Built in the 14th century under Sultan Muhammad V, this courtyard was the zenith of Islamic architecture in al-Andalus.

One enters through a hall with the most exquisite stucco work supported slender columns.
In fact a delicate arcade of 124 slender marble columns, surrounds a white marble fountain held aloft by twelve lions, each one slightly different, as if caught in motion, guarding time itself.
The Islamic concept of water as a sacred, divine mercy was introduced into architecture based on descriptions in the Quran into Spain by the Umayyads and later Muslim kings.
This courtyard takes it further as it was designed on the same principles as a
microcosm of paradise, a space where the murmur of water, the play of light, and the symmetry of design bring the divine into the earthly realm. The lions, though seemingly at odds with Islamic aniconism, symbolized strength, sovereignty, and the fusion of cultural motifs from East and West, including Jewish and Christian influences.
As per the charbagh concept there are four narrow rills, representing the 4 rivers of paradise surrounding the 12 sided basin.
The fountain’s hydraulic design was an engineering marvel of its time.
Poets once described this court as “a pearl set in emeralds,” and indeed, it is a place where poetry, politics, and paradise meet—where the dream of Al-Andalus still lingers in stone and silence.
The fountain basin in the Court of the Lions (Alhambra, Granada) features an Arabic poem by Ibn Zamrak, the vizier and court poet of Sultan Muhammad V in the 14th century.
“…Can you not see how the water flows into the basin,
But it is hidden immediately by its pipes?
It is like a lover whose eyelids overflow with tears,
Tears that hide for fear of betrayal…”
Ibn Zamrak
(translated by D. Cabanelas and A. Fernández Puertas)

now check with this painting

Ibrahim Ibn Adham of Balkh Served by Angels
Probably by Mir Kalan Khan (active 1730-75)
From the Read Mughal Album
India, Mughal, Awadh,
circa 1760

“After a spiritual awakening, Ibrāhīm Ibn Adham (d. 798), an eighth-century ruler of Balkh, renounced his kingdom and wealth to become a wandering dervish. Part of his spiritual awakening happened one night when he heard people on the roof of his palace…Rūmī (1207–1273), a later Sufi mystic, also born in Balkh, recounted Ibrāhīm’s story in his six-volume poetic work, the Masnavī. Legend has it that Khiżr, the immortal guide of the Sufi, played a role and that Ibrāhīm, regarded as a spiritual ancestor of the Chishtī Sufi order, was fed by angels”
Read more: https://www.themorgan.org/collection/treasures-of-islamic-manuscript-painting/85#

there are two verses inscribed on this vase :
“To a gazelle l had.
Oh gazelle!.
you always graze in my garden, lonely and dark-eyed like me: we are both alone with no maste.
Let us bear the sentence of fate patiently!”
by Qasmūna bint Ismail, a 12th-century Jewish poetess of al-Andalus—and one of the very few known female poets.

And
“You left me, oh gazelle!,
bound in the hands of misfortune.
Since you deserted me,
I have known no pleasure in sleep.”
by Ibn Zaydūn (1003 to 1070 CE) one of Andalusia’s most famous poets.

This vase is housed in the museum in Alhambra palace, Granada Spain.
Crafted in the time of Sultan Muhammad V (c. 1370–1380), the Vase of Gazelles, made possibly for the palace of Granada, is not merely a vessel, it is a lyrical fusion of art, poetry, and symbolism, representing the pinnacle of Nasrid ceramic craftsmanship in al-Andalus.

The vase’s elegance is as much technical as it is aesthetic. It reflects the remarkable advancement of ceramic techniques in the Islamic world: lusterware, intricate figuration, and cobalt blue overglaze set against earthy tones. The inscriptions and interlacing motifs echo architectural patterns, mirroring the refined synthesis of art and intellect that defined the Nasrid court

In poetry the characteristics of each animal are symbolic. Power and strength in the case of the lions, or the speed of the doves which act as messengers, while the delicate nature, speed and sweetness of gazelles in poetry have been used to symbolise the soul, the lover or longing for the lover.
From the fine curves of the calligraphy to the rhythmic symmetry of vegetal motifs, every detail of this vase speaks to a world where beauty was divine, and even the everyday object could become a vehicle for transcendence.

As we behold this masterpiece today, we see not just a vase, but an entire world contained in clay, pigment, and poetry.

Built in the 14th century under Sultan Muhammad V, this courtyard was the zenith of Islamic architecture in al-Andalus.

One enters through a hall with the most exquisite stucco work supported slender columns.
In fact a delicate arcade of 124 slender marble columns, surrounds a white marble fountain held aloft by twelve lions, each one slightly different, as if caught in motion, guarding time itself.
The Islamic concept of water as a sacred, divine mercy was introduced into architecture based on descriptions in the Quran into Spain by the Umayyads and later Muslim kings.
This courtyard takes it further as it was designed on the same principles as a
microcosm of paradise, a space where the murmur of water, the play of light, and the symmetry of design bring the divine into the earthly realm. The lions, though seemingly at odds with Islamic aniconism, symbolized strength, sovereignty, and the fusion of cultural motifs from East and West, including Jewish and Christian influences.
As per the charbagh concept there are four narrow rills, representing the 4 rivers of paradise surrounding the 12 sided basin.
The fountain’s hydraulic design was an engineering marvel of its time.
Poets once described this court as “a pearl set in emeralds,” and indeed, it is a place where poetry, politics, and paradise meet—where the dream of Al-Andalus still lingers in stone and silence.
The fountain basin in the Court of the Lions (Alhambra, Granada) features an Arabic poem by Ibn Zamrak, the vizier and court poet of Sultan Muhammad V in the 14th century.
“…Can you not see how the water flows into the basin,
But it is hidden immediately by its pipes?
It is like a lover whose eyelids overflow with tears,
Tears that hide for fear of betrayal…”
Ibn Zamrak
(translated by D. Cabanelas and A. Fernández Puertas)

During the Islamic period, a mosque was built on the site, and its minaret—believed to be one of the oldest in Spain—was later repurposed as a bell tower. A brick upper section was added by Christian builders, but much of the original Islamic decorative detailing, such as friezes and carved arches, was preserved. When the mosque was converted into a church in the 12th century, it wasn’t entirely demolished but adapted, preserving what came before.

What struck me most was how Toledo allows history to rest, not become contested. These are living churches, still in use for worship, yet open to the idea that history matters—even if it’s from another faith. In recent years, many such sites have undergone careful excavation, and the findings—fragments of mosques, earlier churches, tombs—are preserved in situ and respectfully displayed. The Church of El Salvador is a beautiful example of this.

Visitors can walk through marked subterranean passages that take you beneath the current church, into the remains of the mosque and even earlier Christian elements. These archaeological discoveries include horseshoe arches, Islamic inscriptions, Visigothic capitals, and reused Roman stonework—all held together in a remarkable palimpsest of history.

This layering of Visigothic, Islamic, and Christian periods doesn’t just reflect architectural evolution—it mirrors the soul of Toledo itself, a city shaped by confluence, not erasure.

#ChurchOfElSalvador #ToledoSpain #HistoricArchitecture #ArchitecturalHeritage #CulturalLayers #SacredSpaces #LivingHistory #ReligiousArchitecture #IslamicSpain #VisigothicHeritage #MoorishSpain #MosqueToChurch #MudéjarArt #AndalusianLegacy #ArchaeologicalSite #LayersOfHistory

Originally known as Mezquita Bab al-Mardum, it remained unchanged for centuries. After the Christian conquest of Toledo in 1085, it was converted into a chapel. Legend says King Alfonso VI discovered a hidden crucifix here, marking the site of the first Christian Mass after the reconquest.

In the 12th century, a Romanesque apse was added, blending Muslim craftsmanship with Christian symbolism—an early and rare example of Mudéjar art. You’ll also spot Visigothic elements in the reused columns and capitals.

Today, the Mezquita is a peaceful monument open to visitors, a living reminder of Toledo’s layered heritage—Islamic, Visigothic, and Christian—all under one small, breathtaking roof.

# #MezquitaDelCristoDeLaLuz #IslamicArchitecture #MudéjarArt #HistoricToledo #CulturalHeritage #HiddenGemsSpain #SpainTravel #AndalusiLegacy #MedievalSpain #ArchitecturalWonders #ReligiousHeritage #HistoryLovers #TravelBackInTime #PuertaDelSolToledo #SpanishMonuments #UNESCOHeritage #MuslimChristianFusion #SacredSpaces

Toledo, Spain—often called the “City of Three Cultures”—has a rich and layered history shaped by its Jewish, Christian, and Islamic heritage.
During the Middle Ages, Toledo became a major cultural and intellectual center. Scholars translated Arabic and Hebrew texts into Latin and Spanish here, helping preserve and transmit classical knowledge to Europe. Its skyline, marked by the Alcázar, cathedral, synagogues, and mosques, reflects this confluence of civilizations.

Today, Toledo is a UNESCO World Heritage Site, known for its medieval architecture, El Greco’s artworks, and its enduring spirit of cultural coexistence.

#synagogue #toledospain #spain #mudéjar #architecture #horseshoearch

Today, the East Side Gallery stands not only as a historical monument but also as one of the largest open-air art galleries in the world. Each mural carries its own symbolism, often blending satire, protest, and dreams of unity.

Walking along the East Side Gallery is both a powerful reminder of Berlin’s Cold War past and a celebration of its reunification.
If you ever get the chance, don’t miss this open-air gallery—over 1.3 km of murals by artists from around the world, each telling stories of freedom and dreams for a better future.

The wall paintings of Shri Guru Ram Rai Darbar Sahib in Dehradun are a remarkable blend of artistic styles and cultural influences, reflecting the historical and spiritual significance of the site. Located in the heart of Dehradun, this Sikh gurudwara, established in the 17th century by Guru Ram Rai, features murals that adorn its walls, domes, and ceilings, offering a visual narrative of the guru’s life, times, and the rich traditions of the region.
These murals are a fusion of Mughal, Kangra, and Rajasthani painting styles, infused with a distinct Garhwali flavor. They were primarily created by Tulsi Ram Mistri, the chief artisan of the Darbar, whose self-portrait can still be seen near the entrance gate.
#dehradun #ramrai #jhandabazar
#dehradun #jhandamela #gururamraidarbar #gururamrai #jhandabazar

As you leave the village and enter the open fields, the towering bastions and earthen ramparts of a massive fortress come into view.

“The #fortress ruins once spanned over four miles, surrounded by 30-foot-high earthen #ramparts with bastions rising 50 to 60 feet. Shallow depressions near the ramparts indicate the presence of protective ditches in the past. Inside the ramparts, the ground is covered with bricks of varying sizes, some likely remnants of ancient walls. Narrow pathways, likely the tops of buried walls, wind through the ruins.”
These details are from a history of Kausambi by NAGENDRA NATH GHOSH, for ASI, #Allahabad in the beginning of the 20th century.

Rao Surjan Singh (r. 1554-1585) allied with the Mughals & served as governor of Varanasi and came in contact with Mughal painters. After him his son Rao Bhoj Singh succeeded him and he too spent time in the fort of Chunar like his father. It is here that they came in contact with painters of the Mughal atelier. Successors of Mir Saiyed Ali and Abdus Samad, the founders of the Mughal school of art, had finished a series of 36 ragamala in Chunar.
These were commissioned by the Hara rulers and became a template.
The Mughal style is apoarent in the Badal Mahal , with its red and gold murals. The Badal Palace as its name suggests is the top most level of the palace complex built by Rao Bhoj Singh.

When Rudyard Kipling saw the palace in in 1887 he wrote, “such a Palace [is] … the work of goblins rather than of men. It is built into and out of the hillside, in gigantic terrace on terrace, and dominates the whole of the city.”

The construction of the Bundi Fort was started Rao Surjan and his son Rao Bhoj Singh & built upon by successive rulers, each adding his own palace.

Bundi paintings, characterized by meticulous brushwork, are small in size. They are crafted with natural colors derived from minerals, vegetables, precious stones, silver, and gold.
The Cloud Palace, or Badal Mahal, within Garh Palace boasts some of southern Rajasthan’s finest paintings. Vibrantly colored depictions of Krishnas and Radhas encircle the vaulted dome, accompanied by murals portraying Krishna’s wedding procession led by Ganesh and Rama’s return from Sri Lanka to Ayodhya.
These were painted during Rao Ratan Singh’s reign but since he was most of the time posted in the Deccan during Shah Jahan’s reign, they were probably commissioned by his son Gopinath or one of his queens.
It betrays Mughal and Deccan influence.
There are five horizontal levels, with the lowest being ragamalas in 13 niches and vertical spaces.
Above that are paintings depicting hunting, polo games,elephant fights etc from the Rao’s life.
Above that are the painted areas and a pointed arch. The arches have murals from the life of Lord Krishna and Lord Rama.
There are large frescoes on the ceiling and it is central rasmandala which takes your breath away and you realise why it is called the Sistine Chapel of India.
The mural I want to focus on today is the Lord Krishna with Radha and the Parthasarthi is being driven by Lord Ganesh. They are escorted by angels.
The vibrant red of the background ( all natural colors) contrasts beautifully with Lord Krishna’s dark blue and Radha’s red lenhga.

In 1359, Sultan Firoz Shah Tughlaq stopped at a place called Zafarabad, on the river Ganges on his way to campaign against the Ilyas Shahi rulers of Lakhnauti in Bengal. Zafarabad was a strategic point on the road to Bengal and the Delhi Sultans had long been fighting with the rulers of Lakhnauti. This probably prompted the Sultan to think of building a new city for he was a prolific builder near Zafarabad. The new city was built on the River Gomtiand named it after his cousin and predecessor, Jauna Khan who had ruled as Sultan Mohammad bin Tughlaq.

In the confusion caused in the Delhi Sultanate by Timur’sinvasion, Malik Sarwar , a khwajasara  (eunuch) who had been appointed the governor of Jaunpur in1394 with the title of Malik-us Sharq or ruler of the east, declared independence. Thus was laid the foundation of the Sharqikingdom. When he died in 1399 he left a greatly expanded empire to his adopted son Malik Mubarak Qaranfal who ruled as Mubarak Shah.

Mubarak Shah’s reign was short lived and he was succeeded by his brother Ibrahim Shah under whom Jaunpur rose in such importance that it was known as Shiraz e Hind. Shiraz was renowned in the world as the cultural capital of Persia and was one of the most important and famous medieval cities in the world. Sultan SikanderLodi finally put an end to the Sharqi dynasty after he conquered it in 1479.

A unique style of art and architecture also developed in Jaunpur where the Sultans being patrons of learning and art attracted scholars and creative talent.

My maternal family belongs to Jaunpur district and I have visited our ancestral village a number of times but somehow never went on an architectural tour till very recently on a visit with my sister Farah Naqvi.

I was stuck by the huge rectangular pylon (gateway) set with arches through which one entered the aisles of the mosque as I visited the three main mosques in Jaunpur. Made of stone these had fine carvings and latticework they are the centerpiece of the mosque structure in the AtalaMasjid, Jama masjid and Lal Darwaza. Unlike the Delhi mosques of the same period there are no minarets. Another prominent feature of the mosques at Jaunpur were the arrangements for cloisters for women to pray there. In fact in the Jama Masjid in Zafarabad which is the oldest in the area, the person in charge responded to my query of whether I could pray there with, “What else are mosques for if not to pray and take Allah’s name.” Though I have never faced any problem of praying in mosques in the ones I have visited, there is often a discussion on social media of women not being allowed to pray in mosques.

After being awestruck by the majesty of Atala Masjid and Jama Masjid we visited the tranquil compound of LalDarwaza where a seminary functions.

I was tired but when my host and guide asked me if I wanted to visit Jhanjhiri mosque I was intrigued by the name and immediately agreed. Though Gulrez is a local he too had never visited it but knew the general direction it was in. We entered the area where it was and leaving our car, as the roads were narrow set off on foot. Farmland and trees hid the sight of any mosque but since the locals assured us it was there we gladly traipsed on the mud road. And I am so glad for as we came round the bend there it was! An exquisite stone screen after which it is named (jhanjhiri means screen) greeted us.
The mosque itself is on a high mound and not much remains apart from this screen.

Sultan Ibrahim Shah built it for a saint, Saiyed Sadr e JahanAjmali. According to the 1889 Archaeological Survey of India book, The Sharqi Architecture of Jaunpur, it was probably built y the same architect who built the Atalamasjid and must have been of surpassing beauty before Sultan Sikander Lodi who conquered Jaunpur destroyed many of jaunpur’s mosques and secular buildings.

Sikander Lodi broke parts of the walls of the mosque court and the stones used for other buildings and according to the survey conspicuously for the great bridge another famous Jaunpur landmark.

As the mosque was overhanging the Gomti River once upon a time, floods ravaged its walls and all that is left is the central façade with the exquisite screen flanked by carved voussoirs and its inscriptions. Unlike the other mosques where the pylon is rectangular and the arch set inside it, here the arch soars upwards without restrictions.

This architectural gem in the middle of fields is worth a visit for it symbolizes Sharqi architecture at its best.

This gurudwara is located in Talwandi Sabo, which also has one of the five takhts of Sikhs (Takht is a temporal and spiritual seat). It is here that the final version of Adi Granth( now known as Guru Granth Sahib) was compiled by Guru Gobind Singh ji. This place was a confluence of scholars and a seat of learning ( the reason it is also known as the Kashi of sikhs)
It is said that there used to be a pond here where Guruji threw all the reeds and left over ink after the writing of Guru Granth Sahib. Thus blessed, it came to be known as Gurudwara Likhansar sahib. (Likhan-writing and sar-sarovar or pond)

#GurukiKashi
#TalwandiSabo
#GurdwaraLikhansarSahib

(With thanks 🙏 to  Gurpreet Singh )

From #travelspast
#Bhatinda #gurudwara #gurudwaradamdamasahib

Central Asia and Iran were renowned centres of advances in science and technology.

The field we are discussing today is astronomy.

As early as the 13th century an observatory was established in Maragheh  (Iran) by Nasir al-Din al-Tusi. This observatory was known for its innovative instruments and research in both astronomy and mathematics. It played a crucial role in advancing our understanding of planetary motion.

Ulugh Beg’s Observatory, was the next significant step. This astronomical observatory built in the 15th century in Samarqand, Uzbekistan. It was established by the Timurid ruler and astronomer Ulugh Beg (1394-1449) who ruled from 1411-49).

The observatory’s advancements in observational astronomy contributed to the understanding of celestial movements during that era.

Babur has commented on the observatory in his memoirs: “Another of Aūlūgh Beg Mīrzā’s fine buildings is an observatory, that is, an instrument for writing Astronomical Tables. This stands three storeys high, on the skirt of the Kohik upland. By its means the Mīrzā worked out the Kūrkāni Tables, now used all over the world.”

This observatory is now in ruins only one instrument remains.

This is the large marble sextant, also known as the “Fakhri Sextant.” This impressive instrument was used to observe celestial objects and make accurate measurements in astronomy. It had radius of 40 meters used to measure the elevation of the Sun, Moon and stars.

It was used to make precise measurements of star positions and compile a comprehensive star catalog. This catalog, known as the “Zij-i Sultani,” contained the positions of over 1,000 stars and remained a vital astronomical reference for centuries. it was copied more than a hundred times, translated into Arabic and Turkish, and parts of it were translated into Latin and published in Oxford and London in the mid 17th century.

“The basis of the trigonometric tables of the Sultānī Zīj is the very accurate calculation of the sine of 1°, which Ulugh Beg Ghiyāth al-Dīn Jamshid al-Kāshī, the senior astronomer of the observatory, calculated using new procedures to sixteen decimal places. His work the Key to Arithmetic is one of the best treatises written about arithmetic in the Middle Ages.”

https://www3.astronomicalheritage.net/index.php/show-entity?idunescowhc=603

The three astronomers  responsible for creating the  Zij were al-Rumi, al-Kashi, and Ali al-Qushji (1403-1474).

al-Qushji was born in Samarkand and was initially a student at the madrassa. After completing his studies, he moved to Persia for research purposes and produced his treatise Explanations of the Periods of the Moon. Ulugh Beg immediately appointed him as an astronomer at the observatory after reading his work. After Ulugh Beg’s death, al-Qushji left Samarqand for Tabriz where he worked under the Akkoyunlu Ruler Uzun Hasan. He spent the last two years of his life working for the Ottoman emperor Sultan Muhammad II in Istanbul. The preface of Zij-i Sultani also highlights the contributions of these three astronomers:

The work was started jointly with the aid of Qadizada-i Rumi . . . and Giyath al Din Jamshid . . . At the initial stage of the work . . . Giyath al Din Jamshid . . . passed away . . Thereafter the work was completed by Ali ibn Muhammad Qushji.”

1. Ali Qushji (Turkey): An Ottoman-Turkish astronomer, Qushji studied under Ulugh Beg and later worked at the Samarkand Observatory. He made contributions to planetary theory and Islamic mathematics.
2. Al-Kashi, whose full name was Ghiyath al-Din Jamshid Mas’ud al-Kashi, was a prominent Uzbek astronomer and mathematician from the 15th century. He made significant contributions to various fields, including trigonometry and astronomy. Al-Kashi is best known for his accurate calculations of trigonometric values and his work on spherical geometry. His most notable work, “Zij-i Ilkhani,” was a comprehensive astronomical tables that included detailed calculations of planetary positions and eclipses. His contributions played a vital role in advancing the understanding of astronomy during his time.
3. Al Rumi was a Turkish astronomer and mathematician who  computed sin 1° to an accuracy of 10is to the power of 12

The sextant

The sextant “Samrat Yantra” in Jantar Mantar Delhi built between 1724 and 1730 A.D. ,  a massive sundial that was used to measure the time of day with high accuracy is similar to it. Sawai Raja Jai Singh II had got Ulugh Beg’s Zij e Sultani/ Ulugh Begi,  translated into Sanskrit along with other astronomical works while building his 5 observatories in India.

Sawai Raja Jai Singh II also prepared tables called Zij e Mohammad Shahi to bring Zij e Sultani   up to date, for in the 297 hijri years that separated the two rulers the observed position of the “fixed” stars had changed.

Both the observatories had some similarities but it’s important to note that there are also significant differences between the two observatories in terms of their specific instruments, architectural styles, and historical contexts.

Apart from the  suds-i fakhri , the colossal meridian arc or sextant that ran through the observatory’s center, and was   placed on a north-south axis, the other instruments now lost to us would have been the I’tidal, or solar clock, made up of a wall with a concave profile. It was built on an east-west axis, perpendicular to the suds-i Fakhri so that the sextant functioned as the clock’s gnomon. The third instrument was the ustuvan, which was a rotating quadrant sector.

The decline of Ulugh Beg’s Observatory can be attributed to several factors: mainly the political instability that followed his assassination by his son. The observatory was destroyed and talented scientests and astronomers driven away.

It lay in oblivion till 1908 and no one knew its exact location till it  was rediscovered by the Russian archaeologist Vassily Vyatkin. Only its foundations and bits of the suds-i Fakhri (more specifically, the underground part of the instrument), remained. 

Vyatkin is buried at the site, according to his wishes.

Some instruments and books that would have been used in the observatory.

Ulugh Beg’s astronomical knowledge had a lasting impact on modern science in several ways:

1. Star Catalog: Ulugh Beg’s observatory produced a comprehensive star catalog known as the “Zij-i Sultani.” This catalog contained accurate positions of over 1,000 stars. Although not perfect by today’s standards, it was an impressive achievement for its time and served as a reference for later astronomers.

2. Advancements in Observational Techniques: Ulugh Beg’s observatory pioneered advanced observational techniques and instruments. His large marble sextant allowed for precise measurements of star positions. These techniques laid the foundation for modern methods of celestial observation.

3. Data Preservation: The star catalog and observations made at the observatory contributed to the preservation of astronomical knowledge. Even though the observatory’s activities declined, its records continued to be studied and referenced by later generations of astronomers.

4. Inspiration for Future Astronomers: Ulugh Beg’s observatory inspired subsequent generations of astronomers to explore the skies. The observatory’s legacy encouraged the pursuit of observational and mathematical astronomy.

5. Historical Context: The observatory’s existence highlighted the scientific achievements of the Timurid Empire and the importance of astronomy in their culture. It offers valuable insights into the history of science and its connections to different cultures and civilizations.

6. Comparison with Modern Data: While the observational data collected by Ulugh Beg is not directly comparable to modern astronomical data, it can still provide valuable insights into the changes in celestial positions and movements over time. This aids in understanding long-term cosmic patterns.

7. Cultural and Educational Impact: The observatory’s legacy contributes to cultural and educational initiatives that emphasize the historical importance of astronomy. It serves as a reminder of the contributions of past civilizations to scientific progress.

Ulugh Beg, wrote several books. Some of his notable works include:

1. “Zij-i Sultani”: This is Ulugh Beg’s most famous work, often referred to as his magnum opus. It is an astronomical treatise and star catalog that contains precise measurements of the positions of over 1,000 stars. The catalog was used for centuries as a reference by astronomers.

2. “Zij-i Gurkani”: Also known as the “Tables of the Khan,” this work is an expanded version of the “Zij-i Sultani.” It includes additional calculations and data, covering topics like planetary motion and eclipses.

The front of the museum in the observatory

What the observatory would have looked like

The back of the museum building

There are very few monuments acknowledged by name as having been built by women especially those of public utility.
Chandni Chowk built by Jahanara Begum.and Rani ki baori in Bundi and Rani ki Vaw in Patan are a few spectacular examples.
I had visited the other two now it was the turn of Bundi.
Rani ki Baori is a stepwell built by Queen Nathavati, wife of a famous King of Bundi, Anirudh Singh in 1699.
It is built on three levels and once you enter it has two fantastic arched gates with great artwork done on the pillars and statues of elephants. Interestingly while the stepwell is made of limestone the elephants are of marble.
The second gate inside the stepwell is beautiful with two different arch styles the one on top is ogee shaped and the bottom is cusped. The elephant on top is shown with trunk inwards as if drinking water.
There are images of various gods carved on the walls. The 10 avatars of Lord Vishnu is noteworthy plu a Mahisaadurmardini.
It’s clean and filled with water which itself is a boon.
#bundi #rajasthan

The Bundi Fort is amazing with it’s painted palaces and elephants

The fort has recently been leased to a private company and maintenence is being done.

#bundifort #bundi @rajasthan_tourism #rajasthan #hadoiti

A classical nayika ( heroine) pose is the enchanting one where she has stepped out of her bath and her hair is still wet..
The swan (‘s) try to catch it mistaking it for pearls.
This mural from the beautiful Chitrshala in Garh Fort in Bundi
#bundi #bundifort # chitrshala #bundischoolofart #rajasthan

“aye Khaliq har bulandi-o-pasti main tere habeeb ki beti ki kaneez hoon aur Tere habeeb ko apna mehmaan kiya hai. Tu jaanta hai ke main kya hoon. Is liye Tujhe Teri Kibriyaai ka wasta deti hoon ke aaj meri laaj rakh lay ”

Soon the house was filled with fragrance of delicious food.

I heard a lady reciting the story and sat down with and heard it, of course adding my own supplications.

May Allah grant all our legitimate desires. InshaAllah Ameen.

There was Gandhara ~ 1-3rd c (pic1)

Mathura Buddha-5th c (pic2)

Lalitgiri Orissa-9th c ( pic 3)

Ghantashala, Andhra Pradesh -1-2nd c (pic 4)
The only complaint i have is that captions were mostly in French which became a handicap for me.

Père Lachaise Cemetery in Paris is the home for eternal rest to an eclectic group of people. All religions and nationalities and ethnicities are buried here.
I visited many graves of celebrities here and will post about them in a few days. For today I am only posting about the redoubtable Malika e Aaliyah or Malika Kishwar mother of Nawab Wajid Ali Shah of Awadh on whose grave i went to recite a fatiha.
Most people say it’s difficult to find bit i went with heritage PhD scholar Laurent Glattli who researched and found that her grave is in the 85 division.

Directions:
For those who want to visit look at the map given at the entrance, walk accordingly use google maps & you will see a board saying 85 division.
A very oriental looking tomb with a Russian prince buried is on the corner. Turn right and a little ahead you will find the grave of Marcel Proust. Just beyond it sleeps Malika Kishwar.
The canopy on her tomb has fallen and there is just a square platform which stands out.
Pleaze recite a fatiha or whatever prays you want for the soul of this remarkable queen who went all the way to London to fight for her son’s right to the throne.

The Malika went to London saying that Victoria was “also a mother”; she would recognize the injustice to her son and restore his kingdom . However, initially Queen Victoria refused to grant her an audience and when she did, the Queen kother of Awadh realised that it was the Parliament that would make decisions.
The Uprising of 1857 made things worse and in 1858 she started her journey home via France hoping for French intervention.
Nothing prevailed and the brave queen died in Paris on 24th January 1858 to be buried here.
Her funeral was attended by the Ottoman Sultan’s representatives who also got a marble cenotaph built. Now only a platform remains.

Note: This post is about the grave not the queen. There is so much more to write about her which i will do later.

The first and largest tomb is of Timur’s spiritual preceptor Syed Baraka. Syed Baraka also died in 1403, and from what I gathered from the guides his body was brought here by Timur for burial.

Syed Baraka ”s cenotaph marking his grave in the crypt below
Below him in a dark green jade grave lies Timur. It is the single largest piece of jade and was brought from a Chinese palace by Ulugh Beg.

Papier mache designs

One thing that doesn’t change are the tall stories told by guides. We had our share of them in Uzbekistan too!
Our guide told us a fanciful story of Bibi Khanum, Timur’s wife, who supposedly built this mosque as a present for her husband who was returning victorious from his campaigns & the architect who wanted a kiss to complete it.
Over the years i have learnt to switch my mind off around guides, so i don’t remember it all.
I also knew that it was built by Timur on his return from India. Also that in 1398 after conquering Delhi he offered his Friday prayers at one of my favourite mosques, the Jami Masjid of Firoz Shah Kotla.
That mosque is now in ruins but it was one of the seven mosques built in the reign of Firuz Shah Tughlaq and was so magnificent that Timur took many artisans and elephants to build a similar mosque in Samarqand.
When I entered the Bibi Khanum mosque (1399-1404), opposite her mausoleum, it was with these memories.

The first thing that struck me was its similarity to the Sharqi mosques of Jaunpur. The high pishtaq (a rectangular frame around an arched opening) and the dome peeping behind it. Since the Firoz Shah kotla mosque is in ruins I had nothing to compare with.

the Begumpur mosque

the Sharqi mosque
Apart from that there’s no comparison as the Tughlaq and Sharqi mosques were made on solid stone, without surface decoration such as seen here.
The glorious blue tiles against the blazing sun are really a sight to behold.

Timur’s mosque was so ambitious and so huge that the double dome collapsed within a hundred years. It has been repaired a number of times but when we visited it, it was locked & again undergoing conservation. I peeped in to see mud walls and a muddy mihrab.
A contemporary chronicler notes that Timur brought in architects from Iran and India for the project and used ninety-five elephants to haul construction material.
The mosques of Iran are also decorated in blue tiles.
Scholars suggest, “Timur’s mosque was designed not only to continue Iranian imperial tradition, but also to symbolize his conquest of the world.”
The galleries on the sides in Bobi Khanum mosque have broken and stumps of the foundation pillars can be seen. All the three mosques were built as a central domed chamber with a high pishtaq and galleries on three sides with smaller domed entrances.