Court of the Lions and the Fabulous Fountain #2

Court of the Lions and the Fabulous Fountain... more

by Guido Montanes Castillo

Title

Court of the Lions and the Fabulous Fountain #2

Artist

Guido Montanes Castillo

Medium

Photograph

Description

Court of the Lions and the Fabulous Fountain
LA ALHAMBRA.
PATIO DE LOS LEONES, GRANADA, SPAIN
Alhambra Prints for Sale
Court of the Lions and the Fabulous Fountain
The Court of the Lions, a unique example of Muslim art
The Patio de los Leones (Court of the Lions) is an oblong court, 116 ft (35 m) in length by 66 ft (20 m) in width, surrounded by a low gallery supported on 124 white marble columns. A pavilion projects into the court at each extremity, with filigree walls and a light domed roof. The square is paved with coloured tiles and the colonnade with white marble, while the walls are covered 5 ft (1.5 m) up from the ground with blue and yellow tiles, with a border above and below of enamelled blue and gold. The columns supporting the roof and gallery are irregularly placed. They are adorned by varieties of foliage, etc.; about each arch there is a large square of stucco arabesques; and over the pillars is another stucco square of filigree work. In the centre of the court is the Fountain of Lions, an alabaster basin supported by the figures of twelve lions in white marble, not designed with sculptural accuracy but as symbols of strength, power, and sovereignty. Each hour one lion would produce water from its mouth.[8] At the edge of the great fountain there is a poem written by Ibn Zamrak. This praises the beauty of the fountain and the power of the lions, but it also describes their ingenious hydraulic systems and how they actually worked, which baffled all those who saw them (Al-Hassani, Woodcock &Saud, 2007: 233). This is just a simple example of the Muslims' genius at architecture, design and engineering during that time
Alhambra , is a palace and fortress complex located in Granada, Andalusia, Spain. It was constructed during the mid 10th century by the Berber ruler Badis ben Habus of the Kingdom of Granada in al-Andalus, occupying the top of the hill of the Assabica on the southeastern border of the city of Granada.
The Alhambra's Islamic palaces were built for the last Muslim Emirs in Spain and its court, of the Nasrid dynasty. After the Reconquista (reconquest) by the Reyes Cat�licos ("Catholic Monarchs") in 1492, some portions were used by the Christian rulers. The Palace of Charles V, built by Charles V, Holy Roman Emperor in 1527, was inserted in the Alhambra within the Nasrid fortifications. After being allowed to fall into disrepair for centuries, the Alhambra was "discovered" in the 19th century by European scholars and travelers, with restorations commencing. It is now one of Spain's major tourist attractions, exhibiting the country's most significant and well known Berber Islamic architecture, together with 16th-century and later Christian building and garden interventions. The Alhambra is a UNESCO World Heritage Site, and the inspiration for many songs and stories.
Moorish poets described it as "a pearl set in emeralds," in allusion to the colour of its buildings and the woods around them.[1] The palace complex was designed with the mountainous site in mind and many forms of technology were considered. The park (Alameda de la Alhambra), which is overgrown with wildflowers and grass in the spring, was planted by the Moors with roses, oranges and myrtles; its most characteristic feature, however, is the dense wood of English elms brought by the Duke of Wellington in 1812. The park has a multitude of nightingales and is usually filled with the sound of running water from several fountains and cascades. These are supplied through a conduit 8 km (5.0 mi) long, which is connected with the Darro at the monastery of Jesus del Valle, above Granada.
Despite long neglect, willful vandalism and some ill-judged restoration, the Alhambra endures as an atypical example of Muslim art in its final European stages, relatively uninfluenced by the direct Byzantine influences found in the Mezquita of C�rdoba. The majority of the palace buildings are quadrangular in plan, with all the rooms opening on to a central court; and the whole reached its present size simply by the gradual addition of new quadrangles, designed on the same principle, though varying in dimensions, and connected with each other by smaller rooms and passages. The Alhambra was extended by the different Muslim rulers who lived in the complex. However, each new section that was added followed the consistent theme of "paradise on earth". Column arcades, fountains with running water, and reflecting pools were used to add to the aesthetic and functional complexity. In every case, the exterior was left plain and austere. Sun and wind were freely admitted. Blue, red, and a golden yellow, all somewhat faded through lapse of time and exposure, are the colors chiefly employed.
The decoration consists, as a rule, of stiff, conventional foliage, Arabic inscriptions, and geometrical patterns wrought into arabesques. Painted tiles are largely used as panelling for the walls. The palace complex is designed in the Mud�jar style which is characteristic of western elements reinterpreted into Islamic forms and widely popular during the Reconquista, the reconquest of the Iberian Peninsula from the Muslims by the Christian kingdoms.

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November 15th, 2013