jayaprada:

Samarkand Gur Emir Mausoleum, Uzbekistan

“Every culture and religion has their own particular understanding of the relationship between the divine and the world. This implies a certain manner of unfolding, which informs theology, art and architecture.

The term fold in ancient Persian culture and language is often synonymous with the definition for sides of a polygon. For Instance, an octogon is referred to as an eight-folded geometry and the interior of the polygon is called its body. Translation of this definition in architecture brings great importance to the folds or the edges of space dividing geometry. The main trait of traditional Persian architecture is based on the notion of creating an earthly paradise through series of subdivided gardens, water canals, and indoor and outdoor rooms. Thus, the geometric folds become the defining borders for enfolding material differentiation. This garden design philosophy called Chahar Bagh (four gardens) has influenced the design of gardens from Taj-Mahal to Alhambra and beyond.

However, after the 8^th century the notion of material articulation was overshadowed with the introduction of Islamic architecture to the Persian culture which reinforced the use of more complex geometric forms in order to create elaborate tile patterns often referred to as quasicrystals. A quasicrystal formation is based on arrangement of a set of polygons (often five to twelve sided) to create complex tiling patterns. This application of pattern intensity is rooted in the Islamic believe of transfiguration and transformation as an essential part of material life. The application of quasicrystal patterns, whether as an architectural style, textile design or calligraphy, becomes a way of representing the world around less substantial and articulated. In this notion the pattern becomes a tool for de-materialization of architecture. The scale differentiation of monocentric quasicrystal patterns on dome ceilings introduces a forced perceptual trajectory for the visitors. This focal point of pattern deformation creates a sensation of lightness in the ceiling of the space and creates the idea of arriving from geometric multiplicity to formal unity and reinforces the notion of infinity in the space.

A Deleuzian might object that Islamic art and architecture cannot be a playing field for real creativity because its purpose is to direct the worshipper toward God. But, one can argue that Deleuze’s notion of the folds in the soul inspired by Gottfried Leibniz’s theories of Monads as centers of force, are based on the idea that a fold is always influenced by a force and is constantly imposing force on to its adjacent fold. Deleuze states that, “the world must be placed in the subject in order that the subject can be for the world. This is the torsion that constitutes the fold of the world and of the soul.” [p.26] Therefore, one can argue that the same force interplay between a subject and the world could also be applied to analyzing the relationship between an elaborate quasicrystal pattern on a ceiling and an observer. This force interchange allows great deal of individual interpretation, encourages endless curiosity, and creates a perceptual and contemplative venture into the infinite for the person experiencing the space.”

# GUEST WRITERS ESSAYS 07 ///Reading Persian Folds Through Deleuze by Biayna Bogosian

emystomology:

“The Mir-i Arab Madrasa was built across from the Kalyan Mosque in the 1530’s, during the reign of Ubaydallah Khan, in Bukhara. It has continued functioning as a madrasa until the present. Like the Kalyan Mosque, the madrasa exhibits a traditional four-iwan courtyard plan….the structure’s namesake, Mir-i-Arab, was a 16th-century Naqshbandi sheikh from Yemen. He had a powerful influence on the Shaybanid ruler Ubaidullah Khan and also financed the original complex…”

 

(via emystomology-deactivated2013040)

mikicafee:

Shah-i-Zinda by liamroberts7 on Flickr.

—
Shah-i-Zinda

A labyrinthine mausoleum complex in the northeast of Samarkand, Shah-i-Zinda is a huge array of tombs to former royals, generals and illustrious characters from the era of Tamerlane. The complex features a tremendous range of turquoises and navies, elegant tileworks and ornate inscriptions.

(Source: didier-emotion)

Entrance to the city is through the Siq, a narrow gorge, over 1km in length, which is flanked on either side by soaring, 80m high cliffs. Just walking through the Siq is an experience in itself. The colours and formations of the rocks are dazzling. As you reach the end of the Siq you will catch your first glimpse of Al-Khazneh (Treasury).

This is an awe-inspiring experience. A massive façade, 30m wide and 43m high, carved out of the sheer, dusky pink rock-face and dwarfing everything around it. It was carved in the early 1^st century as the tomb of an important Nabataean king and represents the engineering genius of these ancient people.

Petra, the world wonder, is without a doubt Jordan’s most valuable treasure and greatest tourist attraction. It is a vast, unique city, carved into the sheer rock face by the Nabataeans, an industrious Arab people who settled here more than 2000 years ago, turning it into an important junction for the silk, spice and other trade routes that linked China, India and southern Arabia with Egypt, Syria, Greece and Rome.

ajammc:

Lots of beautiful photos from Afghanistan on our dash today. 

Reminds us of some of our articles on Afghanistan and Afghan diaspora. This picture from one of our earlier articles, of Mazar-e Sharif. Gorgeous, right? 

coloryoursoulalways:

Buddhist monks working with Tripitaka Koreana woodblocks at the Janggyeong Panjeon of Haeinsa Temple, South Korea. (Photo credit)

Tripitaka Koreana or Palman Daejanggyeong (팔만대장경) is the Korean collection of the Tripitaka, or Buddhist scriptures, carved onto more than 80,000 woodblocks between 1237 and 1248. According to the UNESCO, the woodblocks are revered for “their artistry and excellent execution of engraving techniques [and] occupy an exceptional position in the history of Buddhism as the most complete and accurate corpus of Buddhist doctrinal texts in the world.” 

The buildings of Janggyeong Panjeon (장경판전), which date from the 15th century, store these woodblocks. They are “unparalleled not only for their beauty but also for their scientific layout, size and faithfulness to function, i.e. preservation of the woodblocks.” As the oldest depository of the Tripitaka, the Janggyeong Panjeon was designed to provide natural ventilation and to control temperature and humidity, thus successfully protecting the woodblocks from deterioration. 

The Haeinsa Temple Janggyeong Panjeon was added to the UNESCO World Heritage list in 1995 and the Tripitaka Koreana woodblocks were listed on the UNESCO Memory of the World register in 2007. (source)

(via artsofkorea)

Art and Architecture - The Vernag Water Gardens, near Srinagar, India. The site was built around a natural spring for the Mughal emperor Jahangir and was completed in 1620.

(via euglassia--watsonia)

summerofscience:

The Shwedagon Pagoda of Yangon, Burma, is a Buddhist site of prayer and pilgrimage built in a vague time around the 6th Century - a period in which Buddhism had swept many Asian regions. In grand fashion, the ‘Golden Pagoda’ was augmented in 1484 by a bronze bell - the ‘Great Bell of Dhammazedi’, and allegedly one of the largest bells ever made in history.

In the 17th Century some Portuguese jerkoff, Filipe de Brito, integrated into Syriam within his aptitude as an adventurer, declared Portuguese independence and took the Bell to melt the bronze for cannons. Fortunately, the bell was too heavy to carry across the Yangon River, and it sank - a recapture of the Syriam region also saw de Brito’s impalement as a result of his monumental defilement.

(via fuckyeahsouthasia)

phytos:

The Shah Mosque of Isfahan

Built during the Safavid period, it is an excellent example of Islamic architecture of Iran, and regarded as one of the masterpieces of Persian Architecture. The Shah Mosque of Esfahan is one of the everlasting masterpieces of architecture in Iran. It is registered, along with the Naghsh-i Jahan Square, as a UNESCO World Heritage Site. Its construction began in 1611, and its splendor is mainly due to the beauty of its seven-colour mosaic tiles and calligraphic inscriptions.

Photograph 1 by: Omid Jafarnezhad

Photographs 2 - 6 by: ‘Horizon’ on Flickr.

(Source: blue-voids, via el-baka-ghost-deactivated201211)

poeticislam:

Ceiling artwork at Wazir Khan mosque, Lahore, Pakistan