Alhambra
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.
Ces photos ne sont pas libre de droits.