The Court of the Lions (Spanish: Patio de los Leones ; Arabic:
Video Court of the Lions
Background and architectural effects
The Palace of the Lions, as well as the rest of the other new rooms built under Muhammad V, such as Mexuar or Cueste Dorado, represent the beginning of a new style, a mixture of Moorish and Christian extraordinary. the influence that has been called the Nasrid style. During the period when Muhammad V was overthrown as the sultan of Granada by his half-brother, Abu-l Walid Ismail, he found in exile a number of new aesthetic influences not in his predecessor's language, even in his own first contribution to the enrichment of the Nasrid palaces of the Alhambra. In Fes he saw the Almoravid Qarawiyyin mosque, built by Andalusian architect. The splendor of decoration, in particular the use of muqarnas that once adorned the palace and mosque of Al-ÃÆ'ndalus, surprised the former sultan, as did the ruins of the Roman city of Volubilis, where he could directly examine the classical orders, Roman ornaments and, above all, the disposition of the Roman impluvium; Roman ruins in Volubilis were very well preserved because they had been abandoned for a period of time in the Middle Ages and later reused as necropolises.
Muhammad became an ally of his personal friend, the Christian king Pedro I of Castile, who helped him regain the throne and defeat the usurper. Meanwhile, he was also stunned by the construction of the palace of Pedro I, AlcÃÆ'¡zar of Seville, built in the urn style MudÃÆ'Â © by architects from Toledo, Seville and Granada. The influence of King Pedro's jug-style styles in the future Palace of the Lions will be decisive, especially the structure and disposal of Qubba's chamber along the two axes of 'Patio de las Doncellas' ("Courtyard of the Maidens").
Maps Court of the Lions
Description
The Courtyard of the Lions is an oval, 35 m long and 20 m wide, surrounded by a low gallery supported on 124 white marble columns. A pavilion project onto a yard in each extremity, with a filigree wall and a light vaulted roof, elaborately decorated. The square is paved with colored tiles, and a colonnade with white marble; while the wall is covered 1.5 m up from the ground with blue and yellow tiles, with borders above and below blue and gold enameled. Columns that support roofs and galleries are placed irregularly, with views for artistic effects; and the general shape of the most elegant pillars, arches and pillars. They are decorated by varieties of leaves, etc.; on top of each arch there is a large arabesque box; and on the pillars there is another box of filigree work. In the center of the courtyard is the celebrated Fountain of Lions, a magnificent alabaster basin supported by figures from twelve lions in white marble. Currently, the fountain is being restored in an effort to maintain its integrity.
Meaning of structure
The structure of the page, has, as has been said, the direct influence of Sevillian Patio de las Doncellas, but its meaning and origins trace their origins to the early Islamic garden, the page is divided into four sections, each representing one of four sections world. Each part is irrigated by a water channel representing the four rivers of Heaven. Therefore, this page is the embodiment of the architecture of Heaven, where the garden, water, and columns form a conceptual and physical unity. The slim column forest has been said to represent the palm trees of an oasis in the desert, strongly associated with paradise in the imagination of Nasrid. In Ibn Zamrak's poetry in the fountain basin, the further meaning is clearly stated: "The fountain is the Sultan, which stings with the grace of all the people and the land, because water is soaking the garden."
Currently the flower garden has been replaced by a dry gravel garden, so as not to affect the foundation of the palace with watering. In the time of Nashir, the floor of the planting bed lined slightly lower than the general level, and the visual effects were like a tapestry of flowers, because the top of the plant was cut to the same level of yard, and this was carefully selected to cover a number of shades of color.
Lion Fountain
Some studies show that the 11th century lion of The Lion Fountain comes from the home of the Jewish vizier Yusuf ibn Nagrela (died 1066). It is not known whether they were made before his death, and at that time, he was accused of wanting to build a palace that was bigger than the king's palace. They are great for animal sculptures in Islamic art, but like in other sites of al-Andalus like the early Medina Azahara near Cordoba, there are many animals. Pisa Griffin is even bigger.
There is a description that is almost certainly out of the original fountain, which was written by the poet Ibn Gabirol in the 11th century. They represent the 12 tribes of Israel, two of them have a triangle on the forehead, indicating the two tribes that still exist JudÃÆ'¡ and LevÃÆ' . The Lions have been removed in 2007 for restoration in place while the fountain was restored in situ . The lions returned in July 2012 after the reconstruction of the traditional system of water flow from the Court of the Lions.
Excerpts of poetry Ibn Zamrak in the basin
Poet and minister Ibn Zamrak wrote a poem to illustrate the beauty of the page. It's carved around the edge of the basin:
- "... such a see-through basin, the sculpted pearl!
- Argentine rhyme was added over it by a quiet dew
- And the liquid silver coats the daisies, melts, and even more pure.
- Hard and soft very close, so it will be difficult to distinguish
- liquid and solid, marble and water. Which one is running?
- Do not you see how water overflows
- and the warning channel here against it? They are like vain lovers
- trying to hide the tears from her lover... "
References
- Robert Irwin, Alhambra , ISBN 978-1-86197-487-7, 2005
- Manzano Martos, Rafael. La Alhambra: El universo mÃÆ'¡gico de la Granada islÃÆ'¡mica . Editorial Anaya, 1992. ISBNÃ, 84-207-4833-1, ISBNÃ, 978-84-207-4833-7
- Chueca Goitia, Fernando: Invariante castizos de la Arquitectura EspaÃÆ' Â ± ola. Manifiesto de la Alhambra ISBNÃ, 84-237-0459-9
- GarcÃÆ'a GÃÆ'³mez, Emilio: Poems ÃÆ'¡rabes en los muros y fuentes de la Alhambra. Instituto Egipcio de Estudios Islà ¢ micos. Madrid, 1985. ISSNÃ, 1132-3485
- Al-Hassani, S.T.S, (2012). 1001 discovery: The Enduring Legacy of Muslim Civilization. National geographic. ISBN 978-1426209345.
- Notes
Source of the article : Wikipedia
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