DOCSLIB.ORG

The Gardens of Timur: New Perspectives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Gardens of Timur: New Perspectives LISA GOLOMBEK THE GARDENS OF TIMUR: NEW PERSPECTIVES The subject of the formal garden has attracted more vide very different experiences. The central pavilion attention in recent years than many of the more tradi­ remains in view from all parts of the garden. The pavil­ tional subjects of Islamic architecture. It involves various ion at one end comes as a climax, its impact on the visitor domains of inquiry, not only the history of architecture, building like a cresecendo the closer one gets to it. The but also architectural ensembles and town planning, prince sitting in such a pavilion would have a grand view horticulture, hydraulics, patronage, and signification. of the avenue of approach, including the spectacular The Timurid garden of the late fourteenth and the fif­ pool at the crossing of the chief axes. For the river pal­ teenth century, in particular, has attracted attention ace, locating the pavilion at one end allowed for a view­ probably because of the widely held belief that it served ing of the river and its palatial structures, as well as a as a model for the great Mughal gardens of sixteenth­ viewing of the building cluster when approached from and seventeenth-century Lahore, Agra, and Delhi. For the river. this reason, most studies of the Timurid garden have concentrated on morphological questions. l More Timur's Quadripartite Gardens recently, attention has turned to the social context of Textual and archaeological evidence, sifted through by these gardens and their possible meanings. The hypoth­ many scholars, indicates that the garden with a central­ eses emerging from such studies suggest several new per­ ized pavilion predominated in Timur's time (1370- spectives, relative to both the morphological and semi­ 1405) . In fact, none of the gardens attributed to Timur ological aspects of the Persian garden. are known to have followed the second model, nor do there seem to be any pre-Timurid examples. Five of Tim­ PLACEMENT OF THE PAVILION ur's gardens are described in some detail in Sharaf al­ Din Ali Yazdi's l,ajar-namd' and the report of the Spanish Morphological questions become especially disconcert­ envoy to Timur, Ruy Gonzalez de Clavijo.6 "Dawlatabad," ing when they have an impact on semiological ones. Tak­ one of the gardens built some distance from the city, has ing into consideration those "Persianate" gardens which been identified and excavated. These descriptions are survive, that is, the gardens of the Mughals, the most worth reviewing because they suggest a certain progres­ common form has a major fourfold division with a pavil­ sion in the development of the early Timurid garden. ion in the center. Pools are found at the interseciion(s) of a grid of water channels. Within this repertory the ar­ Bagh-i Bihisht (Paradise Garden): Built by Timur's order rangement found in the Taj Mahal complex, with its pa­ to the west of Samarqand in 1378, the Bagh-i Bihisht vilion at the end of the formal garden, appears aberrant combined twelve existing gardens ("as many as the and has led some scholars to seek a semiological expla­ zodiac") into one. A lofty pavilion (qa$r) was erected in nation.2 Others point to the river palaces in Agra which it, but there is no indication of the pavilion's siting.7 do have pavilions at the end as nearby models for the Taj Mahal.3 The question then becomes, why did ShahJahan Bagh-i Shimal (Garden of the North): The Bagh-i Shimal choose this form of garden over the predominant form already existed north of the city when Timur, in the in other works sponsored by himself and his predeces­ spring of 1397, set up his royal tent there and ordered sors? While it is not my intent to answer this question, it the building ofa palace (qa$r).8 For a month and a half draws attention to the availability of two models for the he resided there, while the palace was under construc­ formal garden. The question I will deal with is, since the tion, calling upon the engineers and architects of Fars, visual culture of the Mughals was inspired by that of their Iraq, Azerba)jan, Baghdad, and other places for the pur­ ancestors, the Timurids, which of these gardens repre­ pose; they drew its plan ("with the pen of understanding sents the "classical" Timurid chahar-bagh?4 The two pro- on the slate of skill") 9 and when Timur had accepted it, 138 LISA GOLOMBEK astrologers ascertained the favorable moment for con­ struction to begin, and work started in Jumada II 799 (March 1397). He assigned the supervision of the con­ struction of each of the four corners to his amirs, under whom he appointed the international masters. They built solid foundations, and in each corner they set up pillars of marble brought from Tabriz. The surface of the walls was decorated with lapis and gold, surpassing "the Artang of Mani and picture room of China." The floors were paved with marble. Outside and inside the walls were revetted with glazed tiles (kiishi-kiiri): "Paradise , abounds in the lapis of its inscriptions/Inscribed is: ,, 'Long may you have power and existence'." \ , , , It is difficult to imagine how four different supervisors '" , could work on a single building of the type characteristic \ \ of Timur's other gardens (the cross-in square, or cruci­ \ \ form, pavilion d.escribed below). Perhaps this structure \ was a large courtyard-centered building like Timur's pal­ TO: Qanl-tu~h (ca. 18km ) ace at Shahrisabz. The reference to an abundance of & Shahrisab7. ( C:.I. 60km) Tabriz marble columns would fit with a colonnade around a courtyard. Alternatively, although this com­ Fig. 1. Samarqand and environs. Sites: (A) citadel; (B) Registan; (C) ment follows the mention of the pavilion, the "four cor­ mosque ofTimur ("Bibi Khanum"); (0) Gur-i Amir; (E) Afrasiyab ners" may refer back to the garden itself, with four sep­ (pre-Mongol town site). Gardens: (1) Oilgusha; (2) Oawlatabad; (3) arate structures, one in each corner of the enclosure. Chanar; (4) Buland; (5) maydan/ Chini-khaneh; (6) Shimal (a: The text does not give the specific location of the palace Pugachenkova placement; b: Golombek placement); (7) Naw (a: Pugachenkova placement; b: Golombek placement); (8) Bihisht; within the garden. (9) Naqsh-i Jahan. (Sites mentioned in 6a-7a are based on G.A. Pougatchenkova, Chefs-d'Oeuvre d'architecture de l"Asie Centrale XJVe­ Bagh-i Dilgusha (Heart's Delight Garden). Descriptions XVe siecle [Paris: Unesco, 1981J.) of the Bagh-i Dilgusha are far more detailed than of the others.1O It was built in 1396 at the south edge of the Kan-i complex geometric pattern was something new to Gil meadows (on the east side of Samarqand; see map, Samarqand, coming from Fars and Iraq as did the fig. 1). The garden occupied a square area 1,500 gaz on a mosaic faience which occurs here and on contempora­ side. If the gaz used for the Ahmad Yasavi shrinell con­ neous buildings at the Shah-i Zinda.'4 A long poem men­ temporary with this is 60.6cm., the garden measured tions some of the fruits and plants found in the garden. 909 m. square. One gate stood in the middle (dar miyiin) In the middle of the garden they built a pavilion consist­ of each side. The vaults of the gates were filled with ing of three vaults'S and a dome. The poem which fol­ muqarnas, revetted in glazed tile (kiishi-kiiri). Each cor­ lows mentions "marble columns at the edges of its cor­ ner had a tower, decorated with tile (kiish£). In the Cal­ ners/foundations. .. ." According to Clavijo (see cutta manuscript these are referred to as dove towers. l2 below), the three vaults formed arms of a cross, the Most intriguing is Yazdi's description of the layout of the fourth of which was probably an entrance iwan. A dome garden itself: "He [TimurJ divided the open space of the was situated at the crossing. The geometrical arrange­ garden geometrically into square walkways and hexago­ ment of the garden itself may have been new to the nal and triangular chamans (planting beds). He ordered Samarqand region, but the placement of the pavilion at poplars to be planted along the edges of the walkways the center of the square enclosure (as indicated also by and the hexagons and triangles of their borders to be ar­ Clavijo) follows the early Timurid pattern. ranged with various fruit trees and diverse trees bearing flowers and fruit." The result must have been something Bagh-i Naw (New Garden). The Zafar-niima does not re­ like the geometric pattern of chamans found in the old fer to this garden by name, but it describes the Bagh-i Rajput gardens at Amber.'3 Engineers from every coun­ Naw in detail, as does Clavijo. Situated south of the try were called upon. Perhaps the garden based on a Bagh-i Shimal, its construction had begun before the .
Load more

Recommended publications
  • Desert Utopia: the Hidden Unity of Iranian Architecture Conceptualization Behind the Making of a Documentary Film
    American International Journal of Humanities and Social Science Vol. 4 No. 2; April 2018 Desert Utopia: The Hidden Unity of Iranian Architecture Conceptualization behind the Making of a Documentary Film Khosrow Bozorgi Professor of Architecture and Urban Design Director, Center for Middle Eastern Architecture and Culture College of Architecture, University of Oklahoma United States of America NARRATIVE Desert Utopia will examine the history of architecture in three desert cities in Iran, exploring unique aspects of the built environment that enabled people to flourish in one of the world’s harshest climates. Although the film will focus on the history of Iranian desert architecture spanning thousands of years, this project is nevertheless timely for today’s American audiences. Due to concerns about global environmental change, sustainable building techniques have emerged as a topic of increasing interest over the past two decades. This interest encompasses themes such as the use of local building materials, creative ways to minimize water use (and water waste), and ways to reduce the amount of energy spent on heating and cooling. Furthermore, the geopolitics of the last two decades also have piqued Americans’ curiosity about the Middle East, especially Iran, but for many people, their knowledge about this part of the world is spotty or even misinformed. Desert Utopia is therefore a film that comes at the right time: It will help satisfy Americans’ curiosity about environmentally sound architecture while filling some of the gaps in their knowledge about Iranian culture and history. However, Desert Utopia is more than simply a film about sustainable architecture in Iranian history.
    [Show full text]
  • Tracing the Islamic Influences on the Garden Design of Nineteenth- Century Cairene Gardens
    American University in Cairo AUC Knowledge Fountain Theses and Dissertations 6-1-2018 Tracing the Islamic influences on the garden design of nineteenth- century Cairene gardens Radwa M. Elfardy Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Elfardy, R. (2018).Tracing the Islamic influences on the garden design of nineteenth-century Cairene gardens [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/488 MLA Citation Elfardy, Radwa M.. Tracing the Islamic influences on the garden design of nineteenth-century Cairene gardens. 2018. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/488 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Humanities and Social Sciences Tracing the Islamic Influences on the Garden Design of Nineteenth Century Cairene Gardens A Thesis Submitted to The Department of Arab and Islamic Civilizations In Partial Fulfillment of the Requirements For the Degree of Master of Arts By Radwa M. Elfardy Under the supervision of Prof. Dr. Bernard O’Kane 1 The American University in Cairo Tracing the Islamic Influences on the Garden Design of Nineteenth Century Cairene Gardens A Thesis Submitted by Radwa M. Elfardy To the Department of Arab and Islamic Civilizations In partial fulfillment of the requirements for The degree of Master of Arts Has been approved by Prof.
    [Show full text]
  • Changes in Modern Uzbek National Crafts
    Global Journal of HUMAN-SOCIAL SCIENCE: D History, Archaeology & Anthropology Volume 20 Issue 1 Version 1.0 Year 2020 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X Changes in Modern Uzbek National Crafts By Oybek Ostonov Tashkent State Agrarian University Abstract- This article is devoted to the analysis of the development of national traditional handicraft in Uzbekistan over the years of independence. During this period, the demand and interest in the scientific study of national handicrafts, as well as various areas and branches of arts and crafts as an integral part, increased significantly. All the necessary legal and material conditions created by the Government of the Republic are a powerful incentive for the development of this industry in an evolutionary way, and such provides for the topicality of its scientific research. The article deals with measures taken to restore handicrafts, develop national handicrafts in the region, create mentoring schools about some problems and ways to resolve them in the national handicraft industry, the impact of global progressive processes on this area, as well as the prospects for handicrafts. GJHSS-D Classification: FOR Code: 430111 ChangesinModernUzbekNationalCrafts Strictly as per the compliance and regulations of: © 2020. Oybek Ostonov. This is a research/review paper, distributed under the terms of the Creative Commons Attribution- Noncommercial 3.0 Unported License http://creativecom-mons.org/licenses/by-nc/3.0/), permitting all non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. Changes in Modern Uzbek National Crafts Oybek Ostonov Abstra ct- This article is devoted to the analysis of the Consequently, the entire transformation of development of national traditional handicraft in Uzbekistan social life created by the national values of the traditional over the years of independence.
    [Show full text]
  • Resources for the Study of Islamic Architecture Historical Section
    RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION Prepared by: Sabri Jarrar András Riedlmayer Jeffrey B. Spurr © 1994 AGA KHAN PROGRAM FOR ISLAMIC ARCHITECTURE RESOURCES FOR THE STUDY OF ISLAMIC ARCHITECTURE HISTORICAL SECTION BIBLIOGRAPHIC COMPONENT Historical Section, Bibliographic Component Reference Books BASIC REFERENCE TOOLS FOR THE HISTORY OF ISLAMIC ART AND ARCHITECTURE This list covers bibliographies, periodical indexes and other basic research tools; also included is a selection of monographs and surveys of architecture, with an emphasis on recent and well-illustrated works published after 1980. For an annotated guide to the most important such works published prior to that date, see Terry Allen, Islamic Architecture: An Introductory Bibliography. Cambridge, Mass., 1979 (available in photocopy from the Aga Khan Program at Harvard). For more comprehensive listings, see Creswell's Bibliography and its supplements, as well as the following subject bibliographies. GENERAL BIBLIOGRAPHIES AND PERIODICAL INDEXES Creswell, K. A. C. A Bibliography of the Architecture, Arts, and Crafts of Islam to 1st Jan. 1960 Cairo, 1961; reprt. 1978. /the largest and most comprehensive compilation of books and articles on all aspects of Islamic art and architecture (except numismatics- for titles on Islamic coins and medals see: L.A. Mayer, Bibliography of Moslem Numismatics and the periodical Numismatic Literature). Intelligently organized; incl. detailed annotations, e.g. listing buildings and objects illustrated in each of the works cited. Supplements: [1st]: 1961-1972 (Cairo, 1973); [2nd]: 1972-1980, with omissions from previous years (Cairo, 1984)./ Islamic Architecture: An Introductory Bibliography, ed. Terry Allen. Cambridge, Mass., 1979. /a selective and intelligently organized general overview of the literature to that date, with detailed and often critical annotations./ Index Islamicus 1665-1905, ed.
    [Show full text]
  • The Role of Religion and Tradition in Garden Conservation: a Case Study
    Title: ‘The role of religion and tradition in garden conservation: A case study of Qadamgah tomb-garden, Neyshabur, Iran’ Author: Sara Mahdizadeh Source: Exegesis (2013) 2, pp. 14-23 The role of religion and tradition in garden conservation: A case study of Qadamgah tomb-garden, Neyshabur, Iran Sara Mahdizadeh Introduction After the Venice Charter of 1964, the policies, guidelines, regulations, selection criteria, theories, concepts and terminology regarding heritage conservation changed, and continue to evolve. The approach towards heritage has expanded, moving away from a focus on single important monuments to include the environments and contextual surrounding of heritage, from a static, museum-like approach to a more dynamic one.1 However, in practice, conservation works that are guided by the of ICOMOS2 charters (e.g. the Nara Document on Authenticity of 1994, Burra Charter of 19993) are more concerned with preserving the ‘material authenticity’ and the ‘original fabric’ of cultural heritage, without considering the importance of authenticity in terms of intangible/intrinsic values. Concerning architectural conservation, ‘authentic restoration’ is hard to achieve, in particular with respect to historical landscape and gardens, due to the nature of their dynamic process of change.4 This paper will set out to depict the potential role of Shi’a belief and traditions as an alternative strategy for garden conservation through the examination of Qadamgah tomb-garden as a case study. This provides a contrast to the dominant material approach to conserving cultural heritage, motivated by the economic or political inclinations of the authorities or managers of the heritage sites. Qadamgah is a physical representation of the belief of Iranians towards their eighth Imam.
    [Show full text]
  • Redefining Islamic Garden
    Jurnal Full Paper Teknologi REDEFINING ISLAMIC GARDEN: Article history Received COMPARATIVE ANALYSIS OF 27 April 2015 Received in revised form APPROACHES, IDEAS AND DESIGN 15 June 2015 FRAMEWORK Accepted 15 July 2015 Nayeem Asifa, N. Utabertaa*, M. A. Othuman Mydinb, M. Y. *Corresponding author Mohd Yunosa [email protected] aArchitecture Department, Faculty of Design and Architecture, Universiti Putra Malaysia, Malaysia bSchool of Housing, Building and Planning, Universiti Sains Malaysia, 11800, Penang, Malaysia Graphical abstract Abstract The term Islamic garden has been defined in various ways considering different aspects and values. These definitions draw a broader perspective to Islamic garden, a key feature of Islamic civilization throughout the history. This paper aims to analyze these views and compare them in order to reach toward a holistic definition for Islamic garden- its origin, evolution, principles and essence. Also searching for a way to revitalize the original essence and application of Islamic gardens in the contemporary societies are discussed in a brief way. Keywords: Join studio, pedagogical, architecture, design studios Abstrak Taman Islam telah ditakrifkan dalam pelbagai cara dengan mengambil kira aspek dan nilai yang berbeza. Definisi ini menarik perspektif yang lebih luas tentang taman Islam, ciri utama tamadun Islam sepanjang sejarah. Kertas kerja ini bertujuan untuk menganalisis pandangan-pandangan ini dan membandingkan mereka untuk menghasilkan definisi holistik untuk taman Islam seperti asal, evolusi, prinsip dan kerangka dasarnya. Juga mencari membincangkan secara ringkas jalan untuk membangkitkan semula intipati asal dan penggunaan taman Islam dalam masyarakat kontemporari. Kata kunci: Taman Islam, taman Parsi reka bentuk landskap © 2015 Penerbit UTM Press. All rights reserved 1.0 INTRODUCTION flowing water, gardens with sweet fruits (bostan) and fragrant flowers (gulistan) [1].
    [Show full text]
  • Rationale of the Study
    European Online Journal of Natural and Social Sciences 2014; www.european-science.com Vol.3, No.4 Special Issue on Architecture, Urbanism, and Civil Engineering ISSN 1805-3602 Conceptual Ideas in Taj Mahal, India Hamideh Estarabi Ashtiani* Architectural Engineering, Kish International branch, Islamic Azad University Kish, Iran *E-mail: [email protected] Abstract Art creation includes some characteristics that differentiate it from other types of art. These characteristics have an exclusive philosophy. Therefore, familiarization with art consists of variety of phenomenon stemming from historical and cultural backgrounds. Regarding the point that art is considered as one of the humanistic activities with specific meaning in the universe through the history, aesthetic becomes different in civilizations and shapes patterns and icons function. It is worth mentioning that as the main parts of these studies attribute to religious and philosophical concepts, the religion part is always made by mythology in India. Some mythological studies are incorporated in the present research. In accordance with beliefs and social customs, in this part, it has been attempted to discuss about concepts, elements, shapes, numbers, patterns and colors in general categorization and their iconic and symbolic aspects are analyzed in such a way that symbolic aesthetic which is prior to shape is deeply reviewed because in symbolic universe, a positive relationship is formed between environment and user and the represented concepts refer to content. Keywords: Social custom, art, environment, Taj Mahal Introduction If we just focus on the building without paying attention to the primary motivation of its creation, it is similar to studying human’s body without considering his soul and identification.
    [Show full text]
  • 53 Original Article the COMPLEX of CHOR BAKR in BUKHARA
    Egyptian Journal of Archaeological and Restoration Studies "EJARS" An International peer-reviewed journal published bi-annually Volume 8, Issue 1, June - 2018: pp: 53-58 www. ejars.sohag-univ.edu.eg Original article THE COMPLEX OF CHOR BAKR IN BUKHARA: AN ARCHAEOLOGICAL AND ARCHITECTURAL STUDY Roshdy, M. Islamic dept., Faculty of Archaeology, Cairo Univ E-mail: [email protected] Received 15/11/2017 Accepted 3/6/2018 Abstract The architectural complexes in Central Asia received great attention by the sultans and princes who significantly contributed to building them, including mosques, madāris, and khanqahs. Bukhara held many of the complexes, indicating the prosperous architectural activity that reflected the architectural creations and traditions of the city. In addition, it showed the skills of architects and artists in giving cohesion to the environment in Central Asia, as well as the variety of architectural and decorative units. Therefore, the present study of the Complex of Chor Bakr aims to define the relationship between the buildings and the political, scientific, and artistic conditions and to recognize the architectural features of the buildings in Bukhara during the Shaibanid era. Keywords: Bukhara, Mosque, Madrasa, Khanqah, Iwan, Mihrab 1. Introduction Chor Bakr Complex, fig. (1), which Turhan, and Imam Bakr Ishaq [4]. The comprises a mosque and a Madrasa, was complex dates back to (967-977 AH / established in the village of Sumitkhan [1]; 1559-1569 A.D). It was reconstructed about 5 kilometers to the west of Bukhara during the reign of Abdullah Khan [5]. [2] by Khawaja Ismail, Sheikh of "Kha- The mosque, the minaret, and the Khan- waja Can".
    [Show full text]
  • Heart of the Silk Road Heart of the Silk Road
    Heart of the Silk Road 10-Day Journey Through Uzbekistan Round-Trip from Tashkent Heart of the Silk Road Travel through time on your private train along the Silk Road of Uzbekistan. Marvel at monuments of great empires and the modern-day nations that have replaced them. Comfortably cross Uzbekistan by private train. Visit the most significant, historic and fascinating cities along the Central Asian Silk Road—Tashkent, Samarkand, Khiva and Bukhara. What Makes Your Journey Unique • A once-in-a-lifetime Central Asian train journey, exploring 4 unforgettable UNESCO World Heritage Sites in ten days • Winding backstreets, immense city gates, glittering domes, and ancient city walls. The 1001 nights come to life • The desert sun in Registan Square, one of the most beautiful squares in the world • The cool ease and simplicity of private train travel in a region usually limited to long, uncomfortable bus rides Dates • 25 Aug 22 - 03 Sep 22 (10 days) Info and Booking Susann Bridgewater E-Mail: [email protected] Itinerary Day 1., Arrival in Tashkent Tashkent. Once an ancient oasis, now a bustling metropolis. So much to explore. For now, you relax in your first-class hotel. Tomorrow, you’ll board the Orient Silk Road Express. Overnight: Grand Mir Hotel (or similar) Day 2., Tashkent, the Green Oasis Under immense blue skies, you tour vibrant Tashkent, the Uzbek capital along the ancient Silk Road. History comes to life through the city’s impressive sepia and turquoise architecture as caravanserai, fortresses, museums and madrasas rise from the desert. In the cool dusk, you visit a music hall to enjoy a performance (schedule permitting).
    [Show full text]
  • Analysis and Perspectives of Tourism Development in Uzbekistan
    Analysis and perspectives of tourism development in Uzbekistan ALEKSANDRA KIM University of Santiago de Compostela [email protected] [Recibido abril 2014; aceptado mayo 2014] Abstract An analysis of tourism development and its perspectives in Uzbekistan is carried out in this article. The purpose of this analysis is to study international tourists´ arrivals into the country since its independence in 1991, the economic impact of the tourism sector into the overall GDP, country ranking and destination image. Destination image plays significant role in choice of many travellers. Nevertheless, today Uzbekistan doesn´t have a strong image that could be associated with destination. Moreover, it is sometimes difficult to distinguish the uniqueness of Uzbekistan, especially in relation to its geographical position as the middle part of the Silk Road. Empirical study of destination image by first time visitors was carried out in our research in order to measure the image of Uzbekistan as a tourist destination. Key words: tourism development, country ranking, destination image, Uzbekistan, Central Asia, the Silk Road. Resumen En el presente artículo se lleva a cabo un análisis del desarrollo del turismo y sus perspectivas en Uzbekistán. El objetivo de dicho artículo es el estudio de las llegadas de turistas internacionales en el país desde su independencia en 1991, el impacto económico del sector turístico en el PIB, el ranking del país y imagen de destino. Imagen de destino juega un papel significativo en la hora de selección destino turístico. Sin embargo, hoy Uzbekistán no tiene una imagen fuerte que podría estar asociado con el destino. Por otra parte, a veces es difícil distinguir la singularidad de Uzbekistán, sobre todo en relación con su situación geográfica como la parte central de la Ruta de la Seda.
    [Show full text]
  • Islamic Gardens
    An Enclosed Paradise: Islamic Gardens Traditionally, an Islamic garden was a cool place of rest and reflection, a reminder of paradise. Generally, they emphasized the beauty and importance of water and shade. This is not too surprising since Islam came from and generally spread in a hot and arid climate, which we Central Californians well relate to as we head into the hottest time of our year. The enchantment with greenery and the description of the gardens of paradise in the Koran led to a penchant among Arab rulers to collect plants for their kitchen gardens. The kitchen garden was not only a garden supplying food but natural beauty as well and it gave rise to a genre of Arabic poetry known as the rawdiya, the garden poem, meant to conjure the image of the Garden of Paradise. Emblematic Islamic gardens, such as the Taj Mahal in India and the Alhambra in Spain, while stunning, don’t reflect the garden’s use at many levels of society. Clifford A. Wright describes the variety of Islamic gardens, "The Islamic garden was quite different than the gardens of Europe that became famous during the Renaissance. Muslims had different kinds of gardens serving different purposes." After the Arab invasions of the 7th century CE, the traditional design of the Persian garden was integrated into use with the Islamic garden. Persian gardens after that time were traditionally enclosed spaces, called by them 'pairi-daeza.' In the Charbagh, or paradise garden, four water canals typically carry water into a central pool or fountain, interpreted as the four rivers in paradise, filled with milk, honey, wine and water.
    [Show full text]
  • Tour Itinerary
    GEEO ITINERARY HEART OF THE SILK ROAD – Summer Day 1: Bishkek Arrive at any time. Arrive at any time. Our program will begin tonight in Bishkek, and we typically have a group meeting at the hotel around 6 p.m. Upon arrival at the hotel, please check the notice board for information about the group meeting. During the group meeting, the leader will outline the trip itinerary and answer any questions you might have. If you arrive early enough, consider visiting the State Historical Museum to learn more about Kyrgyzstan. This marble-faced cube building, built-in 1984 when Kyrgyzstan was part of the Soviet Union, retains many aspects of its original purpose as a state-of-the-art Lenin Museum. Day 2: Bishkek/Chong-Kemin (B, D) Morning city tour of Bishkek before departing for Chong-Kemin. Stop at the Burana Tower before arriving at the community guest house. Explore the village and then eat a home-cooked traditional dinner. We start the day with a tour of Bishkek, Kyrgyzstan’s capital and largest city. Bishkek is an interesting example of a czarist planned city: it is built in a grid with wide boulevards flanked by irrigation canals and large trees, buildings with marble façades, and Soviet apartment complexes. The city was founded in 1825 as the Khokand fortress of "Pishpek" as a means of controlling local caravan routes and enabling the collection of tributes from Kyrgyz tribes. The name is thought to derive from a Kyrgyz word for a churn used to make fermented mare's milk ("kumis"), the Kyrgyz national drink, although not all sources agree on this.
    [Show full text]