Images de voyage


The Alhambra (/ælˈhæmbrə/; Spanish: [aˈlambɾa]; Arabic: الْحَمْرَاء‎ [ʔælħæmˈɾˠɑːʔ], Al-Ḥamrāʾ, lit. "The Red One") is a royal residence and fortification complex situated in Granada, Andalusia, Spain. It was initially developed as a little post in AD 889 on the remaining parts of Roman strongholds, and after that to a great extent disregarded until its remnants were remodeled and revamped in the mid-thirteenth century by the Nasrid emir Mohammed ben Al-Ahmar of the Emirate of Granada, who fabricated its present castle and dividers. It was changed over into an illustrious royal residence in 1333 by Yusuf I, Sultan of Granada.[1] After the finish of the Christian Reconquista in 1492, the site turned into the Royal Court of Ferdinand and Isabella (where Christopher Columbus got regal support for his endeavor), and the castles were mostly modified in the Renaissance style. In 1526 Charles I and V dispatched another Renaissance royal residence better befitting the Holy Roman Emperor in the progressive Mannerist style impacted by humanist logic in direct juxtaposition with the Nasrid Andalusian design, however it was eventually never finished due to Morisco uprisings in Granada.

Alhambra's last blooming of Islamic royal residences was worked for the last Muslim emirs in Spain amid the decay of the Nasrid line, who were progressively subject to the Christian Kings of Castile. Subsequent to being permitted to fall into dilapidation for a considerable length of time, the structures involved by squatters, Alhambra was rediscovered following the thrashing of Napoleon, who had directed retaliatory decimation of the site. The rediscoverers were first British savvy people and after that other north European Romantic voyagers. It is currently one of Spain's real vacation spots, showing the nation's most noteworthy and surely understood Islamic design, together with sixteenth century and later Christian structure and greenery enclosure intercessions. The Alhambra is an UNESCO World Heritage Site and the motivation for some melodies and stories.

Moorish writers depicted it as "a pearl set in emeralds", a reference to the shade of its structures and the forested areas around them. The royal residence complex was planned in light of the bumpy site and numerous types of innovation were considered. The recreation center (Alameda de la Alhambra), which is congested with wildflowers and grass in the spring, was planted by the Moors with roses, oranges, and myrtles; its most trademark highlight, be that as it may, is the thick wood of English elms brought by the Duke of Wellington in 1812. The recreation center has a large number of songbirds and is generally loaded up with the sound of running water from a few wellsprings and falls. These are provided through a course 8 km (5.0 mi) long, which is associated with the Darro at the religious community of Jesus del Valle above Granada.

In spite of long disregard, determined vandalism, and some poorly passed judgment on reclamation, the Alhambra suffers as an atypical case of Muslim workmanship in its last European stages, generally uninfluenced by the immediate Byzantine impacts found in the Mezquita of Córdoba. Most of the castle structures are quadrangular in plan, with every one of the rooms opening on to a focal court, and the entire achieved its present size essentially by the slow expansion of new quadrangles, planned on a similar guideline, however changing in measurements, and associated with one another by littler rooms and entries. Alhambra was stretched out by the diverse Muslim rulers who lived in the complex. In any case, each new area that was included pursued the reliable topic of "heaven on earth". Section arcades, wellsprings with running water, and reflecting pools were utilized to add to the tasteful and utilitarian multifaceted nature. For each situation, the outside was left plain and stark. Sun and wind were unreservedly conceded. Blue, red, and a brilliant yellow, all to some degree blurred through slip by of time and presentation, are the hues mostly employed.

The design comprises for the upper piece of the dividers, generally speaking, of Arabic engravings—for the most part sonnets by Ibn Zamrak and others applauding the royal residence—that are controlled into geometrical examples with vegetal foundation set onto an arabesque setting ("Ataurique"). A lot of this adornment is cut stucco (mortar) instead of stone. Tile mosaics ("alicatado"), with entangled numerical examples ("tracería", most absolutely "lacería"), are to a great extent utilized as framing for the lower part. Comparable structures are shown on wooden roofs (Alfarje).[4] Muqarnas are the primary components for vaulting with stucco, and the absolute most achieved arch instances of this sort are in the Court of the Lions corridors. The castle complex is planned in the Nasrid style, the last sprouting of Islamic Art in the Iberian Peninsula, that impacted the Maghreb to the present day, and on contemporary Mudejar Art, which is normal for western components reinterpreted into Islamic structures and broadly prominent amid the Reconquista in Spain.

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