The Alhambra at Granada: Paradise on Earth
Alexander Gault Architectural History I November 23, 2010
Gault 1 Architecture in society has always had the ability to shape people and thereby our culture. Different building forms embody powerful meanings that reflect the people who occupy it. Spiro Kristof describes how buildings are more than mere wood or stone; and they serve a purpose beyond the utilitarian. When Islamic buildings are designed, they create something much more meaningful than a mosque, tomb, palace, or fort. They strive to create the feeling of paradise on Earth. Moorish rulers during the mid 14th century embodied the idea of working past the utilitarian when they constructed The Alhambra; a palace and fortress complex in Granada, Spain. This amazing display of Islamic architecture, occupying the top of the hill of the Assabica, is believed by many Muslims to be the closest thing to heaven. The complex utilizes a vast array of Islamic techniques such as gardens, bodies of water and detailed stonework to create the feeling of paradise on Earth. The Alhambra’s Moorish palaces were built for the last Muslim Emirs in Spain and its court, of the Nasrid dynasty. Completed towards the end of Muslim rule of Spain by Yusuf I and Muhammed V, the Alhambra is viewed as a reflection of the culture of the last centuries of the Moorish rule. The amazing fortress integrates natural physical landscape qualities with constructed structures and gardens to create breath-taking architectural forms. The magnificent palace is believed to be the peak of Moorish architecture. The first reference to the Alhambra was during battles between the Arabs and the Muladies. In one particular bloody skirmish, the Muladies soundly defeated the Arabs, who were then forced to take shelter in a small red castle, not capable of
Gault 2 deterring much.1 The structure was then largely ignored until the eleventh century, when its ruins were renovated and rebuilt, in an attempt to preserve a small Jewish settlement. This fortress was also easily penetrated. Evidence from Arab texts indicate that the actual Alhambra that survives today was built during the Nasrid Dynasty. Ibn Nasr, the founder of the Nasrid Dynasty, took up residence at the existing palace when he was forced to flee to avoid persecution by the Reconquista supporters.2 A few months later he embarked on the construction of a new Alhambra, fit for the residence of a king. The original design included plans for six palaces (five of which formed a royal quarter), two towers, and numerous bathhouses. During the reign of the Nasrid Dynasty, the Alhambra was transformed into a palatine city, complete with an irrigation system. The older Alhambra structure had been dependent on collected rainwater. The Alhambra never had a master plan for the total site design, so its overall layout is not organized well. As a result of the site’s many construction phases from the original 9th century citadel, through the 14th century Moorish palaces; some buildings are at odd positioning with each other. The terrace where the Alhambra sits measures about 2,430 feet in length by 670 feet at its greatest width.3 The entire finished complex is enclosed by a fortified wall, and includes thirteen towers, some that are defensive and others providing vistas for the inhabitants.
Read, Jan. The Moors in Spain and Portugal. London: Faber, 1974. Print. (pg. 172) Read, Jan. The Moors in Spain and Portugal. London: Faber, 1974. Print. (pg. 179) 3 Jacobs, Michael, and Francisco Fernandez. Alhambra. New York: Rizzoli, 2000. Print. (pg. 56) 1 2
Gault 3 The overall design for the exterior of the fortress structures was traditionally plain, austere and simple. Beauty without arrogance is a value rooted in the Islamic culture. This notion is reflected in many design decisions. Thus, the interiors of private homes and public buildings can be decorated to the highest levels of sophistication, while the exterior remains basic. This idea reflects the important moral teachings of Islam regarding the inner richness of the soul and the humble appearance of the body. Beauty, scenic quality, and other sensory values are not a luxury to the Islamic mind. The red faded exterior palace walls contrast the golden Honeycomb or stalactite vaulting in the Hall of the Abencerrajes. The magnificent interior design has a powerful ability to positively influence those inside the structures. The grounds are both aesthetically pleasing and complexly functional. The feeling of paradise on Earth is created by utilizing open-air courts where sun and wind are freely admitted. Decorations consist of stiff, conventional foliage, Arabic inscriptions, geometrical patterns and fountains with running water. The majority of the palace buildings are quadrangular, with all the rooms opening on to a central court. The Alhambra was added onto by the different Muslim rulers who lived in the complex. However, each new section that was added followed the consistent theme of paradise on Earth. Visitors would have entered the palace through the Tower of Justice, the main entranceway in the southern walls. The front door has a vaulted horseshoe arch engraved with a holy sentence from the Qur’an, “Allah is great. There is no other God than Allah and Mohammed is his prophet. There is no force but in God.�
Gault 4 After one goes through the arch they pass the Wine Gate (later used as a cellar) and the Palace of Charles V (a smaller Renaissance building).4 Behind this is the famous Palace of Lions, opening into the Court of Lions. This structure is located in the heart of the Alhambra and creates a feeling of paradise through unity. The court is 35m in length by 20m in height and surrounded by 124 white marble columns.5 The columns supporting the roof are irregularly placed for artistic effects and the pillars gracefully mold into the arches (Photo 1). Many of the pillars are adorned by varieties of foliage. The slender column forest have been said to represent the palm trees of an oasis in the desert. The court is divided into four parts, each one symbolizing one of the four seasons (Photo 2). Each part is irrigated by a water channel that symbolizes the four rivers of life; the Gihon, Euphrates, Pisho, and Tigres.6 In the Court of Lions, water channels act to constantly refresh the courtyard through continuous evaporation. The fountain of the Twelve Lions resides in the middle of the courtyard. Some believe a lion spouting water from its mouth symbolizes the sun. Combing water and sunlight creates life; the foundation of Islamic beliefs. Around the outside of the courtyard are the rooms for the royal family including the Hall of Kings and the Hall of Two Sisters. This court is an architectural materialization of paradise, where the gardens, water, and columns form a conceptual and physical unity.
Rosenthal, Earl E. The Palace of Charles V in Granada. Princeton, NJ: Princeton UP, 1985. Print. (pg. 29) 5 Jacobs, Michael, and Francisco Fernandez. Alhambra. New York: Rizzoli, 2000. Print. (pg. 61) 6 Gonzalez, Valerie. Beauty and Islam: Aesthetics in Islamic Art and Architecture. New York: St. Martin's, 2001. Print. (pg. 109) 4
Gault 5 The Comares Palace is the largest and most notably beautiful palace of the Alhambra. This structure includes the Hall of the Ambassadors, the Nazrid Dynasty throne room, and the grand reception room. It is a square palace that includes a 75foot high center dome.7 Stunningly elaborate gold leafed stuccowork, topped with exquisite calligraphy surrounds the massive walls (Photo 3). The dome is the focuspoint of the Ambassadors Hall and the crowning point of the Alhambra. It utilizes breathtaking Taracea Craftsmanship to represent the Seven Heavens of Islam, through a perfection of geometrical designs. The architectural expression is phenomenal and projects the tower into a limitless universe. The throne area is silhouetted by spectacular stained glass windows that have intricate geometrical patterns of red, green and gold, which spilled onto a blue and golden tiled floor. Further enhancing the structure’s theme of paradise on Earth, are thousands and thousands of holy Islamic inscriptions etched into the wall. Top tiered epigraphs (nearest to heaven) are verses from the Qur’an, second tier are pious poems and finally third tier, (anchoring life on earth again) are praises for Yusuf I, the builders, artisans, and architects of the Alhambra.8 These were written in decorative calligraphy and read from the top downward, right-to-left. All of the decorations in the Alhambra have a symbolic Qur’anic significance. Many of the same colors are repeated throughout the palace walls, ceilings, wainscotings, floor tiles, and stained glass windows. The color red symbolizes blood,
Jacobs, Michael, and Francisco Fernandez. Alhambra. New York: Rizzoli, 2000. Print. (pg. 76) Clévenot, Dominique, and Gérard Degeorge. Splendors of Islam: Architecture, Decoration, and Design. New York: Vendome, 2000. Print. (pg. 193) 7 8
Gault 6 blue- heaven, green- fertile oasis, and gold- wealth.9 Specific color patterns were used in different area of the palace such as in the Alcove Patio de los Arrayanes, where fresh cool water was always left for visiting guests. The walls of this alcove are covered with blue patterns that represent water (Photo 4). A large amount of the interior of the Alhambra was painted in those bright colors; however after the Reconquista, Catholic kings ordered to destroy the color work and to whitewash the stuccowork. The Alhambra’s architectural feeling of an earthly paradise extends beyond the building forms and decorations. It is seen most notably through the Islamic gardens scattered across the palace complex. The model for Islamic gardens is found in the Qur’an, which in four chapters describes the colors, sounds, smells, spatial elements, climates, trees, flowers, and waters of Heaven.10 The gardens in the Alhambra were designed to certain ideological principles, employing certain physical elements, and focused on certain intentions. The articulation of these elements is deeply rooted in the teachings of the Islamic faith and in the culture of the Muslim people. Traditional Islamic gardens include certain shared design elements including; enclosed walls, water features, trees and flowers, and extensive use of geometric patterns. Enclosed walls were utilized to separate human made order from the chaos of the surrounding desert, as well as to insulate the inmates from the harsh desert environment of dust and pollution. While the Alhambra is not set in a Clévenot, Dominique, and Gérard Degeorge. Splendors of Islam: Architecture, Decoration, and Design. New York: Vendome, 2000. Print. (pg. 211) 10 Ruggles, D. Fairchild. Islamic Gardens and Landscapes. Philadelphia: University of Pennsylvania, 2008. Print. (pg. 69) 9
Gault 7 desert environment, architects of the complex still included enclosed walls as seen in the Court of Myrtles and the Court of Lions. The second design element of the gardens of Islam was water. The Alhambra demonstrated an innovative use of water that was later imitated and enriched by many designers throughout the Western world. Water plays many roles within the Alhambra such as emphasizing architectural elements. This is seen very clearly in the Moorish Floating Palaces. Standing in the middle of the courtyard, a double reflection of the buildings design meets. This has the effect of a palace floating towards heaven (Photo 5). Water in the garden also masked outdoor noises, irrigated plants, moisturized the hot climate, and provided a source for cleansing before prayer.11 Muslims understood and embraced water as the indispensable support of life. Another major design element of the Islamic garden was plants. Muslims believed their heavenly paradise was similar to a jungle thriving with life and beauty. To recreate this image, the Alhambra was full of varied trees, shrubs, and flowers. Elms and oaks were planted in the east and west sides of courtyards to cast shadows across the entire garden throughout the day.12 Fruit trees also had a very high priority in the overall design scheme. They provided food, daytime color, and a canopy over the courtyard at night, which effectively trapped cool air. The gardens of the Alhambra were a life-sustaining oasis, benefiting humans, birds, and animals. They were as useful and productive as is beautiful. Ruggles, D. Fairchild. Islamic Gardens and Landscapes. Philadelphia: University of Pennsylvania, 2008. Print. (pg. 73) 12 Ruggles, D. Fairchild. Islamic Gardens and Landscapes. Philadelphia: University of Pennsylvania, 2008. Print. (pg. 77) 11
Gault 8 The Alhambra is clearly more than a decorated fortress complex. It embodies the image of an Islamic paradise. The building forms successfully depict Heaven on Earth. The integration of the structures into the landscape, and the gardens into the buildings make it clear why this is viewed as the peak of Moorish architecture. Muslim believers understand what to make out of their buildings and how they can magnificently overwhelm the people who occupy them. The Alhambra is a surreal place where one can truly experience paradise on Earth.
Gault 9 Bibliography Barrucand, Marianne. Moorish Architecture in Andalusia. Trans. Michael Scuffil. Cologne: Taschen, 1992. Print. ClĂŠvenot, Dominique, and GĂŠrard Degeorge. Splendors of Islam: Architecture, Decoration, and Design. New York: Vendome, 2000. Print. Ettinghausen, Richard, Oleg Grabar, and Marilyn Jenkins-Madina. Islamic Art and Architecture. 2nd ed. New Haven: Yale UP, 2001. Print. Gonzalez, Valerie. Beauty and Islam: Aesthetics in Islamic Art and Architecture. New York: St. Martin's, 2001. Print. Grabar, Oleg. The Alhambra. Cambridge, MA: Harvard UP, 1978. Print. Irwin, Robert. Islamic Art in Context: Art, Architecture, and the Literary World. Upper Saddle River, NJ: Prentice-Hall, 1997. Print. Jacobs, Michael, and Francisco Fernandez. Alhambra. New York: Rizzoli, 2000. Print. Kostof, Spiro. A History of Architecture: Settings and Rituals. New York: Oxford UP, 1995. Print. Read, Jan. The Moors in Spain and Portugal. London: Faber, 1974. Print. Rosenthal, Earl E. The Palace of Charles V in Granada. Princeton, NJ: Princeton UP, 1985. Print. Ruggles, D. Fairchild. Islamic Gardens and Landscapes. Philadelphia: University of Pennsylvania, 2008. Print.
Gault 10 Photographs (Photo 1)
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