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    Confluence not Erasure: The Church of El Salvador in Toledo, Spain

    Confluence not Erasure: The Church of El Salvador in Toledo, Spain

    Mezquita/Cathedral del Cristo de la Luz – Where Architecture Tells a Tale

    Mezquita/Cathedral del Cristo de la Luz – Where Architecture Tells a Tale

    The Synagogue of Santa María la Blanca In Toledo, Spain—often called the “City of Three Cultures”

    The Synagogue of Santa María la Blanca In Toledo, Spain—often called the “City of Three Cultures”

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    Neptune Fountain in Berlin

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    Lord Buddha’s sermon in Kausambi, Allahabad and the Fortress

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    The Exquisite Badal Mahal in Bundi Part 1

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      Confluence not Erasure: The Church of El Salvador in Toledo, Spain

      Confluence not Erasure: The Church of El Salvador in Toledo, Spain

      Mezquita/Cathedral del Cristo de la Luz – Where Architecture Tells a Tale

      Mezquita/Cathedral del Cristo de la Luz – Where Architecture Tells a Tale

      The Synagogue of Santa María la Blanca In Toledo, Spain—often called the “City of Three Cultures”

      The Synagogue of Santa María la Blanca In Toledo, Spain—often called the “City of Three Cultures”

      East Side Gallery, Berlin

      Neptune Fountain in Berlin

      Neptune Fountain in Berlin

      Aligarh’s Jama Masjid

      Aligarh’s Jama Masjid

      Darbar of Guru Ram Rai in Dehradun

      Darbar of Guru Ram Rai in Dehradun

      Lord Buddha’s sermon in Kausambi, Allahabad and the Fortress

      Lord Buddha’s sermon in Kausambi, Allahabad and the Fortress

      Abu Serga Church, Cairo

      Abu Serga Church, Cairo

      The Exquisite Badal Mahal in Bundi Part 1

      The Exquisite Badal Mahal in Bundi Part 1

      Jhanjhiri Mosque in Jaunpur

      Jhanjhiri Mosque in Jaunpur

      Gurudwara Lekhensar Sahib‬ in Talwandi Sabo

      Gurudwara Lekhensar Sahib‬ in Talwandi Sabo

      Ulugh Beg’s Observatory in Samarqand, Uzbekistan

      Ulugh Beg’s Observatory in Samarqand, Uzbekistan

      Rani Ki Baori, Bundi, Rajasthan

      Rani Ki Baori, Bundi, Rajasthan

      Bundi Fort, Rajasthan

      Bundi Fort, Rajasthan

      Rock Paintings in Bundi, Rajasthan

      Rock Paintings in Bundi, Rajasthan

      A Classical Nayika in Indian Paintings

      A Classical Nayika in Indian Paintings

      Jhat pat Bibi ki kahani

      Jhat pat Bibi ki kahani

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      Jahangir ‘s Jade Cup

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      The Jama Masjid in Bodh Gaya

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      Damascus Room,dated A.H. 1119/A.D. 1707 : Met Museum

      inMy Travels
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      Above image From the gallery website

      Gallery Text

      The Damascus Room is a residential winter reception chamber (qa’a) typical of the late Ottoman period in Damascus, Syria. Among the earliest extant, nearly complete interiors of its kind, the room’s large scale and refined decoration suggest that it was part of the house of an important, affluent family. Poetry inscribed on its walls indicates that the patron was Muslim and possibly a member of the religious elite who claimed descent from the Prophet Muhammad.

      The Damascus Room, like most winter reception rooms (qa’as) of its time, is divided into two areas: a raised, square seating area (tazar) and a small antechamber (‘ataba) entered through a doorway from a courtyard. The opening from which visitors view the room today would originally have been a wall with a cupboard. (The cupboard doors are now mounted in the passageway leading to the room.)

      Wealthy Damascene homeowners periodically refurbished reception rooms in accordance with shifting trends and tastes in interior decoration. Therefore, houses in the old city of Damascus as well as their interiors rarely date to a single building phase. Although the inscription dates most of the woodwork elements in the room to A.D. 1707, alterations were made to the room in the subsequent three centuries.

      The woodwork’s relief decoration is made of gesso covered with gold leaf, tin leaf with tinted glazes, and bright egg tempera paint. Known as ‘ajami, this characteristic Ottoman-Syrian technique and style creates a rich texture with varied surfaces that are responsive to changes in light.

      The palette of the ‘ajami decoration was originally much more colorful and more varied than it appears today. Periodically the surfaces were coated with a layer of varnish as a form of maintenance. Over time, subsequent coats of varnish have darkened, muting the colorful surfaces in the Damascus Room.

      The Damascus Room is decorated with forty stanzas of poetry.

      https://www.metmuseum.org/art/collection/search/452102

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      Come, explore and fall in love the Beauties of Delhi (Dilli ki Ranaiya’n) and the World with me, Rana Safvi

      I have a masters in medieval history from the prestigious Centre for Advanced Studies, Dept. of History, AMU. A firm believer in our Ganga Jamuni Tehzeeb, I am passionate about gaining and sharing knowledge and these days I am doing it via the social media platform.

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