflections of which gave the walls their particular coloration. Created originally for military purposes, the Alhambra was an fortress, a palace and a smal city. There is no reference to the Alhambra as being a residence of kings until the 13th century even though the fortress had existed since the 9th century. The first kings of Granada, the Zirites, had their castles and palaces on the hill of the Albaicin, and nothing remains of them. The Nasrites were probably the emirs who built the Alhambra, starting in 1238. The founder of the dynasty, Muhammed Al-Ahmar, began with the restoration of the old fortress. His work was completed by his son Muhammed II, whose immediate successors continued with the repairs. The construction of the palaces dates back to the 14th century and is the work of two great kings: Yusuf I and Muhammed V. To the first we owe, among others, the Chamber of Comares, the Gate of Justice, the Baths and some towers. His son, Muhammed V, completed the beautification of the palaces with the Chamber of the Lions, as well as other rooms and fortifications. The Alhambra became a Christian court in 1492 when the Catholic Monarchs conquered the city of Granada. Later, various structures were built for prominent civilians also military garrisons, a church and a Franciscan monastery. Emperor Charles
Alhambra Palace & Generalife An Islamic World Heritage Alhambra Palace & Generalife are definitely Granada highlights, keep reading and discover why. The name Alhambra comes from an Arabic root which means “red castle“, perhaps due to the hue of the towers and walls that surround the entire hill which by sunlight is transformed into gold.
