Architecture of Ottoman

 

The great tradition of Ottoman architecture, founded in the 16th century, was derived from two main sources. One was the complex development of new types of construction that took place throughout Anatolia, especially in Manisa, Iznik, Bursa, and Selçuk in the 14th and early 15th centuries. In addition to the usual mosques, mausoleums, and madrasahs, many buildings called tekke were built to houses and other holy men living together. Itkeke was usually assembled in a mosque or cemetery. The whole complex at that time was called külliye. All these buildings continued to build a central, centralized structure, built by the Seljuqs in Anatolia. Another source of Ottoman architecture is Christian art. Byzantine culture, especially as it was incorporated into Hagia Sophia, became a major source of encouragement. Byzantine influence comes from elements such as stones and bricks used together or in the use of circular dome construction. Also influential in the arts were the early Ottoman allies they had with Italy. Thus, in a number of military bases in Bursa, Tur., There is a similarity in style to the exterior design and windows, gates, and roof elements found in Italian architecture. A distinctive feature of Ottoman architecture is that it originated in Islamic and European cultures and, therefore, was part of both.

The apogee of the Ottoman architecture was found in a large series of külliyes and the still dominant mosques in Istanbul: Fatih külliye (1463-70), Bayezid Mosque (after 1491), Selim Mosque (1522), Sehzade külliye (1548), and Süleyman külliye (after 1550). Sehzade and Süleyman külliyes were built by Sinan, a great Ottoman architect, whose masterpiece is the Selim Mosque in Edirne, Tur. (1569-75). All of these structures show complete clarity and logic in planning and ascent; every part is considered in relation to everything, and each element of construction has acquired a sequential function incomplete formation. Any unnecessary items have been removed. This ease of design in the late 15th and 16th centuries is often the result of the fact that the Sinan and many Ottoman builders were first trained as military engineers. Everything in these buildings was under a beautiful central dome. The low-rise type of downhill, vaults, and ascending ridges lead the eye up and down the outside of the building. Minarets, thin and bulky, incorporate an external structure, while the open space of the surrounding courts prevents the building from being swallowed up by the surrounding city. This Ottoman art is seen as the ultimate culmination of two great traditions: the artistic and aesthetic tradition that has been native to Istanbul since the founding of the Byzantine church of Hagia Sophia in the 6th century and another Islamic tradition of the empire up to the 10th century.

While mosques and külliyes are the most important monuments of Ottoman architecture, important landmarks are erected: baths, caravans, and especially the great palace of Topkapi Saray in Istanbul, where 300 years of royalty are kept in its beautiful communities, halls, and fountains.

The Culture of Ottoman Empire

Ottoman culture flourished for centuries as the Turks' rulers suckled, transformed, and transformed the various indigenous cultures of the conquered lands and their peoples. There was a strong influence on the customs and languages ​​of Muslim communities, especially the Arabs, while Persian culture had a profound effect on the Persians of the Seljuq Turks, who were pre-Ottoman. Without further ado, the Ottoman Empire, like its predecessors in the Sultanate of Rum and the Seljuk Empire, was thoroughly investigated by their culture, language, customs, and traditions, and therefore, the empire was described as a Persian empire. Throughout its history, the Turkish Empire had a large population of Orthodox, Armenian, Jewish, and Assyrian subjects, who were allowed to govern themselves under a united government. The Ottomans and their distinct cultures enrich those of the Ottoman Empire.

Literature:

Poetry :

Like all other forms of Turkish art, poetry produced by the Ottoman court circle has had a powerful influence from ancient Persian cultures; Ghazal) was used.

In the 19th century and during the conversion of the Tanzimat, the influence of Turkish folklore, up to that point, in particular, began to emerge in Turkish poetry, and there was a growing influence on European literature; there has been a corresponding decline in ancient court poems. Tevfik Fikret, born in 1867, is often regarded as the inventor of modern Turkish poetry.

Prose:

Prior to the 19th century, Ottoman prose was not only true but much more advanced than Ottoman poetry, in part because most of it followed the original rules of the Arab rhymed prose (Saj '). However, many genres - travelogue, political literature, and biography - were now available.

From the 19th century onward, the growing influence of European novels, especially those of the French novel, began to be felt. Şemsettin Sami's book Taaşuk-u Tal'at ve Fitnat, widely regarded as Turkey's first novel, was published in 1872; other Ottoman prose writers were Ahmet Mithat and Halit Ziya Uşaklıgil.

Architecture :

The Ottoman architecture was an integral part of the Iranian-influenced Seljuk architecture, as reflected in the Konya architecture, the Mamluk architecture, and the Byzantine architecture; reached its greatest development in major public buildings, such as mosques and caravans, in the 16th century.

A prominent figure in this field, the 16th-century designer and engineer Marimar Sinan, was a Muslim convert from Armenia who had knowledge of the Janissaries. One of his students, Sedefkar Mehmed Agha, designed the 17th-century Blue Mosque, which is considered to be the last major construction of ancient Ottoman architecture.

Decorative Arts :

Calligraphy :

Calligraphy had a respectable culture in the Ottomans, whose traditions were shaped by the work of the Abbasid calligrapher Yaqut al-Musta'simi of Baghdad, whose influence spread throughout the Muslim world, al-Musta'simi himself who was of Anatolian descent.

Diwani's script is a distinctive and vivid Ottoman style of Arabic calligraphy dating back to the 16th and early 17th centuries. Founded by Husam Roumi, it culminated in a major development under Süleyman I the Magnificent (1520-66). The most decorative script is divided by the complexity of the line and the clear definition of the letters in the words. Other forms include the flowing, circular Nashki text, founded by the 10th Abbasid calligrapher Ali Muhammad ibn Muqlah, and Ta'liq, based on the Persian Nastalīq style.

Well-known Ottoman calligraphers include Seyid Kasim Gubari, Şeyh Hamdullah, Ahmed Karahisari, and Hâfiz Osma.

Miniatures :

The Ottoman culture of miniature painting, handwriting, or use of dedicated albums was largely influenced by Persian art form, although it also incorporated elements of Byzantine culture into lighting and painting.

Carpet-weaving and textile arts :

The art of weaving carpets was very important in the Ottoman Empire, carpets were very important as decorative items, rich in religious symbols, and so on, and as a practical consideration, as was the custom to remove shoes from the living space.  The weaving of such carpets originated in the nomadic traditions of central Asia and eventually spread to communities living in Anatolia. The Turks use patterned carpets, magazines, and creams not only on the floor of the room but also as hanging on walls and doors, where they provide additional installation. And they were often donated to the churches of the temples, where they usually collected their large collections

Jewelry :

The Ottoman Empire was known for the quality of its gold and silver carpenters, and especially for the jewelry, they produced. Jewelry was especially important when it came to weddings, such as wedding invitations. Silver was the standard used, and gold was reserved for high-quality pieces; designs often depicted complex work and included Persian and Byzantine paintings. Progress in construction reflected the Ottoman court's interest in the Persian Safavid art, which, for example, became influential after the defeat of Ottoman Ismail I after the Chaldiran war in 1514.  In the rural areas of the Empire, jewelry was simple and often included gold coins, but the formation of Constantinople spread throughout the Ottoman Empire and was reflected in the Egyptian and North African metals.

Introduction To Ottoman Empire - Arts And Architecture

Brief Introduction :

Forced to evacuate their homes on the plains of Asia by the Mongols, the migrating Turkish tribes converted to Islam during the eighth and ninth centuries. By the tenth century, one of the Turkish tribes, the Seljuks, had become a major power in the Islamic world and embraced a stable life that included Islamic teaching, middle class, and taxation. However, many other Turkish groups remained nomadic and, following the Blood tradition, sought to conquer the Islamic world and gain the spoils of war. This led to a confrontation with the Seljuks in Teljuk, and to appease the nomadic tribes, the Seljuks directed them to the eastern part of the Byzantine Empire, Anatolia. The nation known as the Ottomans emerged from one of the small thieves established in northwestern Anatolia after 1071. The monarchy was named after Osman Gazi (1259-1326), who began expanding his empire into the Byzantine Empire in Asia Minor and moved to Bursa in 1326.

The Empire :

A political and local organization controlled by the Ottoman Turks. Their empire was centered in modern-day Turkey and increased its influence in southeastern Europe and the Middle East. Europe was only able to withstand their progress for a while: a change came at the Battle of Varna in 1444 when the European Union failed to stop Turkey's progress. Only Constantinople (Istanbul) occupied Byzantine territory, and its defeat in 1453 seemed inevitable. The Turks regained control of Anatolia and southeastern Europe, which lasted until the early 20th century.

Although the Ottoman Empire could not be considered a simultaneous European empire, the expansion of the Ottoman Empire had a profound impact on a continent already plagued by the tragedies of the fourteenth and fifteenth centuries and the Ottoman Turks must, therefore, be considered in any European study by the end. of the Middle Ages. The simplicity of the Ottoman Empire gained from military victory led Western Europeans to fear that the continued success of the Ottoman Empire would bring down Western political and social infrastructure and bring about the fall of Christendom. Such a great threat could not be ignored and the Europeans invaded the Ottoman army in 1366, 1396, and 1444, but to no avail. The Ottomans continued to conquer new territories.

One of the many ethnic groups in Turkey that migrated from the plateau of central Asia, the Ottomans were originally nomadic peoples who followed the ancient shamanistic religion. Contact with various stable people led to the introduction of Islam and under the influence of Islam, the Turks acquired their greatest fighting tradition, that of the bloodthirsty warrior. Well-trained and highly skilled bloodthirsty heroes strive to conquer this believer, gain land and riches in it.

While the bloodthirsty warriors fought for Islam, the largest military property in the Ottoman Empire was a permanent paid army of Christian soldiers, the Janissaries. Originally created in 1330 by Orhan Gazi, the janissaries were Christian captives from conquered lands. Taught in Islam and trained as a soldier, court officials were forced to pay an annual tribute to the military. To meet the challenges of the bloodthirsty nobleman, Murad I (1319-1389) turned a new army into a Sultan's army. They were rewarded for their loyalty to the newly acquired land grants, and the magistrates soon rose to fill important administrative offices of the Ottoman Empire.

During the early history of the Ottoman Empire, political parties within Byzantium used Turkish Turks and military commanders as mercenaries in their war for supremacy. In the 1340's, an invasion of the Ottoman Empire led to the overthrow of the Ottoman Empire in Thrace on the northern border of the Byzantine Empire. The defeat of Thrace provided the Ottomans with a place in Europe where the next campaigns for the Balkans and Greece were established and Adrianople (Edirne) became the Ottoman capital in 1366. In the next century, the Ottomans formed the empire that took Anatolia again and again. large parts of Byzantine areas in Eastern Europe and Asia Minor.

The expansion of the Turkish Empire to Europe was in full swing in the late 14th century. Gallipoli was defeated in 1354 and a large army was defeated in the Battle of Nicopolis in 1396. The tragedy was so great that Western troops were reluctant to start a new campaign against the Turks. The emergence of Tatars under Tamerlane in the early fifteenth century temporarily delayed Turkey's development but the Ottomans soon resumed invading Byzantium and Eastern Europe. Hungarian and Polish troops were assassinated in Varna in 1444 by Murad II and the Ottoman conquest was not stopped during the reign of his son, Mehmed II Conqueror (1432-1481).

Constantinople itself was captured in 1453, sending a shocking wave across Europe, and its name was changed to Istanbul. With the fall of Byzantium, a wave of Byzantine refugees fled to the West West, carrying ancient and Hellenistic knowledge that gave added impetus to the tense character of the Renaissance.

Athens fell in 1456 and Belgrade narrowly escaped captivity during the Hungarian-led poor Janos Hunyadi's siege that same year, however, Serbia, Bosnia, Wallachia, and the Crimean Cantate were all under the Ottoman rule in 1478. The Turks demanded that the Black Sea and the northern Aegean and that many trade routes be closed when European ships were shipped. The Islamic threat was even greater when the Ottoman beachhead was established in Otranto, Italy, in 1480.

Although the Turkish presence in Italy was short-lived, it seemed that Rome itself should fall into the hands of the Muslims. By 1529, the Ottomans had invaded the Danube and besieged Vienna. The siege was unsuccessful and the Turks began to retreat. Although the Ottomans continued to cause panic during the 16th century, internal strife began to undermine the once-mighty military power of the Ottoman Empire. The outcome of the battles was over and the Europeans began to gain points for the Turks' victory.

Despite the military success of the expansion of their territory, there were still organizational and governmental problems within the Ottoman Empire. Murad II attempted to limit the influence of the nobility and blood by elevating slaves and janissaries to positions of responsibility. These rulers came to give another voice to that of the nobles and, as a result, Murad II and successive Sultans were able to play one team against another, a feature that would suit the Ottoman Empire. The power of the janissaries' rulers often overshadowed the weak sultan and the elite army occasionally acted as "king's servants".

Another weakness was that primogeniture was not used in Islam and that the transfer of power from the deceased to his son was often opposed. When the Sultan died without a male heir or left several sons, the succession was violently opposed. In the first instance, to prevent further controversy, all male relatives of the newly crowned sultan were assassinated. Later, however, former rivals were arrested for life. Some historians have noted that this policy of imprisonment contributed to the decline of the Ottoman Empire as mentally and politically unstable individuals were released from prison and placed on the throne. However, in addition to the usual succession issues, the Ottoman Empire was able to produce effective leaders by the end of the Middle Ages and a comprehensive government policy was developed.

Despite the difficulties of succession and administrative control, the Ottomans had many advantages that contributed to their success, the great wealth of the State being the most valuable asset. As the Ottoman Empire grew, it gained control of trade routes to the East, and many European powers, such as Venice and Genoa, paid exorbitant fees to access these routes.

Although the brutality of the "Infidel Turk" brought fear into the hearts of all Christians toward the end of the Middle Ages, the Ottomans generally allowed religious groups to continue their practice in the conquered lands. They also tend to maintain established institutions and, in many cases, allow for the co-existence of racial and religious law codes. Their administrative and government systems were well developed and very efficient and many countries under Ottoman rule were well-governed during this time.

Seljuk Architecture - Arts and Architecture

 Seljuk Arts and Architecture in Persia, scarcely recognized as a distinct style before 1930, now comprises a repertoire of about fifty monuments and is increasingly regarded as one of the world's great architectural styles. A number of important monuments have been recorded within the last decade, still, many more come to light, Each discovery reveals new merits in structural inventiveness; double domes, ribs wider, vaults, taller minarets, and in decoration: stucco mihrabs, opulent and expressive overall arabesque networks, and in brick ornamentation patterns and bondings of infinite variety, vigor, and originality.

The power and nobility of Seljuk Arts and Architecture are doubtless best exemplified by the Masjid - i- Jami of Isfahan, one of the greatest buildings in the world. As a magnificent structure in a city chosen to be Persia's capital during widely separated epochs and under a variety of rulers, the Isfahan Jami is not purely Seljuk, but those portions which date from Seljuk times are yet is chief glories.

More than 900 years of Persian architecture revealed in this great mosque 20 distinct structures, varying in date from the 11th century. During its long history, it has been much fought over, repeatedly damaged, reconstructed, and all but ruined.

A four-iwan court is enclosed by arcades and two-story open galleries faced with mosaic faience on buff brick.  A deep iwan, embellished with especially strong faience revetments opens into a spacious domed sanctuary built, as the inscription state, by order of Nizam al Mulk at the beginning of MAli Shah's reign. Some of the earlier buildings are still visible, however, and it's probable that the lower section of this sanctuary itself dates from the late 10h century. The chamber supports a huge dome. The squinches are supported by huge cylindrical piers. The sanctuary is surrounded by arcades and corridors covered by an amazing variety of domical brick vaults. Frequently these vaults ret on columns that vary in date from pre-Seljuk to Safavid period. All of the iwans were rebuilt or redecorated on a Seljuk base, showing that the basic plan of the Jami existed during the Seljuk period.

Aesthetically, the most important unit in the Jami is the small but superlative north dome known as the Gunmbad - i - Kharka, dated 1088 and located at the opposite end of the central axis from the sanctuary. This is perhaps the most perfect dome known. In each corner, four small arched breaks form frames of Slender angle colonettes from the lower squinch extension. From Floor level, these colonettes lead the ee swiftly u to the typical tri-lobed squinch. The squinch itself is enclosed by a larger arch that, together with identical arches along the sidewalls, supports an octagonal ring of 16 shallow panels merged with the base of the dome.

All arch forms, including the dome, are of the same contour and constitute the key element of motif that, beginning in the corners, with successive comprehensive enclose one element within other until their multiplicity is resolved and merged in the dome. The dome is thus a culminating point in a vertically rising stream of force. 

There are some significant features of the building which are easily overlooked. The ceiling of the dome is ornamented by a huge cinquefoil in low relief which is assimilated to a five-pointed star. A section of these motifs penetrates at five spaced intervals from the periphery.

A beautiful little madrassa, the Hedariya is also in Qazvin, today incorporated into a large 19th-century mosque. Perhaps the finest Kufic inscription in relief in all Persia is in its stucco frieze. Its carved stucco mihrab is massively rich. The large Masjid I Jami at Qazvin is impressive by virtue of its serene sanctuary space, capped by a large dome. 

Several important Seljuk mosques, in the style of the Isfahan Jami, survive in relatively good condition: the Friday Mosques at Artisan, Zaware, and Gulpayagan and the shrine of Bayazid at Bistam, a brick minaret. The great Seljuk monuments of central Persia were rivaled by several structures built to the northeast, in Khurasan and the region of the Oxus. Of these, the gigantic RAbat-i-Malek Built before 1078  between Bukhara and Samarkand, is one of the most imposing ruins of the Islamic period. Only part of one wall of the Caravanserai remains. 

Sultan Sanger was buried at Merv mausoleum worthy of a noble and tragic figure. Constructed after his death in 1157 by devoted followers, this tomb is a solemn cubical chamber, about 90 feet high. The interlocking framework of the ribs seen on the interior seems to carry the weight of the dome but, in reality, it may be more decorative than structural. Brick latticework at the corners admitted light to the corridor around the base of the dome, further developing the tomb of Ismail Samanid. This mausoleum is the last, and one of the finest, examples of Seljuk Arts and Architecture.

The Seljuks - Arts And Architecture

 

Seljuk architecture, Nobel and powerful, structurally invented and sophisticated, was neither sudden nor accidental. Rather it was the culminating expressions of a Persian renaissance that had begun in the early tenth century with the Samanids. this renaissance reached its apex under the Seljuks.

Cultural Background :

''Seek ye Knowledge even unto china''  commanded the Prophet Muhammad S.A.W.W and next to prayer, learning was regarded as the most sacred, preferable even to unreasoned piety. The productive stimulation of different, snd often competing, society was steadily enlarging and energizing Islamic culture life and thought. Most significant was the appropriation and preservation of classical Greek culture. Through well-organized translations financed by Caliph Mamun, Greek Philosophy and science Became known in Persia. Galen, Plato, and Aristotle were assiduously studied in all leaders of Persian thoughts.

During the 10th century, however, Persia again produced its own constellation of poets, Philosophers, mathematicians, astronomers, physical scientists, historians, and geographers most of them are brilliant, many of unequaled eminence, all with a high degree of originally, boldness, and cultural breadth. In comparison, the same years in Europe were dark indeed.

By far the most important element in the initiation of the native Persian revival was Firdawsi's poem Saha Nama, completed in 1010. One of the epics, it's entered immediately and permanently into the heart of the nation. In all of his 60,000 couplets he used no more than 984 Arabic expressions, the rest were purely Persian. He restored to the Persians the use of renovated magnificent language, created new confidence and patriotism.

The rulers, a number of the true scholars and even poets, rivaled each other in a patronizing poet, artists, and scholars. The honor of being a patron was regarded as the obligation of royalty and a valid claim to status and public esteem. The libraries of time tell the story of a widely shared culture, in which learning was revered. Sahib ibn Abba, vizir of the Buyids and successful ruler of most Persia before his death in 996, had a vast library of certainly more than 2000 volumes. Each mosque had a collection of books. The cadi of Nishapur designated a house with a library especially for the use of visiting scholars and even supplied them with living expenses. One famous library was complied by Abdul-ad dawla installed in a special building in Shiraz.

Both Buyid and Seljuk periods produced some of the most remarkable textiles ever achieved and the pottery, mostly from Nishapur and Samarkand, is among the finest ever made.

The second half of the 9th century saw the appearance of a number of encyclopedias and histories. The learned profession produced a number of great thinkers, components in many areas: Al Razi, physician, chemist, and physicist whose influence spread to make contained much valuable historical and even archeological material. He created a systematic star catalog, tables, and instruments. mathematics and astronomy were vigorously summarized in a Persian encyclopedia of 976, The key of the sciences, A group called the '' Brethren of sincerity'', published valuable commentaries.

Ibn Sina was a born mathematician, poet, and astronomers who made important contributions to physics and was one of the world's first great figures in medicine and his medical treatise were basic texts at Oxford as late as the 17th century.

Omar Khayyam was also an original philosopher and a great mathematician. He recognized 13 different forms of cubic equation in 1074. Al-Ghazali, a man of intellectual power, deep feeling, and utter dedications, was an outstanding poet and philosopher.

Into highly developed civilizations came the conquering Seljuks, an Iran- Turkish stock, Their leaders already familiar with the Persian culture established in Central Asia.

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Taj Mahal - Architecture In India

 Historical Background :

• Taj Mahal is a mausoleum complex built by Shah Jahan (1632-1643) in memory of his favorite wife, Arjumand Banu Begum better known by her title ''Mumtaz Mahal''.
• Construction of the building began shortly after Mumtaz's death.
• Today Taj Mahal is recognized as the most perfect building in the world.

Taj Mahal

Background :

• According to Islamic traditions, a woman that dies during children's birth gains the status of martyr.
• In 1631 Mumtaz passed away during the birth of her 14th child.
• According to legend, with her dying breath, she secures a promise from her husband to built for her, a mausoleum more beautiful than any the world had ever seen.
• 6 months after the death of his wife, Shah Jahan lays the foundation for a memorial near the river Jamna near his Palace in Agra.
• To satisfy his Artistic obsessions, vast quantities of white marble are mined from Rajhastahn and are carried 250 miles to the site of the Taj Mahal.
• The emperor reserves white marble for imperial building only.
• Red stone carted from Dehli.
• 20,000worker who labored over 20 years to build the monument.

Architectural Breakthrough :

• In Indian architecture, the trabeation system was widely used for the construction of temples.
• The Mughal introduce the concept of the arch to India and create very wide interior spaces.
• Although the essential style was Islamic, any of the details are Hindu/Indian.
• The Mughal introduced the use of ceramic tiles and precious stones for inlay work.

Engineering Breakthrough :

• The Taj Mahal was built next to the river Jumna.
• The Mughal Enginner's dug deep wells to below the water surface.
• These wells were filled up with vocals and mortar.
• On top of Well bases, the master builders erected stone columns, linked together by massive arches.
• This engineering innovation has been protecting the Taj Mahal from the currents of the Jumna river to date.

Minarets Optical illusion :

• The minarets of the Taj Mahal built to lean slightly outwards.
• Depending on each other, they look perfectly straight.
• This brings a massive advantage.

Dome :

• Today we can build a dome-like Taj Mahal using steel frames and other materials.
• The master builders of the Taj Mahal had to solve this problem in stone.
• They Laid stone on stone and built up the stone in rings.
• The dome rises layer by layer.
• The mortar between the stones gives its stability.

Design Components :

Minarets :

The tomb of Shah Jaha's own father provides the model for minarets.

Minarets

Corner Turrets:

Shah Jahan great grandfather. Akbar tomb had four corner turrets surrounding the central core.

Pishtaq :

The four Pishtaq is inspired by his grandfather Tomb.

Dome :

The dome is inspired by Ulugh Beg Madrasa in Samarkand.

Inside Dome

Religious Symbolism :

Taj Mahal is the architectural embodiment of this life and the next according to Islamic belief.

The ground plan represents this duality of life and the afterlife.

The complex is split between its tomb garden and mausoleum.

Colour Scheme :

The color scheme of the Taj Mahal is deeply symbolic.

The worldly elements and other buildings are all clad in red stone.

The pure white stands for the Spiritually and faith of the person buried here.

The Garden :

The Garden is the heart of the Taj Mahal.

It is an earthly representation of paradise described in the Quran.

The garden is divided into four squares.

Chahar Bagh

The channels along the paths represent the river of paradise milk, honey, wine, and water mentioned in the Quran.

Where the channels meet, there is a pool.

European Influence:

The Taj Mahal itself demonstrates the link between India and Europe.

Technique and Motifs traveled from Europe to adorn the entire interior of the Taj Mahal.

These mosaics of semi-precious stones are called Pietra dura.

Pietra Dura

This craft was used to decorate precious places during the renaissance.

This technique directly or indirectly traveled from Italy to India.

Unfortunately, no chronicles record the name of the artist who decorated the Taj Mahal.

Burial Chamber :

The coffin seen in the Mausoleum is only a cenotaph an empty monument.

Mumtaz Mahal lies in a secret marble chamber below the Taj Mahal, where she rests undistributed.

Here is the view of the Taj Mahal :

Tomb of Itimad-ud-Daula - Architecture In India

Itmad-ad-daula was the little bestowed upon Mirza Ghiyas Beg by emperor Jehangir.

According to Persian descent, Mirza Ghiyaz Beg became the first wealthy and became Prime Minister under Emporer Jehangir.

His daughter, Nur Jahan, later married the emperor and sent a mausoleum to honor his father's memory at his death in 1622 AD

Itimad-ud-daula and his wife are buried in the central chamber, his brother and sister and other members of his family occupy the four corners.

The Mausoleum was commenced in 1622 A.D and complete in 1628 A.D.

Many artifacts of the tomb symbolize the Taj Mahal.

Itmad-ud-din Daula was the first Mughal building to be completely enclosed with marble and heavily used in Pietra dura, a marble installation associated with the Taj Mahal.

Architectural Features:

The Tomb of modest scale, built on low lt form that is 4 feet high.

It has a square plan measuring  68'- 10', subdivided into 9 chambers, with 4 corner octagonal towers in form of minarets.

The kiosks of minarets consist of small hemispherical cupolas resting on small arches supported by 8 pilasters.

The roof pavilions impart a distinct  Hindu feel in its use of Bengali roof , completed by wide overhang, or eaves

Sandstone pathways lead up to the main tomb.

Each facade has a central arched entrance, flanked by two arches that are filled by beautiful marble screens.

Fine corbels support a marble tracery running along its length.

The platform and tomb are embellished with mosaics and Pietra and pietra dura inlay work of stone. 

Inlay marble art was practiced for many years, but this was the first attempt to imitate Persian Persian ornaments and tile work.

The interior is a series of rooms and corridors arranged around a verandah that contains the central chamber containing cenotaph.

The square roof Pavillion above the central chamber allows the light to filter down through its marble screen to washover the two yellow cenotaphs of Itimad ud Daua and his wife.

Muqarana squinches decorate the soffits of corner chambers and the main hall.

The surface above the dados has regularly distributed niches, alcoves, and decorative panels that allow for variation in decoration.

Fatehpur Sikri - Agra - Architecture In India

• Fathepur Sikri is a Palace complex, built by the Mughal Emperor Abar in 1571- 1585 A.D.
• One of the well-known Architecture in India.
• The palace building is located on a hillside about 100 feet [40 m] above the artificial lake.
• Akbar is responsible for the use of residence veneer, which gives the complex its characteristics hue.
• There were two main stages in the construction of this building.
• 1572 to 15757 A.D., when the main building was raised and finished.
• 15757 to 1585, when passage and corridor added to building according to the need of the emperor and his family.
• The complex served as the residence of the emperor for 14 years. in 1585 A.D. following a political and geographical shift of the empire, Akbar and his court satisfied transferred their residence to Lahore.

Architectural Features :

The following are the Architectural features of Fatehpur Sikri, Architecture in India.

1. Market.
2. Shop lined road.
3. Karkhana or workshop.
4. Octagonal Baoli.
5. Hiran Minar.
6. Hathipul or Elephant gate.
7. Daulat kahana (aam o Khas) or Diwan e Khas.
8. Kawabghah.
9. Daftar Khana.
10. Hammam.
11. Courtyard of panch MAhal.
12. Jadh Bai Palace.
13. Raja Birbal house.
14. Serai.
15. Courtyard of Jami mosque.
16. Jami mosque.
17. Tomb of Saikh salim chishti.
18. Tomb of Isa khan.
19. Buland Darwaza.

• It is situated on a long narrow ridge of Redstone that runs southwest to northeast.
• The building inside the complex is rotated 45 degrees.
• It is surrounded by enclosed walls that enclose the irregular place by about 2 miles and 1 mile long.
• The whole complex is spread in the three Plates.
• The mosque complex is located on the uppermost level of the ride and consists of a great mosque. The palace complex is laid out on the two lower platforms, covering 250 m sq.
• The building of the complex can be grouped into two main zones.
• The middle plateau is most private, housing the residential buildings, Birbal palace, Jodh Bai palace, Shahi Bazar, and Mina Bazar.Other buildings such as caravanserai, the Hiran Minar tower, hammam.
• The dominant material used is red stone.
• The building can be divided into two classes, the Religious and the secular.

Jami Mosque :

• The Jami Mosque at Fatehpur Sikri, Architecture in India, was built by Akbar in 1571.
• It covers a rectangular area measuring 542 X 438 and a large yard.
• The mosque follows the standard plan form with the central courtyard.
• The sanctuary facade consists of a large rectangular Pishtaq in the center.
• Above and behind these central features rises a large dome over the central nave.
• Arrange pillared kiosks all along the entire parapet.
• The nave is a square hall entered through three doorway.
• The aisles are accessible by highways from the nave. In the center of each hallway is a small church building, covered with one of the two smaller domes.

Buland Darwaza :

• Buland Darwaza is a gateway built by Akbar about 25 years after the Jami Mosque.
• The gateway is 134' high and 42 steps.
• The structure is 130' wide and 123' deep.
• The facade is embowed by the means of 3 planes comprising a large central face and a lesser one on each side.

Buland Darwaza from Inside

• The central plane is 86' wide and rectangular in shape.
• The smaller planes are in three kevels varied opening at each stage. The main feature of the decorative treatment of the exterior facade is the wide border of the gate.

Tomb of  Salim Chishti :

• It is located in the courtyard of the Jami Masjid at Fatehpur Sikri.
• Originally a sandstone structure, it was transformed into an expensive marble structure.
• The tomb consists of a 24-sided square exterior of the '16-sided chamber', all covered by a lower dome.
• A wide verandah is carried out the outside.
• There are carved brackets all around to support the extremely wides eaves.
• The pillars that make up the porch with their honeycomb capitals.

Jodh Bai Palace :

• Jodh Bai palace is a structure built as the house of the principle, Queen.
• Mariam was a Hindu, and the palace in all its construction and all its ornamentations belongs to the Hindu and Jamia style of Mariam's native country, Rajputra, It even contains a Hindu temple.
• The palace in plan measure 215' X 320', consisting of a large central courtyard.
• To the left of the door is a small guardhouse.
• The external hall is 32' high plan.
• The outer part of the wall is disturbed only three times, once by the east gatehouse, the Pavillion hanging from the Hawa Mahal.
• One of the most interesting features is the Hawa Mahal, Here the ladies enjoy the cool breeze and the view of the lake.

Birbal's House :

• Raja Birbal was a Barhaman, who came to Akbar's court at the beginning of his reign.
• From the construction, it would appear that h the Hindu were the architects.
• Birbal's house s a two-story structure.
• The ground story is made up of two rooms and an open terrace.
• The upper rooms are covered with cupolas while the galleries have a pyramidal roof.

Diwan-i- Khas :

• The Diwan-i-Khas or a hall of a private audience is the most distinctive of the administration building at the Fatehpur, Architecture In India.
• It is not a large structure, Externally, the structure is rectangular in plan with two-story.
• The interior arrangement is quite unique.
• From the platform, a stone bridge radiates along each diagonal of the hall to connect with hanging galleries that surrounded its upper portion.
• The idea behind the arrangement is that the emperor would occupy the central position.

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Qantaret Harba Bridge - Samarra - Iraq

Qantaret Harba Bridge

• Qantaret Harba is a bridge located in the vicinity of Balad's rail station, a city ninety kilometers north to Baghdad.

• It lies on the main road connecting Baghdad to Samarra and Tikrit.

• The bridge was named after the town of Harba that lies to its southwest.

• It was built in 1228 at the beginning of the caliph Al- Mustansir's reign as part of the irrigation project implemented to provide the neighboring ton and villages with water after a sudden change of the Tigris river course.

• It bridges the Dujail canal.

• The bridge is built with burnt bricks and topped by the same material laid in a fish scale pattern. 

• It is supported on four arches alternating three niches measuring 1.5 meters each.

• The two side arches measure 5.5 meters while the central ones measure 5.8 meters.

• Overall, the bridge is 54 meters long and 11.8 meters wide.

•  The three arches now buried in the earth are as high as their springer while one of the two in the middle remains uncovered and is the only way the Dujail canal flows from time to time.

• The bridge is mostly known for its inscription running above the arches to a length one of the hundred meters on each side. 

•  It is made of pieces of brick in the ala Gaza technique, meaning rotating, where the edges of the project are large enough to face the problem.

• This technique of cutting and hewing bricks is very different from the traditional carving method. 

• The inscription on the bank is similarly made of pieces adorned with geometrical patterns and is framed from above and below with three bands of burnt bricks cut in the same way.

• The inscription content praises Al-Mustansir for his irrigation activities, and for the bridge that connected both banks.

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The Abbasid Dynasty - Islamic World

The Abbasid Dynasty

The Abbasid Caliphate, which ruled the Islamic world, look to the golden age of Islamic culture. The empire ruled the dynasty from 750 to 1258 AD.  The Abbasid Dynasty is one of the longest and most Influential Islamic Dynasties. In its earlier history, it was the largest empire in the world. It had contact with distant neighbors such as the Chinese and Indians in the East, as well as  Byzantines in the West, allowing it to transform and integrate ideas from these cultures.

The Abbasid  Revolution:

The Abbasid Dynasty displace the leading Umayyad Dynasty, which was based in Damascus, Syria. The Umayyads had become unpopular especially in eastern regions of the Caliphate. The Umayyads favored Syrian Arabs more than any other Muslims and treated street criminals, newly converted Muslims, as second class citizens.  The most number of group of street ruffians were the Persians, who lived side by side with Arabs in the east who were angry on the favor shown to Syrian Arabs.

Together, they were opportune for rebellion. Other Muslims were angry with the Umayyads for turning the caliphate into an inherent dynasty. Some believed that a single-family should not hold power, while Shiites believed that true authority belongs to the family of the Prophet Muhammad SAW through his son-in-law Ali, and the Umayyads were not part of Muhammad's family.

All the various groups that were angry with the Umayyads gathered under the Abbasids and began to rebel against Umayyads in Persia. The Abbasids built a union of Persian street criminals, eastern Arabs, and Shiites. The Abbasid were able to gain Shiites support because they claimed descent from Muhammad SAW uncle Abbas. Their Descent from Muhammad SAW was not through Ali, as Shiites would have preferred, but Shiites still considered that Abbasids better than the Umayyads.

  

The  Persian general, Abu Muslim, who supported Abbasid claims the power, led the Abbasid forces. His victory allowed the Abbasid leader Abul Abbas al-Saffah to enter the ruling Shiite city of Kufa in 748 and declare himself ruler. In 750, the army of Abu Muslim and Al-Saffah confronted the Umayyad ruler Marwan II at the battle of Zeb near the Tigris River. Marwan II was defeated, fled, and put to death. As- Saffah captured Damascus and Slaughtered the remaining members and the Umayyad family. The Abbasids were the new caliphate rulers.

The Early Abbasids:

The Abbasids had led to a change in policies that the Umayyads did not like, but those big changes that were expected were disappointing. Under the 2nd Abbasid ruler Al- Mansur, it became clear that much of the Umayyad past would b continue. The Abbasids retained to control the caliphate heritage, forming a new empire. The alliance with the Shiite was short-lived, and the Abbasids became master of Sunni religion, supported the local authority over the family over Ali, and continuing the conquest of the Shiites. Even the Abu Muslims, the brilliant Persian general who invented the Abbasids, was considered a threat and executed. However, the Abbasids had proved faithful to their ranks as the heir of Persian street criminals. In fact. The Abbasid culture was to be dominated by the Persian civilization. The Abbasid court was heavily influenced by Persian culture, and members of the powerful Persian Barmkid family served as advisers to the caliphs and quarreled over wealth and power. 

One of the first and most important changes made by Abbasids was to move the capital of the Islamic state from the old Umayyad power base of Damascus to the new city of Baghdad. Baghdad was founded in 762 by Al-Mansur on the bank of the Tigris River. The city was round in shape and design from the beginning to be a great capital and the center of the Islamic world and was built near the Persian capital Ctesiphon, and its location reveals the desire of the dynasty to confirm Persian culture. 

Baghdad grew rapidly with the encouragement of the Abbasid dynasty, and it soon becomes the largest city in the world. In Baghdad, the Persian, culture that the Umayyads had tried to suppress was now allowed to flourish, Art, poetry, and science flourished. the Abbasid learn from Chinese, the art of making paper. Cheap and sturdy, paper became an important means of spreading literature and information.

Decline :

Due to several very capable caliphs and their advisers, the Abbasid caliphate prospered in the early ninth century, despite the great challenges of governing a vast and diverse empire. In addition to being a senior arts and sciences Parton, Harun al- Rashid also brought the Abbasid leadership to the next level. Still, he had to cope with revolts in Persia and North Africa, and he removed from the Persian Barmakid family, the source of great advisers. Al Rashid son, Caliph Al-Ma'mun not only continued his father's patronage by establishing the house of Wisdom,  but he made a number of important independent innovations.

Al-Mamun adopted the radical Mu'tazili theology, which was influenced by Greek philosophy, and held that gid could be understood through ration inquiry, and that belief and practice should be subject to reason. He established the minha, an inquisition in which the adherence of scholars and officials to Mu'tazili theology was tested, and they could be imprisoned or even killed if the did not follow theology.

As a result, al- Mamun region saw a growing division between the Islamic State and the Muslim community. This division was exacerbated by his creation of an army of central Asian soldiers loyal to him alone, during al Mamun reign, the provincial governors called emirs became more independent.

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