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The narrative of human history
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is punctuated by war
and conquest, triumph
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and catastrophe.
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But in the end, what endures?
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00:00:26,860 --> 00:00:30,698
It is not the struggle that has
lasting in our consciousness
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and treasured in our museums.
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It is the outpouring of
creativity and intelligence
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00:00:39,407 --> 00:00:43,244
that is civilization's
greatest gift.
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The true legacy
of Islamic culture
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00:00:45,346 --> 00:00:48,382
is revealed in the
nuance and ingenuity
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of its art and architecture.
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00:00:54,855 --> 00:00:55,789
That feeling
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00:00:55,889 --> 00:00:59,227
of the encounter with
majesty, the encounter
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00:00:59,327 --> 00:01:01,762
with monumentality,
it transcends culture.
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00:01:01,862 --> 00:01:04,098
It transcends history.
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It is a kind of universal
human experience of the arts.
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We use art, we use architecture
to crystallize our deepest
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00:01:13,574 --> 00:01:16,410
emotions and our
deepest aspirations
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for an understanding of
our place in the world.
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00:01:20,248 --> 00:01:21,615
These monuments and artifacts
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00:01:21,715 --> 00:01:24,452
continue to inspire us.
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They herald the finest
qualities of Islamic culture
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and show us the best of
individual achievements.
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Each contributes a
crucial part in the ascent
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of world civilization.
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00:02:14,502 --> 00:02:17,137
The seventh century was a
turning point in history.
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00:02:20,574 --> 00:02:22,910
In Europe, the
Germanic tribes that
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had overrun the Roman Empire
struggled for supremacy
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00:02:26,347 --> 00:02:27,581
as they shaped their
feudal kingdoms.
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00:02:31,652 --> 00:02:35,789
To the east, the once great
empires of Byzantium and Persia
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00:02:35,889 --> 00:02:38,792
were weakened by centuries
of mutually destructive wars.
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00:02:42,763 --> 00:02:45,333
At that moment, the
tribes of Arabia
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began one of history's
greatest revolutions
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in power, religion,
culture, and wealth, united
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under the new faith of Islam.
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00:02:55,976 --> 00:02:58,679
From its birth in the
Arabian Peninsula,
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00:02:58,779 --> 00:03:02,583
Islam spread across the basin
of the Mediterranean Sea,
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00:03:02,683 --> 00:03:07,721
eventually we changed
from Indonesia to Spain.
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00:03:07,821 --> 00:03:10,324
And from this
diverse civilization,
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00:03:10,424 --> 00:03:12,893
and the extraordinary
wealth of its rulers,
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00:03:12,993 --> 00:03:16,230
came an outpouring of artistry.
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00:03:16,330 --> 00:03:19,533
Objects and buildings,
gardens and paintings
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00:03:19,633 --> 00:03:21,869
reflect how this
new culture grew
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in a varied and complex world.
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It's not only about beautiful things.
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It's not only about looking
at specific techniques
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00:03:30,778 --> 00:03:33,514
or how a beautiful
object looks in a museum.
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00:03:33,614 --> 00:03:37,618
It's more like a
window on a culture.
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00:03:37,718 --> 00:03:42,923
Islamic art is a reflection
of the people and the context
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00:03:43,023 --> 00:03:45,225
in which it was produced.
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00:03:45,326 --> 00:03:46,727
And that, of course,
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00:03:46,827 --> 00:03:50,298
makes art even that much
more important because it
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00:03:50,398 --> 00:03:53,367
is a reflection of
who we are, and what
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00:03:53,467 --> 00:03:57,505
we are, and will be memorialized
in the years to come.
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00:04:00,841 --> 00:04:02,376
The themes that emerged
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00:04:02,476 --> 00:04:05,479
as Islamic art developed
show us the similarities
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00:04:05,579 --> 00:04:08,816
in our common cultures, how
our techniques and styles are
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00:04:08,916 --> 00:04:10,984
shared and transformed.
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00:04:11,084 --> 00:04:12,553
Well, there
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00:04:12,653 --> 00:04:14,788
are aspects of art
and architecture
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that are universal, that
you don't need to learn
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00:04:17,124 --> 00:04:19,493
to appreciate to get it.
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00:04:19,593 --> 00:04:22,463
So I might have to learn Arabic
to read the inscriptions,
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00:04:22,563 --> 00:04:25,733
but I don't have to read
Arabic to appreciate
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00:04:25,833 --> 00:04:28,569
the purity of
simple black script
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00:04:28,669 --> 00:04:30,671
on a white background
on a plate.
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It is elegance,
and it's elegance
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that speaks through
the centuries.
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00:04:48,021 --> 00:04:50,057
In Muslim tradition, Islam
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00:04:50,157 --> 00:04:53,827
began in 610 in a
cave in Mecca, where
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00:04:53,927 --> 00:04:56,764
an angel came upon
the prophet Muhammad
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and revealed to him
the words of the Koran.
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In the first revelation, God
proclaimed himself the creator
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00:05:03,070 --> 00:05:07,475
and said, "Read, for your
Lord is the most generous,
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00:05:07,575 --> 00:05:10,010
the one who taught
the use of the pen,
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00:05:10,110 --> 00:05:13,514
taught man what
he did not know."
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More than poetry,
more than a holy book,
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it was the very word of God.
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00:05:20,821 --> 00:05:23,557
For Christians, God's gift was his son.
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He sent down his
son to save mankind.
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00:05:26,527 --> 00:05:29,363
For Muslims, god sent
down a revelation.
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So the parallel is between
Christ and an oral revelation.
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Because God's gift to mankind
in Islam is the Koran,
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writing becomes the central
feature of Islamic culture.
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00:05:42,576 --> 00:05:44,712
And the use of the
word everywhere,
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00:05:44,812 --> 00:05:47,981
from day-to-day objects
to Koran manuscripts,
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00:05:48,081 --> 00:05:50,584
is the one feature that
separates Islamic culture
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from all others.
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The earliest dated words of the Koran
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are found in a stone
building in Jerusalem,
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one of the most sacred and
politically charged cities
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00:06:02,596 --> 00:06:03,897
in the world.
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00:06:03,997 --> 00:06:08,436
Built in 692, it is called
the Dome of the Rock.
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00:06:08,536 --> 00:06:09,870
The Dome of the Rock
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would have been a familiar
building in terms of form,
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00:06:13,006 --> 00:06:15,976
that is, that the shape,
the arches, the techniques
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00:06:16,076 --> 00:06:17,678
of decoration
would have all been
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00:06:17,778 --> 00:06:21,549
within the local
Christian vocabulary.
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It borrows the form
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from a Byzantine martyrium.
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00:06:25,586 --> 00:06:27,054
And a martyrium is
simply a building
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00:06:27,154 --> 00:06:28,756
that marks the
place of a martyrdom
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or perhaps the burial
place of a saint.
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But instead of a burial site,
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the dome covers a massive
rock believed by Muslims
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to be the sacred place from
which Mohammad ascended
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to heaven on his
mystical night journey
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00:06:43,904 --> 00:06:46,540
to pray with Abraham,
Moses, and Jesus.
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00:06:48,241 --> 00:06:49,710
The thing that
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makes this a uniquely
Islamic building is
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the Arabic inscription
that runs around it.
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That is, in effect,
the sign that says,
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this is from a new culture.
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This isn't just somebody
putting up words.
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This is somebody who cares.
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This is carefully composed.
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This is beautiful
writing, calligraphy.
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The interior inscription talks constantly
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about how God is
the one not three.
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00:07:17,771 --> 00:07:20,841
And this is clearly a
rebuttal to Christianity
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where the primary focus is
that God sent down his son
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and God is tripartite.
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00:07:26,246 --> 00:07:27,881
And for Muslims,
this is anathema.
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God is one, not three.
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00:07:29,783 --> 00:07:31,752
So clearly there is
some kind of response
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00:07:31,852 --> 00:07:34,755
to the Christian
presence in the city.
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That inscription is
made in gold cubes.
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They're small glass cubes
with gold foil on them.
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00:07:41,729 --> 00:07:45,465
They are by far the most
expensive kind of cube.
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00:07:45,566 --> 00:07:49,102
And in Christian buildings
often are used for halos
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00:07:49,202 --> 00:07:51,639
or used behind the
figure of Christ.
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00:07:51,739 --> 00:07:53,473
In the Dome of
the Rock, they are
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used for this inscription
that runs around the building.
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00:08:01,314 --> 00:08:03,717
The Koran became
the focus of devotion,
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00:08:03,817 --> 00:08:05,619
but it also became
the focus of art.
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00:08:08,689 --> 00:08:10,558
From the earliest times on,
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Muslims try to make
Koran manuscripts as
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beautiful as possible.
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Calligraphy, the art
of beautiful writing,
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00:08:19,132 --> 00:08:21,501
is considered more important
than all the other arts.
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00:08:26,073 --> 00:08:27,941
Today, one of the most well-respected
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Muslim calligraphers
in the world
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is a convert from California.
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After teaching himself Arabic,
and working for over 20 years
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to perfect his art,
Mohamed Zachariya
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finally traveled to Turkey to
learn from the masters in 1983.
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Basically, they made a deal.
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They said, if you want to start
all the way from the beginning,
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if you want to forget everything
you learned about calligraphy
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for a while and sort of go
from blank from start, just
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00:08:58,706 --> 00:09:01,241
like you'd never
picked up a pen before,
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00:09:01,341 --> 00:09:03,644
and go through
the lessons, we'll
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00:09:03,744 --> 00:09:06,847
be behind you all the way with
this thing and help you out.
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00:09:06,947 --> 00:09:10,851
But if you can't do that,
have a nice time in Istanbul.
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Zachariya accepted the challenge
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and began to learn
his craft again,
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just as the first
masters had before him.
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00:09:20,828 --> 00:09:22,596
Traditionally Muslims always
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wrote with a reed pen.
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So you went out and you had
reeds or you imported reeds.
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Trimming the pen is
even more important.
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Cutting the nib is
even more important
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than actually the reed itself.
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00:09:34,942 --> 00:09:37,310
And you have a tool on
which you lay the reed when
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you cut it and a special knife.
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00:09:39,146 --> 00:09:41,849
And people collected these
tools and gathered them
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in their little tool boxes.
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Decorated with geometric designs
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00:09:46,754 --> 00:09:49,222
and calligraphy, these
toolboxes alluded
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to the practical use
of the box, as well as
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the mystical power of the pen.
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I've always had a facility for carving.
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00:10:01,001 --> 00:10:03,637
But to cut a pen, you need
a knife of a certain shape
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00:10:03,737 --> 00:10:05,305
and a certain
curvature in the blade.
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00:10:05,405 --> 00:10:06,740
If it isn't that
curvature, you're
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never going to cut a good tip.
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In the seventh century,
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calligraphers wrote the
Koran on treated animal skins
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called parchment.
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00:10:18,719 --> 00:10:20,053
The parchment was
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so important and so
expensive that sometimes they
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even reused it.
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00:10:25,659 --> 00:10:28,161
And they scraped away an earlier
text and rewrote on top of it.
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And what's happened over time is
the earlier text has darkened,
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00:10:31,398 --> 00:10:35,268
and you can actually
see it underneath.
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Most of them-- they're readable,
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or legible, or practical.
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They're very, very interesting.
189
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But they don't rise
to the level of art.
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But every now and then you see
one of them, and you look at it
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00:10:45,979 --> 00:10:48,048
and say, how on earth could
this guy have done that?
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00:10:48,148 --> 00:10:48,982
You know?
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00:10:49,783 --> 00:10:49,817
How did they do
their [inaudible]?
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How'd they cut their pen?
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We don't even know what
angle the pens were cut.
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00:10:53,553 --> 00:10:54,822
But it simply takes
your breath away.
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Islamic calligraphy was forever
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00:11:02,930 --> 00:11:07,901
altered by a new invention
from the east, paper.
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00:11:08,001 --> 00:11:10,771
Paper was introduced
into the Islamic world
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in the eighth century due
to interaction between China
201
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and the Islamic caliphate.
202
00:11:17,144 --> 00:11:22,816
So the technique of paper
making and actual paper makers
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00:11:22,916 --> 00:11:25,853
were transported from
China to Islamic lands.
204
00:11:25,953 --> 00:11:30,423
And paper just takes off
in an Islamic context.
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00:11:30,523 --> 00:11:32,893
Just as important as the pen,
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00:11:32,993 --> 00:11:35,929
the paper must be specially
treated and prepared
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for calligraphy.
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00:11:38,231 --> 00:11:40,467
The man who taught me
paper making or paper
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00:11:40,567 --> 00:11:42,702
prep took me aside
one day and said,
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I'm going to show it all to you.
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00:11:44,838 --> 00:11:47,808
The paper is rubbed with a rag
that has a bit of soap on it.
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00:11:47,908 --> 00:11:50,744
The soap is dry
rubbed on the drag.
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00:11:50,844 --> 00:11:53,747
It's a wool felt, and it's
rubbed all over the paper
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00:11:53,847 --> 00:11:55,215
to give it lubrication.
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00:11:55,315 --> 00:11:57,450
Otherwise, the burnisher
would snag the-- the surface
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00:11:57,550 --> 00:11:59,086
and digress the heck out of it.
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00:11:59,186 --> 00:12:00,854
You want to have it
smooth so the pen will
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00:12:00,954 --> 00:12:02,389
glide across the surface.
219
00:12:02,489 --> 00:12:04,424
But you also don't
want it slippery.
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00:12:04,524 --> 00:12:09,096
You want to have the paper have
a grab to it, just enough so it
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00:12:09,196 --> 00:12:09,997
holds the pen.
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00:12:10,097 --> 00:12:11,098
Doesn't slip.
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00:12:12,099 --> 00:12:14,101
The ink sits undersurface,
doesn't penetrate.
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For the calligrapher, the process
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00:12:16,003 --> 00:12:17,737
of copying the
words of the Koran
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is, in itself, a
meditation, a prayer,
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00:12:22,042 --> 00:12:25,112
as God speaks through the pen.
228
00:12:25,212 --> 00:12:28,882
And when you write,
it just writes itself.
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00:12:28,982 --> 00:12:32,085
Your own connection
with it feels minimal
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00:12:32,185 --> 00:12:36,456
because your concentration is
concentration without thinking
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about it being concentration.
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00:12:39,192 --> 00:12:45,232
It's what the old Arabs
used to call [arabic], which
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00:12:45,332 --> 00:12:50,003
is the ease that comes
from practice that
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00:12:50,103 --> 00:12:52,806
makes the hard thing look easy.
235
00:12:52,906 --> 00:12:54,174
Now, it is impossible
236
00:12:55,375 --> 00:12:57,377
if you are writing with a reed
pen to write more than two
237
00:12:57,477 --> 00:12:59,546
or three letters
with one pen stroke.
238
00:12:59,646 --> 00:13:01,281
You have to recharge your pen.
239
00:13:01,381 --> 00:13:03,851
You have to dip it
back into the ink.
240
00:13:03,951 --> 00:13:08,155
But the point with calligraphy
is to not see those strokes,
241
00:13:08,255 --> 00:13:10,490
to not see the difference
between one and the next,
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00:13:10,590 --> 00:13:14,461
to imagine that it was
written with an unending pen.
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00:13:14,561 --> 00:13:15,896
The old guys used
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00:13:15,996 --> 00:13:18,131
to hold their breath
under the theory
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00:13:18,231 --> 00:13:21,134
that if you hold your breath
when the pen is in motion,
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00:13:21,234 --> 00:13:24,204
the breath goes down into
your hand, through the pen
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00:13:24,304 --> 00:13:26,139
and into the paper.
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00:13:26,239 --> 00:13:31,011
And that's what would give it
that life, or breath, as they
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00:13:31,111 --> 00:13:32,312
would call it.
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00:13:32,412 --> 00:13:33,813
You are not looking
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00:13:33,914 --> 00:13:36,549
to see any human interaction.
252
00:13:36,649 --> 00:13:41,288
You are looking
to see the divine.
253
00:13:41,388 --> 00:13:44,124
When you see a manuscript that
has all these little marks
254
00:13:44,224 --> 00:13:47,160
on it, that's a later
manuscript because it's
255
00:13:47,260 --> 00:13:51,331
meant to be used by someone
who's actually reading the text
256
00:13:51,431 --> 00:13:55,135
not just using it to recall
what he already had memorized.
257
00:13:55,235 --> 00:13:59,572
We also have chapter headings
that are illuminated.
258
00:13:59,672 --> 00:14:04,011
Illumination is a very
important art form
259
00:14:04,111 --> 00:14:06,914
in the production of
Islamic manuscripts.
260
00:14:07,014 --> 00:14:10,517
It serves to navigate the reader
through the different sections
261
00:14:10,617 --> 00:14:12,119
of the text.
262
00:14:12,219 --> 00:14:14,087
Because calligraphy basically
263
00:14:14,187 --> 00:14:15,622
is for reading, you know?
264
00:14:15,722 --> 00:14:20,160
It's not really about paper,
pens, ink, and stuff like that.
265
00:14:20,260 --> 00:14:21,995
It's about meaning.
266
00:14:22,095 --> 00:14:24,431
And in my case, you
know, I'm an American.
267
00:14:24,531 --> 00:14:28,001
Obviously, wherever I go,
you know, I'm the pink on,
268
00:14:28,101 --> 00:14:29,336
you know?
269
00:14:30,537 --> 00:14:32,272
And, uh-- you see a photograph
of all the calligraphers,
270
00:14:32,372 --> 00:14:33,073
you know?
271
00:14:33,740 --> 00:14:34,207
And I'm in there, you know.
272
00:14:35,208 --> 00:14:36,977
It's-- that guy looks
really funny, you know?
273
00:14:37,077 --> 00:14:40,213
But it's-- what am
I doing with it?
274
00:14:40,313 --> 00:14:43,250
So I try to-- I try to
bring it out what it means.
275
00:14:43,350 --> 00:14:47,320
And for me, that's absolutely
the number one thing.
276
00:14:47,420 --> 00:14:50,623
I have access to this material,
and I have to pass it on.
277
00:14:57,130 --> 00:14:59,032
It is that divine presence embodied
278
00:14:59,132 --> 00:15:02,369
in the word that appears
throughout Islamic art
279
00:15:02,469 --> 00:15:05,538
as writing becomes ornament.
280
00:15:05,638 --> 00:15:07,140
I am always
281
00:15:08,408 --> 00:15:12,245
moved when I hold a plate or a
ceramic object or a metal pen
282
00:15:12,345 --> 00:15:18,151
case, and think of myself,
I'm holding the same thing
283
00:15:18,251 --> 00:15:23,323
that someone 1,000 years
ago or 600 years ago held.
284
00:15:23,423 --> 00:15:25,392
I'm repeating the experience.
285
00:15:25,492 --> 00:15:27,927
I'm in a different place, a
different moment in history.
286
00:15:28,028 --> 00:15:29,596
I'm a different human being.
287
00:15:29,696 --> 00:15:33,033
Everything about my world is
different except that object.
288
00:15:33,133 --> 00:15:36,503
And that object
comes forward intact.
289
00:15:36,603 --> 00:15:37,504
That's very moving.
290
00:15:40,673 --> 00:15:43,043
Many buildings in the Islamic world
291
00:15:43,143 --> 00:15:46,713
are imbued with the voice of God
as elaborate inscriptions speak
292
00:15:46,813 --> 00:15:48,048
from their stone walls.
293
00:15:51,151 --> 00:15:53,720
They really are
beautiful to look at.
294
00:15:53,820 --> 00:15:55,222
Even if one doesn't
understand them,
295
00:15:55,322 --> 00:15:58,058
one can always
appreciate their beauty.
296
00:15:58,158 --> 00:16:00,060
And those inscriptions are usually
297
00:16:00,160 --> 00:16:02,562
in places that you
cannot really read.
298
00:16:02,662 --> 00:16:04,731
You're not expected to read.
299
00:16:04,831 --> 00:16:07,134
But you expect to relate
to them because you
300
00:16:07,234 --> 00:16:08,401
know what's going to be there.
301
00:16:08,501 --> 00:16:13,006
You just know what sorts
of verses of the Koran
302
00:16:13,106 --> 00:16:15,342
are used, for example,
in certain buildings
303
00:16:15,442 --> 00:16:20,247
or in the case of Alhambra
it's the beautiful poetry.
304
00:16:20,347 --> 00:16:23,416
The Alhambra was built
in the 14th century
305
00:16:23,516 --> 00:16:28,121
by the last Muslim
rulers of Granada, Spain.
306
00:16:28,221 --> 00:16:31,024
Part fortress, part
palace, the Alhambra
307
00:16:31,124 --> 00:16:33,626
provided a princely
refuge from the ravages
308
00:16:33,726 --> 00:16:36,496
of the fading empire.
309
00:16:36,596 --> 00:16:38,298
In order to feel Alhambra,
310
00:16:38,398 --> 00:16:46,106
to know what was meant, you
have to go slowly and read
311
00:16:46,206 --> 00:16:49,042
the poetry that is
written just at eye
312
00:16:49,142 --> 00:16:52,011
level inside the building.
313
00:16:52,112 --> 00:16:55,115
I could spend hours
standing by a window,
314
00:16:55,215 --> 00:16:57,317
reading an inscription,
looking at this.
315
00:16:57,417 --> 00:16:59,552
That's what it was made for.
316
00:16:59,652 --> 00:17:01,521
It is meant to be lived in.
317
00:17:01,621 --> 00:17:04,124
In some cases,
some of the writing actually
318
00:17:04,224 --> 00:17:07,260
is as if the building is
speaking about itself.
319
00:17:07,360 --> 00:17:10,097
You have the dome or
the wall or the fountain
320
00:17:10,197 --> 00:17:13,233
talking to the viewer and
telling you what it's about
321
00:17:13,333 --> 00:17:19,106
and how it functions or how it's
set within the building itself.
322
00:17:19,206 --> 00:17:21,408
The water basin whispers.
323
00:17:21,508 --> 00:17:24,811
Melted silver flows through
the pearls which it resembles
324
00:17:24,911 --> 00:17:28,047
in it's pure, don beauty.
325
00:17:28,148 --> 00:17:30,117
Water and marble
seem to be as one.
326
00:17:33,820 --> 00:17:37,257
The calligraphy as it
melds into ornament,
327
00:17:37,357 --> 00:17:40,127
the boundary between
the two is so subtle
328
00:17:40,227 --> 00:17:43,163
that they become
so extraordinarily
329
00:17:43,263 --> 00:17:46,433
good at just weaving shapes
in and out of one another.
330
00:17:46,533 --> 00:17:47,600
Are these zoomorphic?
331
00:17:48,601 --> 00:17:50,103
Are they-- do they come
out of vegetable life?
332
00:17:50,203 --> 00:17:51,738
You know, you can't
really tell, and it
333
00:17:51,838 --> 00:17:53,306
doesn't make any difference.
334
00:17:53,406 --> 00:17:56,443
Because they arrive at
a place that totally
335
00:17:56,543 --> 00:17:59,312
masks and has left the
place from which they came.
336
00:18:12,259 --> 00:18:13,826
The cities of the Muslim world,
337
00:18:13,926 --> 00:18:16,296
extending across
three continents,
338
00:18:16,396 --> 00:18:18,831
are as diverse as their people.
339
00:18:18,931 --> 00:18:23,836
But the fundamental human need
for shelter is common to all.
340
00:18:23,936 --> 00:18:25,605
We put tremendous effort
341
00:18:25,705 --> 00:18:27,474
in what we build.
342
00:18:27,574 --> 00:18:30,410
And therefore, they reflect
a great deal about us,
343
00:18:30,510 --> 00:18:33,112
about our values-- economic
values, social virtues,
344
00:18:33,213 --> 00:18:34,681
cultural values.
345
00:18:34,781 --> 00:18:35,615
You have mosques.
346
00:18:35,715 --> 00:18:37,584
You have palaces.
347
00:18:37,684 --> 00:18:40,453
You have very impressive
military architecture,
348
00:18:40,553 --> 00:18:43,223
and you have the whole
spectrum of buildings
349
00:18:43,323 --> 00:18:45,158
that cover what people use.
350
00:18:49,962 --> 00:18:52,865
The first mosques were made
from simple unadorned mud
351
00:18:52,965 --> 00:18:55,735
brick.
352
00:18:55,835 --> 00:18:57,770
Hearing the call
to prayer, Muslims
353
00:18:57,870 --> 00:19:00,640
gathered in open courtyards
all facing the side
354
00:19:00,740 --> 00:19:04,477
of the mosque closest to Mecca.
355
00:19:04,577 --> 00:19:07,180
Later, direction
is shown by niche
356
00:19:07,280 --> 00:19:10,750
in the wall called the mihrab.
357
00:19:10,850 --> 00:19:13,686
Other than the mihrab,
in real terms,
358
00:19:13,786 --> 00:19:17,190
there is no other
standard element that
359
00:19:17,290 --> 00:19:19,492
has to be in a mosque.
360
00:19:19,592 --> 00:19:22,161
The mosque is one of
the elements that are
361
00:19:22,262 --> 00:19:24,531
ubiquitous to Muslim societies.
362
00:19:24,631 --> 00:19:29,736
Yet, it is built, expressed
in very different ways,
363
00:19:29,836 --> 00:19:33,206
historically.
364
00:19:33,306 --> 00:19:34,541
One of the oldest surviving
365
00:19:34,641 --> 00:19:37,510
mosques is in Damascus, Syria.
366
00:19:37,610 --> 00:19:41,381
Finished in 715, it was
built a little over 100 years
367
00:19:41,481 --> 00:19:42,382
after the birth of Islam.
368
00:19:47,254 --> 00:19:49,722
The Great Mosque
of Damascus reveals
369
00:19:49,822 --> 00:19:53,226
how Islamic architecture
quickly adapted to the changing
370
00:19:53,326 --> 00:19:56,363
needs of a growing religion.
371
00:19:56,463 --> 00:19:58,798
More and more specialization
372
00:19:58,898 --> 00:20:00,800
develops within mosque spaces.
373
00:20:00,900 --> 00:20:02,569
You have special
places for the prints
374
00:20:02,669 --> 00:20:05,838
and special places for
ablution and special places
375
00:20:05,938 --> 00:20:07,507
for the call to prayer.
376
00:20:07,607 --> 00:20:11,511
It becomes more hierarchical.
377
00:20:11,611 --> 00:20:14,213
A pulpit called a minbar
378
00:20:14,314 --> 00:20:16,849
was added for the reading
of the Friday sermon,
379
00:20:16,949 --> 00:20:22,221
making the speaker visible
to the entire congregation.
380
00:20:22,322 --> 00:20:24,557
In order to create
a large enough space
381
00:20:24,657 --> 00:20:27,927
to house the city's entire
Muslim population for Friday
382
00:20:28,027 --> 00:20:30,897
prayer, the great
mosque of Damascus
383
00:20:30,997 --> 00:20:33,933
was built in the hypostyle form.
384
00:20:34,033 --> 00:20:35,802
The hypostyle mosque simply
385
00:20:35,902 --> 00:20:39,439
is the idea of a series of
columns built along a grid.
386
00:20:39,539 --> 00:20:41,408
So what you end
up with s a forest
387
00:20:41,508 --> 00:20:43,476
of columns, an infinite space.
388
00:20:43,576 --> 00:20:45,778
So you look and just see column
after column after column.
389
00:20:45,878 --> 00:20:48,381
It's a very
spiritual experience.
390
00:20:48,481 --> 00:20:51,451
And you find it very
often in the mosques
391
00:20:51,551 --> 00:20:53,353
that were built during
the first three, four
392
00:20:53,453 --> 00:20:56,956
centuries of Islamic history.
393
00:20:57,056 --> 00:20:58,925
Outside in the mosque courtyard,
394
00:20:59,025 --> 00:21:01,994
glass mosaics sparkle
in the sunlight,
395
00:21:02,094 --> 00:21:06,799
evoking a protected and sacred
natural space within the stone
396
00:21:06,899 --> 00:21:09,302
walls of the mosque.
397
00:21:09,402 --> 00:21:10,503
It incorporated
398
00:21:11,638 --> 00:21:13,440
the largest service of
mosaics ever created anywhere
399
00:21:13,540 --> 00:21:14,841
in the world.
400
00:21:14,941 --> 00:21:17,910
You have rivers and
houses and trees
401
00:21:18,010 --> 00:21:21,614
and some have read that as
an expression of Damascus,
402
00:21:21,714 --> 00:21:23,916
a city that is known
for its Barada river
403
00:21:24,016 --> 00:21:26,419
and also for its orchards.
404
00:21:26,519 --> 00:21:28,020
Another was that this
is a representation
405
00:21:28,120 --> 00:21:29,856
of what paradise would be like.
406
00:21:29,956 --> 00:21:31,991
So you have that
reading of the mosque,
407
00:21:32,091 --> 00:21:33,826
which is very interesting.
408
00:21:33,926 --> 00:21:35,695
But the leaders of the dynasty that
409
00:21:35,795 --> 00:21:38,531
created the wealth
and power of Damascus
410
00:21:38,631 --> 00:21:40,467
would perish later in
the eighth century.
411
00:21:44,571 --> 00:21:46,639
After a violent
political rebellion,
412
00:21:46,739 --> 00:21:50,343
a young Syrian prince
named Abd al-Rahman
413
00:21:50,443 --> 00:21:52,812
was forced to flee
Damascus, narrowly
414
00:21:52,912 --> 00:21:58,551
escaping a certain death at the
hands of his family's rival.
415
00:21:58,651 --> 00:22:02,021
Abd al-Rahman made his
way to North Africa
416
00:22:02,121 --> 00:22:05,625
and on to Cordoba,
Spain, seeking refuge
417
00:22:05,725 --> 00:22:08,495
in the struggling European
outpost of the Islamic empire.
418
00:22:11,631 --> 00:22:16,102
There, the prince founded
a dynasty of his own.
419
00:22:16,202 --> 00:22:20,440
His subjects called him
al-Dakhil, or the immigrant.
420
00:22:20,540 --> 00:22:22,709
But Abd al-Rahman
made Cordoba his home.
421
00:22:26,646 --> 00:22:29,682
As he set out to create a great
mosque for his new capital,
422
00:22:29,782 --> 00:22:32,385
he used the hypostyle
mosque of Damascus
423
00:22:32,485 --> 00:22:36,122
as his blueprint, longing
for the Syrian homeland
424
00:22:36,222 --> 00:22:38,825
to which he could never return.
425
00:22:38,925 --> 00:22:39,992
Abd al-Rahman I
426
00:22:40,092 --> 00:22:41,661
who built one of
the masterpieces
427
00:22:41,761 --> 00:22:44,664
of Islamic architecture
and world architecture.
428
00:22:44,764 --> 00:22:47,767
He had access to older
Visigothic columns
429
00:22:47,867 --> 00:22:50,102
that he found in Spain.
430
00:22:50,202 --> 00:22:52,439
These were relatively
short columns.
431
00:22:52,539 --> 00:22:54,707
They didn't have a
sense of monumentality
432
00:22:54,807 --> 00:22:57,677
that we could find in an earlier
building such as the Great
433
00:22:57,777 --> 00:23:00,513
Mosque of Damascus.
434
00:23:00,613 --> 00:23:03,783
So what he did is he
put two rows of arches
435
00:23:03,883 --> 00:23:05,485
on top of each other
to raise the ceiling
436
00:23:05,585 --> 00:23:07,754
and get a higher building.
437
00:23:07,854 --> 00:23:12,459
And it actually created this
wonderful spatial effect.
438
00:23:12,559 --> 00:23:14,894
And whenever the
building was expanded,
439
00:23:14,994 --> 00:23:16,596
that system was maintained.
440
00:23:19,031 --> 00:23:20,533
One of the extensions
441
00:23:20,633 --> 00:23:23,002
was to add this
fabulous mihrab, which
442
00:23:23,102 --> 00:23:25,438
is right now on the qibla wall.
443
00:23:25,538 --> 00:23:28,107
And it's done in the same
technique of mosaic that had
444
00:23:28,207 --> 00:23:29,542
been used earlier in Damascus.
445
00:23:32,779 --> 00:23:34,647
Added 200 years
after the mosque was
446
00:23:34,747 --> 00:23:38,485
first constructed, the mosaics
required a skill unknown
447
00:23:38,585 --> 00:23:40,853
to the artisans of Cordoba.
448
00:23:40,953 --> 00:23:43,089
They had to write to the
Byzantine Empire
449
00:23:43,189 --> 00:23:47,093
and say, send us a mosaicist
and the glass cubes
450
00:23:47,193 --> 00:23:49,962
so we can learn how to do this.
451
00:23:50,062 --> 00:23:51,598
You make sheets
452
00:23:51,698 --> 00:23:53,633
of glass in different
colors, and then you
453
00:23:53,733 --> 00:23:56,102
cut it up into little
pieces, little cubes.
454
00:23:56,202 --> 00:24:00,006
And then you set them in
plaster to make designs.
455
00:24:00,106 --> 00:24:02,842
Mixing Byzantine and Roman techniques
456
00:24:02,942 --> 00:24:06,713
with Islamic style, the
great mosque of Cordoba
457
00:24:06,813 --> 00:24:11,584
created a striking
juxtaposition of old and new.
458
00:24:11,684 --> 00:24:13,486
You take a look at the arches
459
00:24:13,586 --> 00:24:15,021
as opposed to the
round arches that are
460
00:24:15,121 --> 00:24:17,924
used in Damascus in Syria.
461
00:24:18,024 --> 00:24:19,759
We have slightly
horseshoe arches.
462
00:24:19,859 --> 00:24:22,595
So there's a little bit
of a local tradition.
463
00:24:22,695 --> 00:24:24,130
Islamic architecture
464
00:24:24,230 --> 00:24:28,968
has this ability to absorb the
best, the kind of the solutions
465
00:24:29,068 --> 00:24:31,904
that are already on the ground
in these regional areas,
466
00:24:32,004 --> 00:24:35,708
and to realize what is in
fact a continuous tradition
467
00:24:35,808 --> 00:24:38,778
of a mosque in all of
those different areas using
468
00:24:38,878 --> 00:24:40,813
different adaptive techniques.
469
00:24:45,985 --> 00:24:48,888
By the 14th century,
Muslim Spain
470
00:24:48,988 --> 00:24:52,191
had developed its own distinct
style of architecture,
471
00:24:52,291 --> 00:24:56,696
shown nowhere more magnificently
than in Grenada's Alhambra
472
00:24:56,796 --> 00:24:58,931
Palace.
473
00:24:59,031 --> 00:25:01,834
Palaces express
another aspect of life,
474
00:25:01,934 --> 00:25:06,839
more a life of luxury,
a life of refinement.
475
00:25:06,939 --> 00:25:10,743
There is spirituality
even in those buildings.
476
00:25:10,843 --> 00:25:13,780
In many ways, they also
express the power of the ruler
477
00:25:13,880 --> 00:25:17,684
partly in terms of how space is
manipulated, how as a visitor,
478
00:25:17,784 --> 00:25:22,254
you have to go through a certain
series of spaces to enter it.
479
00:25:22,354 --> 00:25:26,192
But you see, I think, how
there is a sense of refinement
480
00:25:26,292 --> 00:25:28,728
and sophistication in
the use of visual form
481
00:25:28,828 --> 00:25:31,731
and natural resources
in those buildings.
482
00:25:31,831 --> 00:25:34,100
Courtyards open
to the sky, but still
483
00:25:34,200 --> 00:25:39,305
inside the palace walls blend
the interior with the exterior,
484
00:25:39,405 --> 00:25:42,975
creating a varied
and vast domain.
485
00:25:43,075 --> 00:25:46,145
But also, there is the light
and how it plays,
486
00:25:46,245 --> 00:25:49,248
the color, even the smell.
487
00:25:49,348 --> 00:25:54,320
And of course,
architecture embodies that.
488
00:25:54,420 --> 00:25:58,658
In 1453, the Islamic world
and beyond
489
00:25:58,758 --> 00:26:02,061
was forever changed when
the Muslim Ottomans captured
490
00:26:02,161 --> 00:26:06,966
Constantinople from the
Christian Byzantines.
491
00:26:07,066 --> 00:26:11,003
The conquest signaled a new
era of expansion and empire
492
00:26:11,103 --> 00:26:13,940
for the Ottomans who
would reach eventually
493
00:26:14,040 --> 00:26:19,245
into North Africa, Eastern
Europe, and the Arabian Gulf.
494
00:26:19,345 --> 00:26:23,349
Their capital became
known as Istanbul.
495
00:26:23,449 --> 00:26:26,352
To display their
increasing preeminence,
496
00:26:26,452 --> 00:26:29,922
the Ottoman sultans
created the Topkapi Palace,
497
00:26:30,022 --> 00:26:33,693
an expansive court
exemplifying royal life
498
00:26:33,793 --> 00:26:37,897
for the powerful Islamic
empire at its peak.
499
00:26:37,997 --> 00:26:41,868
Its most famous resident,
Sultan Suleiman the Magnificent,
500
00:26:41,968 --> 00:26:46,205
easily outshone his 16th
century European counterparts
501
00:26:46,305 --> 00:26:49,008
in wealth and influence.
502
00:26:49,108 --> 00:26:52,178
The Ottoman Empire
was very hierarchical
503
00:26:52,278 --> 00:26:54,613
and so is the space
in Topkapi, that you
504
00:26:54,714 --> 00:26:58,985
are moving linearly in toward
the most restricted space,
505
00:26:59,085 --> 00:27:01,387
which is where the sultan was.
506
00:27:01,487 --> 00:27:03,089
Palaces, of course,
507
00:27:03,189 --> 00:27:04,657
were only for the elite.
508
00:27:05,892 --> 00:27:08,695
They were for the delectation
of the prince and his court
509
00:27:08,795 --> 00:27:10,830
and whoever visited him there.
510
00:27:10,930 --> 00:27:15,668
So it's part of that
elite world of art.
511
00:27:15,768 --> 00:27:17,403
A great cultural patron,
512
00:27:17,503 --> 00:27:20,740
Suleiman also wrote poetry,
espousing the traits
513
00:27:20,840 --> 00:27:23,009
of a benevolent prince.
514
00:27:23,109 --> 00:27:24,210
"Do not sleep.
515
00:27:24,310 --> 00:27:25,912
Be awake on your throne.
516
00:27:26,012 --> 00:27:32,885
Our strong hands hold
the fate of the world."
517
00:27:32,985 --> 00:27:36,022
The 16th century is a time of princes
518
00:27:36,122 --> 00:27:40,026
all over the world making
beautiful things in order
519
00:27:40,126 --> 00:27:41,861
to compete with each other.
520
00:27:41,961 --> 00:27:46,065
Sultan Suleiman was
the first sultan
521
00:27:46,165 --> 00:27:51,437
who realized that he was not
just continuing old empires,
522
00:27:51,537 --> 00:27:55,141
but he was creating
a new empire.
523
00:27:55,241 --> 00:27:57,910
Suleiman was named
for the wise King Solomon,
524
00:27:58,010 --> 00:28:01,213
and his signature graces many
of his creative endeavors,
525
00:28:01,313 --> 00:28:02,815
including the Topkapi Palace.
526
00:28:06,118 --> 00:28:09,922
His vision for the new empire
was far reaching and even
527
00:28:10,022 --> 00:28:12,859
extended into Jerusalem
to the venerated site
528
00:28:12,959 --> 00:28:16,062
of the Dome of the Rock.
529
00:28:16,162 --> 00:28:18,464
Originally it was covered with mosaics,
530
00:28:18,564 --> 00:28:20,399
and the dome was
not gold leafed.
531
00:28:20,499 --> 00:28:22,701
I think it was
just lead covered.
532
00:28:22,802 --> 00:28:24,904
Under the Ottomans
in the 16th century,
533
00:28:25,004 --> 00:28:28,174
the mosaics had deteriorated,
so basically ugly stars
534
00:28:28,274 --> 00:28:30,476
were put in its place.
535
00:28:30,576 --> 00:28:31,944
The renovations,
536
00:28:32,044 --> 00:28:34,480
instead of thinking
of them as changes,
537
00:28:34,580 --> 00:28:36,182
what I love to
say about it is it
538
00:28:36,282 --> 00:28:39,986
shows how meaningful
the building remains.
539
00:28:40,086 --> 00:28:41,487
That is, people
always thought it was
540
00:28:41,587 --> 00:28:45,925
worth redoing and repairing.
541
00:28:46,025 --> 00:28:48,160
Suleiman asserted his power
542
00:28:48,260 --> 00:28:51,263
across the Ottoman
Empire, but his legacy
543
00:28:51,363 --> 00:28:54,901
endures most in Istanbul.
544
00:28:55,001 --> 00:28:59,138
Completed in 1558,
Suleiman's imperial mosque,
545
00:28:59,238 --> 00:29:02,241
the Suleymaniye, represents
the coming together
546
00:29:02,341 --> 00:29:08,014
of a great patron and a
great architect, Mimar Sinan.
547
00:29:08,114 --> 00:29:10,817
The son of a Greek
stonemason, Sinan
548
00:29:10,917 --> 00:29:13,419
rose in the ranks of
the Ottoman court,
549
00:29:13,519 --> 00:29:16,989
becoming a military architect
before designing the greatest
550
00:29:17,089 --> 00:29:20,059
monuments of the Ottoman Empire.
551
00:29:20,159 --> 00:29:23,462
Sinan was trained as an engineer.
552
00:29:23,562 --> 00:29:25,898
And you can see his
engineering ability
553
00:29:25,998 --> 00:29:28,267
come to the fore in buildings
like the Suleymaniye.
554
00:29:28,367 --> 00:29:29,869
What you have is
555
00:29:29,969 --> 00:29:32,271
a large, dominating,
overwhelming dome that
556
00:29:32,371 --> 00:29:34,473
just defines an enormous
space beneath it.
557
00:29:34,573 --> 00:29:36,876
And the Ottoman, especially
imperial Ottoman architecture,
558
00:29:36,976 --> 00:29:38,444
has always emphasized that.
559
00:29:42,114 --> 00:29:45,184
The structure is very, very clear.
560
00:29:45,284 --> 00:29:49,555
And the ornament is used in
a very, very restrained way
561
00:29:49,655 --> 00:29:52,859
to emphasize the structure
but not overwhelm it.
562
00:29:57,096 --> 00:29:59,966
Perhaps the greatest
source of inspiration for Sinan
563
00:30:00,066 --> 00:30:02,168
was the nearby dome of
the Byzantine church
564
00:30:02,268 --> 00:30:05,137
of Hagia Sophia, built
in the sixth century
565
00:30:05,237 --> 00:30:08,941
and converted to a
mosque by the Ottomans.
566
00:30:09,041 --> 00:30:10,910
We know from written documents
567
00:30:11,010 --> 00:30:14,881
that Sultan Suleiman
and his architect Sinan
568
00:30:14,981 --> 00:30:18,150
tried to outdo what
was there before.
569
00:30:18,250 --> 00:30:23,189
So the dome is slightly larger
than the dome in Hagia Sophia.
570
00:30:23,289 --> 00:30:24,523
It's much better proportioned.
571
00:30:24,623 --> 00:30:26,458
The spaces are
opened up much more.
572
00:30:26,558 --> 00:30:30,162
There are all kinds of
better and more adventuresome
573
00:30:30,262 --> 00:30:31,397
things in it.
574
00:30:31,497 --> 00:30:34,033
But it is clearly within
the same tradition.
575
00:30:38,204 --> 00:30:42,341
Whether domed or hypostyle,
plain or ornamented,
576
00:30:42,441 --> 00:30:46,845
all mosques serve
the same purpose.
577
00:30:46,946 --> 00:30:49,949
They reflect how people
perceived and understood
578
00:30:50,049 --> 00:30:51,951
prayer.
579
00:30:52,051 --> 00:30:54,220
And they expressed that
from different places
580
00:30:54,320 --> 00:30:57,023
and different ideas
in different ways.
581
00:30:57,123 --> 00:30:58,257
The differences
582
00:30:58,357 --> 00:31:03,629
between their very simple
mosques and the very complex,
583
00:31:03,729 --> 00:31:06,265
highly engineered
buildings have to do
584
00:31:06,365 --> 00:31:11,237
with local cultural traditions,
the availability of materials,
585
00:31:11,337 --> 00:31:16,342
and of course the availability
of money and technologies.
586
00:31:16,442 --> 00:31:19,511
In the West African
Muslim country of Mali,
587
00:31:19,611 --> 00:31:22,414
the buildings of Djenne
evoke the simplicity
588
00:31:22,514 --> 00:31:26,085
of early Islamic architecture.
589
00:31:26,185 --> 00:31:29,421
Settled between the
Niger and Bani rivers,
590
00:31:29,521 --> 00:31:31,557
Djenne survives
despite the torrents
591
00:31:31,657 --> 00:31:34,460
of monsoons and flooding.
592
00:31:34,560 --> 00:31:37,997
Shelter has always been made
from what is locally available.
593
00:31:38,097 --> 00:31:40,166
And during the
rainy season, Djenne
594
00:31:40,266 --> 00:31:41,934
is rich in water and earth.
595
00:31:46,538 --> 00:31:49,108
The Great Mosque of
Djenne celebrates
596
00:31:49,208 --> 00:31:53,179
these natural resources.
597
00:31:56,282 --> 00:31:59,918
It unique, made entirely
of mud brink.
598
00:32:00,019 --> 00:32:03,222
I have traveled to many
places and seen many mosques,
599
00:32:03,322 --> 00:32:07,059
but none look like
the mosque of Djenne.
600
00:32:07,159 --> 00:32:08,460
In some ways, it
601
00:32:08,560 --> 00:32:12,031
redefines our conception
of what a mosque is.
602
00:32:12,131 --> 00:32:16,969
And it emphasizes the fact that
diversity is a very important
603
00:32:17,069 --> 00:32:19,338
issue to keep in mind whenever
thinking about the architecture
604
00:32:19,438 --> 00:32:21,440
of the Islamic world.
605
00:32:21,540 --> 00:32:24,510
Rebuilt many times
on its original 13th century
606
00:32:24,610 --> 00:32:27,479
site, the massive
mud structure's shape
607
00:32:27,579 --> 00:32:31,283
comes from a millennia
old West African tradition
608
00:32:31,383 --> 00:32:34,053
not Islamic design.
609
00:32:34,153 --> 00:32:36,322
However different
the outside may be,
610
00:32:36,422 --> 00:32:41,627
the inside has all the
elements that a Muslim coming
611
00:32:41,727 --> 00:32:46,198
in from Iraq or Saudi
Arabia would find familiar.
612
00:32:46,298 --> 00:32:48,634
The hypostyle mosque's flat roof
613
00:32:48,734 --> 00:32:52,071
is supported by 99
columns, one for each
614
00:32:52,171 --> 00:32:53,739
of the 99 names of God.
615
00:32:58,044 --> 00:33:01,013
And these pillars
go up three stories.
616
00:33:01,113 --> 00:33:04,183
They're not shaped
like the pillars
617
00:33:04,283 --> 00:33:08,620
of the Greek temple that gives
you the image of soaring space.
618
00:33:08,720 --> 00:33:10,422
They are quite squat.
619
00:33:10,522 --> 00:33:13,692
But still, there's this sense
that you're in a [inaudible],
620
00:33:13,792 --> 00:33:16,562
that the light is streaming
through, being broken up
621
00:33:16,662 --> 00:33:19,665
by those network of pillars.
622
00:33:19,765 --> 00:33:21,133
It's a very different light.
623
00:33:21,233 --> 00:33:24,002
It's a very different
use of light and space
624
00:33:24,103 --> 00:33:27,339
than you find in
your everyday life.
625
00:33:27,439 --> 00:33:30,242
For Muslims entering
the mosque to pray,
626
00:33:30,342 --> 00:33:33,312
its towering space is
informed by their faith,
627
00:33:33,412 --> 00:33:37,349
the mystical branch of
Islam called Sufism.
628
00:33:37,449 --> 00:33:39,751
The West African brand of Sufism
629
00:33:39,851 --> 00:33:42,054
is very, very tolerant.
630
00:33:42,154 --> 00:33:45,091
And the tolerance
comes from the fact
631
00:33:45,191 --> 00:33:47,159
that everyone is
allowed to have--
632
00:33:47,259 --> 00:33:49,027
within certain
boundaries-- but everyone
633
00:33:49,128 --> 00:33:52,064
is allowed to have
their own experience
634
00:33:52,164 --> 00:33:55,767
and to celebrate their
own experience with God.
635
00:33:55,867 --> 00:33:59,605
It's something about
we humans that we
636
00:33:59,705 --> 00:34:04,510
need to make space where we can
be alone with our own thoughts,
637
00:34:04,610 --> 00:34:07,213
with the knowledge
that we're only
638
00:34:07,313 --> 00:34:12,251
a very small speck in
this larger universe.
639
00:34:12,351 --> 00:34:14,453
The Great Mosque of Djenne
640
00:34:14,553 --> 00:34:17,156
doesn't have what people think
of as mosque architecture,
641
00:34:17,256 --> 00:34:20,259
the big dome, the tall minarets.
642
00:34:20,359 --> 00:34:24,396
But it is local and that it's
the same architectural style
643
00:34:24,496 --> 00:34:27,199
as the mosque in the
village next door.
644
00:34:27,299 --> 00:34:31,670
And there is the sort
of intimate picture,
645
00:34:31,770 --> 00:34:36,575
which is how the space is used
by people in and around Djenne.
646
00:34:36,675 --> 00:34:39,378
It is a reflection of how people
perceive their place of prayer.
647
00:34:55,661 --> 00:34:58,096
In the hands of skilled craftsmen,
648
00:34:58,197 --> 00:35:02,234
threads become stars,
words, and arabesques,
649
00:35:02,334 --> 00:35:06,638
repeated endlessly
over colorful textiles.
650
00:35:06,738 --> 00:35:09,241
Patterns, intricate
and interwoven,
651
00:35:09,341 --> 00:35:13,779
transform ceilings into
the cosmos overhead.
652
00:35:13,879 --> 00:35:16,382
In these complex
designs, Muslims
653
00:35:16,482 --> 00:35:22,321
can see the very possibility
and promise of heaven.
654
00:35:22,421 --> 00:35:24,390
When Prophet Muhammad
comes down
655
00:35:24,490 --> 00:35:27,459
from the mountain
with God's message,
656
00:35:27,559 --> 00:35:29,895
he tells these potential
believers, here's
657
00:35:29,995 --> 00:35:31,697
what happened looks like.
658
00:35:31,797 --> 00:35:37,135
And he uses every
flora, fauna aspect
659
00:35:37,236 --> 00:35:41,573
that is not in the landscape
of these desert dwellers,
660
00:35:41,673 --> 00:35:49,581
starting with trees, water,
shade, fruit, and, of course,
661
00:35:49,681 --> 00:35:53,452
what would you do if you had
no concept of the afterlife
662
00:35:53,552 --> 00:35:54,920
and at that point
you were just a pagan
663
00:35:55,020 --> 00:35:59,758
worshipping idols
of your ancestors?
664
00:35:59,858 --> 00:36:04,530
It seems like a pretty
provocative message
665
00:36:04,630 --> 00:36:06,465
and also promise.
666
00:36:06,565 --> 00:36:11,370
So this idea of heaven, you
know, the afterlife and what's
667
00:36:11,470 --> 00:36:16,608
in there, in terms of the
vegetable, floral abundance
668
00:36:16,708 --> 00:36:19,711
is emblazoned in the
minds of most Muslims.
669
00:36:19,811 --> 00:36:21,380
What's interesting is
670
00:36:21,480 --> 00:36:25,684
the patterns and the
leaves and the tendrils
671
00:36:25,784 --> 00:36:31,423
and the vines that were used
in previous artistic traditions
672
00:36:31,523 --> 00:36:34,626
to frame more important
things in Islamic art
673
00:36:34,726 --> 00:36:36,528
become the subject itself.
674
00:36:36,628 --> 00:36:37,896
And I think
675
00:36:39,164 --> 00:36:41,933
there is the idea of infinity
there, the idea of an ending.
676
00:36:42,033 --> 00:36:43,635
And what is it
that is an ending?
677
00:36:43,735 --> 00:36:46,472
It is that abundance,
the fertility
678
00:36:46,572 --> 00:36:50,476
of the earth, the ability
to not just survive
679
00:36:50,576 --> 00:36:52,911
but to survive well.
680
00:36:55,747 --> 00:36:57,849
The stunning effect of
these patterns
681
00:36:57,949 --> 00:37:00,386
reflects Muslims' deep
interest in geometry.
682
00:37:03,422 --> 00:37:06,392
Geometry is a very tricky,
very difficult thing
683
00:37:06,492 --> 00:37:08,760
because it's something
which to us seems
684
00:37:08,860 --> 00:37:11,229
on the whole rather boring.
685
00:37:11,330 --> 00:37:14,500
And they've managed to transform
to something quite different.
686
00:37:14,600 --> 00:37:16,402
And of course, geometry
687
00:37:16,502 --> 00:37:20,439
was very central to Islam
because there are so
688
00:37:20,539 --> 00:37:22,941
many religious and
social practices that
689
00:37:23,041 --> 00:37:25,243
are dependent upon geometry.
690
00:37:25,344 --> 00:37:27,846
For example, they have
to orient their mosque
691
00:37:27,946 --> 00:37:30,582
by looking at the stars
and making calculations
692
00:37:30,682 --> 00:37:34,620
based on geometry to know the
proper direction of prayer.
693
00:37:34,720 --> 00:37:37,956
They need geometry to
determine the times of prayer.
694
00:37:38,056 --> 00:37:41,627
They need geometry
to navigate as they
695
00:37:41,727 --> 00:37:44,463
move through the Mediterranean
or through the deserts
696
00:37:44,563 --> 00:37:45,431
of Arabia.
697
00:37:46,264 --> 00:37:48,367
So geometry is a
survival technique.
698
00:37:48,467 --> 00:37:50,402
Geometry is important
to religion.
699
00:37:50,502 --> 00:37:54,440
And it becomes
aestheticized in the arts.
700
00:37:54,540 --> 00:37:56,408
Ordinary, everyday objects
701
00:37:56,508 --> 00:37:58,710
are made extraordinary,
embellished
702
00:37:58,810 --> 00:38:02,314
with geometric and
vegetal designs.
703
00:38:02,414 --> 00:38:04,049
Some of the objects that
704
00:38:04,149 --> 00:38:07,586
are most delightful
to look at today
705
00:38:07,686 --> 00:38:10,956
were made for
utilitarian purposes,
706
00:38:11,056 --> 00:38:16,528
so plates, bowls, pitchers
for pouring water,
707
00:38:16,628 --> 00:38:18,430
that may take very
fanciful forms,
708
00:38:18,530 --> 00:38:21,500
may have a little bird
on it or an inscription
709
00:38:21,600 --> 00:38:23,301
around the outside.
710
00:38:23,402 --> 00:38:25,371
Or it may have a surface
that is completely
711
00:38:25,471 --> 00:38:27,473
filled with vegetative
ornament, you
712
00:38:27,573 --> 00:38:30,342
know, this kind of leafy vine
scroll ornament or geometrical
713
00:38:30,442 --> 00:38:31,477
ornament.
714
00:38:31,577 --> 00:38:34,580
These things were made for use.
715
00:38:34,680 --> 00:38:37,048
It was an elite
patron who used it.
716
00:38:37,148 --> 00:38:39,050
It wasn't the ordinary
person on the street
717
00:38:39,150 --> 00:38:43,689
who could afford a beautiful
metal ewer to pour water.
718
00:38:43,789 --> 00:38:45,457
They would have used a clay jug.
719
00:38:45,557 --> 00:38:49,027
But it was in the
princely environment,
720
00:38:49,127 --> 00:38:50,529
in the palace
environment, something
721
00:38:50,629 --> 00:38:51,530
that would have been used.
722
00:38:54,600 --> 00:38:56,402
Enjoying the tremendous luxury
723
00:38:56,502 --> 00:38:59,037
their wealth afforded
then, Muslim rulers
724
00:38:59,137 --> 00:39:02,841
were major players in the
international world of princes
725
00:39:02,941 --> 00:39:05,110
and adopted many of
the same practices
726
00:39:05,210 --> 00:39:07,679
of their contemporaries.
727
00:39:07,779 --> 00:39:10,916
The king was glorified and glorified
728
00:39:11,016 --> 00:39:13,952
not so much by the victories
he won,
729
00:39:14,052 --> 00:39:16,888
but by the treasures he had.
730
00:39:16,988 --> 00:39:19,425
That was what counted.
731
00:39:19,525 --> 00:39:20,826
Muslim princes wanted
732
00:39:20,926 --> 00:39:23,529
to compare themself
with Christian princes
733
00:39:23,629 --> 00:39:26,798
or Buddhist princes and so on.
734
00:39:26,898 --> 00:39:29,501
And they have
wonderful sculptures
735
00:39:29,601 --> 00:39:33,972
of roaring lions
and flying eagles.
736
00:39:34,072 --> 00:39:36,608
And so wanted the
Muslim princes.
737
00:39:36,708 --> 00:39:39,578
We have a very nice
example of an incense
738
00:39:39,678 --> 00:39:42,481
burner in the shape of a lion.
739
00:39:42,581 --> 00:39:44,149
But if you look at
the body of the lion,
740
00:39:44,249 --> 00:39:48,654
it consists of plant
ornaments instead of,
741
00:39:48,754 --> 00:39:51,389
you know-- had it been a
European incense burner,
742
00:39:51,490 --> 00:39:53,925
you would see the
hairs of the fur.
743
00:39:54,025 --> 00:39:56,995
And you will see the
claws, and you will see
744
00:39:57,095 --> 00:39:59,598
a lot of naturalistic details.
745
00:39:59,698 --> 00:40:03,469
The Muslim artist is
kind of more creating
746
00:40:03,569 --> 00:40:08,740
an idea of a lion not
necessarily an image
747
00:40:08,840 --> 00:40:11,176
which you would recognize--
an animal which you
748
00:40:11,276 --> 00:40:14,713
would recognize from the zoo.
749
00:40:14,813 --> 00:40:16,882
Depictions of animals or people
750
00:40:16,982 --> 00:40:20,652
are surprising, as one of
the greatest misconceptions
751
00:40:20,752 --> 00:40:25,724
about Islamic culture is that
figurative art does not exist.
752
00:40:25,824 --> 00:40:27,493
If you look at this line
753
00:40:27,593 --> 00:40:29,795
because throughout the
ages, in many parts
754
00:40:29,895 --> 00:40:32,631
of the Islamic world,
figurative art and sculpture
755
00:40:32,731 --> 00:40:35,934
is very common,
whether it is painting,
756
00:40:36,034 --> 00:40:39,137
whether it's sculpture, animals,
human beings, and so on.
757
00:40:39,237 --> 00:40:41,940
It's very common, in fact.
758
00:40:42,040 --> 00:40:43,875
We even have
pictures of Mohammad
759
00:40:43,975 --> 00:40:48,213
unveiled in manuscripts
made by Muslims for Muslims.
760
00:40:48,313 --> 00:40:50,949
But they are not idols, and they
are not meant to be worshipped.
761
00:40:55,086 --> 00:40:58,456
Because early Muslims feared idolatry,
in the mosque
762
00:40:58,557 --> 00:41:00,792
the divine presence
is portrayed only
763
00:41:00,892 --> 00:41:04,563
through non-figural designs and
the holy words of the Koran.
764
00:41:07,933 --> 00:41:09,601
Figural imagery,
765
00:41:09,701 --> 00:41:12,804
images of people and animals, is
really confined to the secular
766
00:41:12,904 --> 00:41:15,173
world, the sort
of ordinary world
767
00:41:15,273 --> 00:41:17,108
where religion
does not dominate,
768
00:41:17,208 --> 00:41:19,545
is not the primary interest.
769
00:41:19,645 --> 00:41:22,247
I think by denying
that there are images
770
00:41:22,347 --> 00:41:25,551
and refusing to
show images, you try
771
00:41:25,651 --> 00:41:28,654
to project the image that
there were no differing
772
00:41:28,754 --> 00:41:30,622
views in Islam,
where it's perfectly
773
00:41:30,722 --> 00:41:33,725
clear from the historical
record that we have images
774
00:41:33,825 --> 00:41:35,961
and that different
Muslims felt differently
775
00:41:36,061 --> 00:41:38,530
at different times
in different places.
776
00:41:38,630 --> 00:41:40,866
And this is one of the
great things about Islam.
777
00:41:40,966 --> 00:41:44,102
It is such a large religion,
and it has so many adherents.
778
00:41:44,202 --> 00:41:46,504
Over the past 1400
years, the people
779
00:41:46,605 --> 00:41:50,576
saw things in different ways.
780
00:41:50,676 --> 00:41:52,210
One of the most striking artifacts
781
00:41:52,310 --> 00:41:54,880
of figurative imagery
in Islamic art
782
00:41:54,980 --> 00:41:58,149
is a small ivory box
from Spain meant to hold
783
00:41:58,249 --> 00:42:01,653
precious objects like perfume.
784
00:42:01,753 --> 00:42:03,555
Our quart of an ivory box
785
00:42:03,655 --> 00:42:08,259
belongs to a very small and
select group of objects which
786
00:42:08,359 --> 00:42:12,631
were made for the
caliph in Cordoba
787
00:42:12,731 --> 00:42:14,666
and the circle
very close to him--
788
00:42:14,766 --> 00:42:20,606
his wives, his
viziers, the princes.
789
00:42:20,706 --> 00:42:24,542
So they are works
made for the court.
790
00:42:28,013 --> 00:42:29,547
The box was made and kept
791
00:42:29,648 --> 00:42:31,583
here in the caliph's
palace, Madinat az-Zahra.
792
00:42:35,020 --> 00:42:37,823
Built in the 10th
century but now in ruins,
793
00:42:37,923 --> 00:42:41,559
the palace set a new standard
of luxury and prestige,
794
00:42:41,660 --> 00:42:45,897
proclaiming the caliph's
supremacy to all who saw it.
795
00:42:45,997 --> 00:42:48,834
The iconography or the images
796
00:42:48,934 --> 00:42:52,037
on the objects reflect that.
797
00:42:52,137 --> 00:42:54,339
They are kind of
princely animals.
798
00:42:54,439 --> 00:42:56,341
They are falcons.
799
00:42:56,441 --> 00:42:57,976
They are griffins.
800
00:42:58,076 --> 00:43:01,713
They are lions.
801
00:43:01,813 --> 00:43:03,915
Cut from a single tusk,
802
00:43:04,015 --> 00:43:07,085
the ivory is delicately
carved, giving the illusion
803
00:43:07,185 --> 00:43:11,022
that the figures are emerging
from this small case.
804
00:43:11,122 --> 00:43:13,358
What's really extraordinary
about it is it
805
00:43:13,458 --> 00:43:16,962
shows us a whole other aspect
of the artistic culture
806
00:43:17,062 --> 00:43:18,196
of the time.
807
00:43:19,297 --> 00:43:22,200
We have to look at the
mosque and this box and say,
808
00:43:22,300 --> 00:43:23,635
these are the poles.
809
00:43:24,703 --> 00:43:26,972
One of them represents the
religious public aspect
810
00:43:27,072 --> 00:43:29,607
of the artistic culture
and then the box
811
00:43:29,708 --> 00:43:31,342
represents something
that was meant
812
00:43:31,442 --> 00:43:33,278
for precious materials,
that was meant
813
00:43:33,378 --> 00:43:36,047
for very private consumption
rather than public display.
814
00:43:39,117 --> 00:43:42,654
In Spain's Alhambra Palace,
the ornament of the box
815
00:43:42,754 --> 00:43:48,694
is turned inside out, hidden
inside plain stone walls.
816
00:43:48,794 --> 00:43:50,328
It's like a pearl in some ways.
817
00:43:50,428 --> 00:43:51,863
You have a shell around it.
818
00:43:51,963 --> 00:43:53,932
But then you go to the
inside, and what you
819
00:43:54,032 --> 00:43:58,203
have is just a very delicate
arrangement of decoration.
820
00:43:58,303 --> 00:44:02,640
You enter into some of the
domed rooms in the Alhambra,
821
00:44:02,741 --> 00:44:05,110
such as the Hall
of Abencerrajes,
822
00:44:05,210 --> 00:44:06,945
and you see these
wonderful [inaudible]
823
00:44:07,045 --> 00:44:09,915
vaults, these [inaudible],
honeycomb walls which
824
00:44:10,015 --> 00:44:12,317
short of hover over the person.
825
00:44:12,417 --> 00:44:14,319
You can get a sense
of immateriality,
826
00:44:14,419 --> 00:44:17,989
as if you're watching the
stars or the constellations.
827
00:44:18,089 --> 00:44:21,893
They used all kinds of ways
828
00:44:21,993 --> 00:44:27,298
of covering the walls
that used stucco
829
00:44:27,398 --> 00:44:31,036
to make it look like
textiles, so that in fact,
830
00:44:31,136 --> 00:44:36,007
as has been recently argued,
the Alhambra tries to imitate
831
00:44:36,107 --> 00:44:38,810
a tent, a series of tents.
832
00:44:38,910 --> 00:44:41,847
So there is an
aspect of it which
833
00:44:41,947 --> 00:44:45,116
is like a fairy tale,
the fairy tale created
834
00:44:45,216 --> 00:44:49,020
by an ornament, which I think
the fact that the ornament is
835
00:44:49,120 --> 00:44:51,356
so dependent on textile
patterns, I think,
836
00:44:51,456 --> 00:44:52,724
is rather important too.
837
00:44:56,361 --> 00:44:59,030
All over the Islamic world, textiles
838
00:44:59,130 --> 00:45:01,733
evoked a life of comfort
through their sumptuous
839
00:45:01,833 --> 00:45:07,172
materials and bright colors but
also through their decoration.
840
00:45:07,272 --> 00:45:11,877
And often rulers who went
to desolate areas
841
00:45:11,977 --> 00:45:14,112
in their military
campaigns, they
842
00:45:14,212 --> 00:45:17,248
had to recreate
that magnificence
843
00:45:17,348 --> 00:45:19,785
that they were accustomed to.
844
00:45:19,885 --> 00:45:22,888
Textiles are portable
for those purposes,
845
00:45:22,988 --> 00:45:27,092
to recreate this
concept, this idea,
846
00:45:27,192 --> 00:45:32,163
of a heavenly, abundant,
lush, luxurious environment.
847
00:45:32,263 --> 00:45:33,865
You have to imagine
848
00:45:33,965 --> 00:45:37,836
that textiles are the
furniture of the Islamic lands.
849
00:45:37,936 --> 00:45:41,139
Tables and chairs are used
in the European and American
850
00:45:41,239 --> 00:45:45,811
tradition to get you off the
ground, which is cold and damp.
851
00:45:45,911 --> 00:45:50,081
In the Islamic lands, it's
fairly warm and it's dry.
852
00:45:50,181 --> 00:45:52,483
So you just need something
that separates you
853
00:45:52,583 --> 00:45:54,519
from that dirt on the ground.
854
00:45:54,619 --> 00:45:58,123
The rug is the perfect item.
855
00:45:58,223 --> 00:46:01,092
You can roll it up and carry it.
856
00:46:01,192 --> 00:46:02,828
You can sit on it.
857
00:46:02,928 --> 00:46:04,229
You can sleep on it.
858
00:46:05,496 --> 00:46:08,199
You can put another one on top
of you, and you have a blanket.
859
00:46:08,299 --> 00:46:10,168
The ancient skill of carpet weaving
860
00:46:10,268 --> 00:46:14,205
was perfected in Persia, as
specialized dyes and techniques
861
00:46:14,305 --> 00:46:16,942
led to a thriving
textile industry in Iran.
862
00:46:19,911 --> 00:46:23,214
During the 16th century,
Persian textile designs
863
00:46:23,314 --> 00:46:25,884
spread into India with
their descendants,
864
00:46:25,984 --> 00:46:26,484
the Mughal dynasty.
865
00:46:29,387 --> 00:46:32,490
In modern-day India,
weavers make carpets by hand
866
00:46:32,590 --> 00:46:36,294
as their Mughal ancestors
did centuries before,
867
00:46:36,394 --> 00:46:41,867
using a special hooked knife
for cutting the thread.
868
00:46:41,967 --> 00:46:43,568
Weaving is always done on a loom.
869
00:46:43,668 --> 00:46:45,503
You set up vertical threads.
870
00:46:45,603 --> 00:46:47,205
That's called warping the loom.
871
00:46:47,305 --> 00:46:50,508
And then you weave in and out
horizontally with the weft.
872
00:46:50,608 --> 00:46:53,311
So it creates a
grid like pattern.
873
00:46:53,411 --> 00:46:56,147
Weaving is basically
a geometric technique.
874
00:46:56,247 --> 00:46:59,851
So it's very hard
to weave a circle.
875
00:46:59,951 --> 00:47:02,287
You can knot a
circle just like you
876
00:47:02,387 --> 00:47:06,124
can do it on a computer screen
by making the knot so small.
877
00:47:06,224 --> 00:47:07,959
And in fact, this is
one of the reasons
878
00:47:08,059 --> 00:47:11,462
that people invented what's the
so-called Persian knot that's
879
00:47:11,562 --> 00:47:14,032
open only on one side because
you could pack more of them
880
00:47:14,132 --> 00:47:16,935
together, and therefore,
execute circles,
881
00:47:17,035 --> 00:47:22,307
or curves, or arabesques,
or scrolls more easily.
882
00:47:22,407 --> 00:47:27,245
The Mughals were particular
in showing florals,
883
00:47:27,345 --> 00:47:31,149
especially to a
botanic precision,
884
00:47:31,249 --> 00:47:35,586
and also to show-- I'd like to
think-- the transience of life
885
00:47:35,686 --> 00:47:40,291
by showing flowers in their
various stages of birth
886
00:47:40,391 --> 00:47:42,060
and death.
887
00:47:42,160 --> 00:47:46,965
In the Koran, God says
to Muslims, "To know me,
888
00:47:47,065 --> 00:47:48,866
know my creations."
889
00:47:48,967 --> 00:47:50,902
And of course,
you can't see God.
890
00:47:51,002 --> 00:47:53,338
God is never represented
in Islamic art.
891
00:47:53,438 --> 00:47:58,076
But this sort of instruction
to look at his creations
892
00:47:58,176 --> 00:48:04,282
deeper and at their essence will
get us that much closer to God
893
00:48:04,382 --> 00:48:09,054
is another imperative, another
objective for representing
894
00:48:09,154 --> 00:48:12,890
flora and fauna in Islamic art.
895
00:48:12,991 --> 00:48:16,061
That's what makes it
all so very dramatic,
896
00:48:16,161 --> 00:48:18,629
you know, that here
is a textile that
897
00:48:18,729 --> 00:48:23,101
is dated 300 years from today.
898
00:48:23,201 --> 00:48:25,903
And yet, still sort of is
moving, that you're almost
899
00:48:26,004 --> 00:48:29,240
catching it in a
moment of transition,
900
00:48:29,340 --> 00:48:32,910
that it's not static,
and it's not still
901
00:48:33,011 --> 00:48:36,347
but sort of speaks of the
life that God had put into it.
902
00:48:40,418 --> 00:48:42,520
Today India's diverse heritage
903
00:48:42,620 --> 00:48:45,991
is revealed in its art
and architecture as well
904
00:48:46,091 --> 00:48:46,958
as day-to-day life.
905
00:48:50,161 --> 00:48:53,131
In workshops in Agra,
India, Muslim artisans
906
00:48:53,231 --> 00:48:55,433
still practice an
ancient Roman technique
907
00:48:55,533 --> 00:49:00,005
of stone inlay called
pietra dura, first adopted
908
00:49:00,105 --> 00:49:03,008
by the Mughals in the
early 17th century.
909
00:49:03,108 --> 00:49:04,409
So in India
910
00:49:04,509 --> 00:49:07,545
we have, again, that
display of a willingness
911
00:49:07,645 --> 00:49:09,981
to borrow, and
eclecticism, and a kind
912
00:49:10,081 --> 00:49:12,217
of cultural intermingling
that I think
913
00:49:12,317 --> 00:49:14,519
must have been one of
the artistic strengths
914
00:49:14,619 --> 00:49:16,721
of Islamic art.
915
00:49:16,821 --> 00:49:18,723
Using hand-powered machines
916
00:49:18,823 --> 00:49:21,159
as they have for
centuries, craftsmen
917
00:49:21,259 --> 00:49:25,230
cut and shaped tiny
semiprecious stones.
918
00:49:25,330 --> 00:49:28,133
Then, with
astonishing precision,
919
00:49:28,233 --> 00:49:32,370
they fit them together, creating
arabesques and other floral
920
00:49:32,470 --> 00:49:33,471
and geometric patterns.
921
00:49:37,442 --> 00:49:41,646
The Mughals' colorful pietra
dura designs cover every wall
922
00:49:41,746 --> 00:49:46,517
of Agra's tomb of
I'timad-ud-Daulah, commissioned
923
00:49:46,617 --> 00:49:51,422
by Emperor Jahangir for
his father-in-law in 1622,
924
00:49:51,522 --> 00:49:54,759
the building is made from marble
inlaid with Carnelian lapis
925
00:49:54,859 --> 00:49:57,462
lazuli, onyx, jasper, and topaz.
926
00:50:00,431 --> 00:50:02,300
But it is the
building's form that
927
00:50:02,400 --> 00:50:06,337
reveals the most about the
Mughals, a dynasty with Persian
928
00:50:06,437 --> 00:50:10,341
as well as local
Indian heritage.
929
00:50:10,441 --> 00:50:12,743
It looks Persian in some respects,
930
00:50:12,843 --> 00:50:16,013
and it fits the end of
a four square garden
931
00:50:16,114 --> 00:50:18,749
called the Chahar Bagh--
these are Persian art forms--
932
00:50:18,849 --> 00:50:23,388
but that has these little corner
umbrella-like cupulas that
933
00:50:23,488 --> 00:50:26,057
are called that are, in fact,
934
00:50:26,157 --> 00:50:27,792
borrowed from
Hindu architecture.
935
00:50:33,564 --> 00:50:36,201
Nearby, one of the most
magnificent monuments ever
936
00:50:36,301 --> 00:50:39,537
created in Islamic art
appears against the sky
937
00:50:39,637 --> 00:50:42,240
like a heavenly
pearl, the Taj Mahal.
938
00:50:45,376 --> 00:50:47,478
A colossal mausoleum,
it was built
939
00:50:47,578 --> 00:50:50,781
by Mughal Shah Jahan
for his beloved wife,
940
00:50:50,881 --> 00:50:55,086
Mumtaz Mahal in 1628.
941
00:50:55,186 --> 00:50:57,722
Mumtaz Mahal, first of all,
942
00:50:57,822 --> 00:51:00,291
is of Persian heritage
and not Indian or mixed
943
00:51:00,391 --> 00:51:01,292
Indian heritage.
944
00:51:02,160 --> 00:51:05,263
So she hails from
a Persian legacy.
945
00:51:05,363 --> 00:51:07,632
She wasn't his
first and only wife.
946
00:51:07,732 --> 00:51:11,436
But he favored her, and he
had the most children by her.
947
00:51:11,536 --> 00:51:14,339
Whether it was because she
was beautiful above all or not
948
00:51:14,439 --> 00:51:17,242
is still up for question.
949
00:51:17,342 --> 00:51:20,845
But love transcends all.
950
00:51:20,945 --> 00:51:24,549
And I think that's a very
powerful symbol of it
951
00:51:24,649 --> 00:51:26,851
and continues to be.
952
00:51:26,951 --> 00:51:29,086
He buried her very young,
953
00:51:29,187 --> 00:51:31,489
and she died, and
he was so in love
954
00:51:31,589 --> 00:51:35,526
with her that he built her
this beautiful mausoleum.
955
00:51:35,626 --> 00:51:38,229
And he mourned her
forever and ever.
956
00:51:38,329 --> 00:51:39,630
The fact that she
957
00:51:39,730 --> 00:51:42,200
was buried in the
central position
958
00:51:42,300 --> 00:51:46,704
under the summit of the
tomb's dome is very telling.
959
00:51:46,804 --> 00:51:50,475
And it says something about
certainly his respect for her
960
00:51:50,575 --> 00:51:52,710
and the importance that was
accorded to her that she would
961
00:51:52,810 --> 00:51:55,413
have a monument of
that size and that she
962
00:51:55,513 --> 00:51:58,183
would get that central spot.
963
00:51:58,283 --> 00:52:00,651
Shah Jahan spent 10 years
overseeing
964
00:52:00,751 --> 00:52:04,422
its construction, using an all
white marble as well as pietra
965
00:52:04,522 --> 00:52:08,859
dura but refining the technique
to achieve a rare subtlety
966
00:52:08,959 --> 00:52:10,828
and grace.
967
00:52:10,928 --> 00:52:13,231
The Taj Mahal is a very delicately
968
00:52:13,331 --> 00:52:15,266
ornamented building.
969
00:52:15,366 --> 00:52:17,435
In some ways, to me,
it's the material
970
00:52:17,535 --> 00:52:22,340
that dominates the decoration
not the other way around.
971
00:52:22,440 --> 00:52:25,776
So when the light
falls at a certain way,
972
00:52:25,876 --> 00:52:28,513
the decoration emerges
in a certain way.
973
00:52:28,613 --> 00:52:31,216
The delicacy of the
marble absorbs the light.
974
00:52:31,316 --> 00:52:33,384
And so at sunset,
you'll experience it
975
00:52:33,484 --> 00:52:35,620
in a very different way
than you would at sunrise
976
00:52:35,720 --> 00:52:37,688
or in summer you would
experience it very differently
977
00:52:37,788 --> 00:52:40,157
than you would at winter.
978
00:52:40,258 --> 00:52:41,526
You're suddenly imbued
979
00:52:41,626 --> 00:52:43,328
with that perception of heaven.
980
00:52:43,428 --> 00:52:45,663
You feel you've entered
an other worldly
981
00:52:45,763 --> 00:52:51,269
realm with a monument completely
encased in marble, reflecting
982
00:52:51,369 --> 00:52:54,839
its ulterior identity in
the pool in front of it,
983
00:52:54,939 --> 00:52:58,309
showing both realms,
heavenly and earthly.
984
00:52:58,409 --> 00:53:01,779
And he basically models
the entire complex
985
00:53:01,879 --> 00:53:07,218
on what the vision of
paradise and heaven is.
986
00:53:07,318 --> 00:53:09,554
In West Africa, the simplicity
987
00:53:09,654 --> 00:53:14,459
of Mali's small village mosques
stands in stark contrast
988
00:53:14,559 --> 00:53:17,262
to the heavily decorated
buildings in the East.
989
00:53:21,332 --> 00:53:23,934
Their minimal design
of mud and timber
990
00:53:24,034 --> 00:53:27,705
is echoed even in the
more urban city of Djenne.
991
00:53:27,805 --> 00:53:29,807
You look at the mosque of Djenne
992
00:53:29,907 --> 00:53:32,310
where there is no
applied ornamentation.
993
00:53:32,410 --> 00:53:34,379
But you have
something different.
994
00:53:34,479 --> 00:53:35,813
There, the scaffolding
is actually
995
00:53:35,913 --> 00:53:37,482
built into the building.
996
00:53:37,582 --> 00:53:40,451
And that is done for a very
practical reason, which
997
00:53:40,551 --> 00:53:43,321
is that these mud buildings,
these dried mud buildings,
998
00:53:43,421 --> 00:53:46,424
need constant maintenance.
999
00:53:46,524 --> 00:53:47,992
These beams protrude enough
1000
00:53:48,092 --> 00:53:49,794
to make a pattern on the wall.
1001
00:53:49,894 --> 00:53:51,762
So when you look at it,
you're not looking only
1002
00:53:51,862 --> 00:53:53,998
at the plain earth building.
1003
00:53:54,098 --> 00:53:55,366
When you're looking
at it, you're
1004
00:53:56,367 --> 00:53:57,568
looking at a building
that has lines on it.
1005
00:53:58,703 --> 00:54:01,439
And those lines are making
different patterns, mostly
1006
00:54:01,539 --> 00:54:04,842
in diagonal lines or
herringbone pattern.
1007
00:54:04,942 --> 00:54:06,611
But this pattern changes.
1008
00:54:06,711 --> 00:54:07,778
It's sort of alive.
1009
00:54:07,878 --> 00:54:10,281
It reflects the sun
in its movement.
1010
00:54:10,381 --> 00:54:14,385
On the interior, you have
almost no ornament at all.
1011
00:54:14,485 --> 00:54:17,955
The ornament there, if
we can call it that,
1012
00:54:18,055 --> 00:54:21,426
is the play of light
through the lightwells
1013
00:54:21,526 --> 00:54:24,895
and how light is reflected
on these huge columns that
1014
00:54:24,995 --> 00:54:26,697
formed the corridors inside.
1015
00:54:26,797 --> 00:54:28,899
That's what the Djenne mosque is all
1016
00:54:28,999 --> 00:54:31,602
about to the communicants
who go there.
1017
00:54:31,702 --> 00:54:38,008
They have an experience with
God, an unornamented experience
1018
00:54:38,108 --> 00:54:38,609
with God.
1019
00:54:50,855 --> 00:54:54,024
Bereft of water and scorched
by the unrelenting
1020
00:54:54,124 --> 00:54:58,629
sun, the urban landscapes of the
traditional Islamic heartlands
1021
00:54:58,729 --> 00:55:03,300
were mostly dust colored, made
from the surrounding earth.
1022
00:55:03,401 --> 00:55:05,770
In its scarcity,
vivid color became
1023
00:55:05,870 --> 00:55:09,507
a treasure used to
celebrate and elevate more
1024
00:55:09,607 --> 00:55:11,876
than buildings and objects.
1025
00:55:11,976 --> 00:55:14,379
Imagine if you're coming
on your camel,
1026
00:55:14,479 --> 00:55:19,016
and you come across this plain,
and you see a mosque from afar.
1027
00:55:19,116 --> 00:55:22,887
And Mohammad, sometimes
Ali or Ya Allah
1028
00:55:22,987 --> 00:55:24,655
are written in glazed tile.
1029
00:55:24,755 --> 00:55:25,856
They are neon.
1030
00:55:25,956 --> 00:55:28,393
They glow.
1031
00:55:28,493 --> 00:55:30,828
And you've got another
20 miles to go,
1032
00:55:30,928 --> 00:55:32,430
and you're plunking along.
1033
00:55:33,698 --> 00:55:36,867
And so you start reciting sacred
names, prayers, Koranic verses,
1034
00:55:36,967 --> 00:55:38,669
and it's a way of
encouraging you.
1035
00:55:38,769 --> 00:55:40,538
It's a way of bringing you on.
1036
00:55:40,638 --> 00:55:44,909
It's a way of enveloping
you into the community.
1037
00:55:45,009 --> 00:55:48,379
One of the ideas was to
make life, as everywhere,
1038
00:55:48,479 --> 00:55:49,714
as pleasant as possible.
1039
00:55:49,814 --> 00:55:51,816
So you perfume things
and you colored them.
1040
00:55:51,916 --> 00:55:53,584
You colored your food.
1041
00:55:53,684 --> 00:55:55,352
You colored the
clothes you wore.
1042
00:55:55,453 --> 00:55:58,389
The weaving of different
colors is possible
1043
00:55:58,489 --> 00:56:01,058
because you can dye
silk, particularly also
1044
00:56:01,158 --> 00:56:03,561
wool and cotton in
many different colors.
1045
00:56:03,661 --> 00:56:08,399
And many different dyes
from saffron, from crocuses,
1046
00:56:08,499 --> 00:56:10,968
to various kinds
of blues, and reds,
1047
00:56:11,068 --> 00:56:13,638
were all available
and accessible
1048
00:56:13,738 --> 00:56:17,608
and easily transportable
in the Islamic lands.
1049
00:56:17,708 --> 00:56:20,778
And color becomes so
important that people often
1050
00:56:20,878 --> 00:56:23,681
made color and things that
are difficult to color.
1051
00:56:23,781 --> 00:56:26,451
Take, for example, metalwork.
1052
00:56:26,551 --> 00:56:28,686
There was everyday use metalware.
1053
00:56:28,786 --> 00:56:32,523
Then there was metalware
that was perceived of as,
1054
00:56:32,623 --> 00:56:35,760
at the time, not only from our
perspective as art objects,
1055
00:56:35,860 --> 00:56:39,797
objects to be appreciated
because of their beauty.
1056
00:56:39,897 --> 00:56:42,967
One of the highlights of metalware
1057
00:56:43,067 --> 00:56:45,436
that's made in the Islamic
lands is the inlaying
1058
00:56:45,536 --> 00:56:47,838
of one metal into another.
1059
00:56:47,938 --> 00:56:51,108
So you have a bronze object, and
you put silver and gold pieces
1060
00:56:51,208 --> 00:56:54,011
into it to make it colorful.
1061
00:56:54,111 --> 00:56:57,114
And just doing that shows
you that people valued color
1062
00:56:57,214 --> 00:57:01,586
because why bother otherwise?
1063
00:57:01,686 --> 00:57:03,621
This small painted wooden table
1064
00:57:03,721 --> 00:57:06,491
from the 11th century
was discovered only
1065
00:57:06,591 --> 00:57:09,960
recently hidden away
for hundreds of years
1066
00:57:10,060 --> 00:57:13,430
in a cave in Afghanistan.
1067
00:57:13,531 --> 00:57:18,202
This little piece of secular furniture
1068
00:57:18,302 --> 00:57:21,071
is an extraordinary survivor.
1069
00:57:21,171 --> 00:57:23,941
We hardly have any
secular furniture
1070
00:57:24,041 --> 00:57:28,713
from the Islamic world at
all from the medieval period.
1071
00:57:28,813 --> 00:57:33,651
The color combinations of
the table-- reds, blue,
1072
00:57:33,751 --> 00:57:37,522
kind of greenish
colors, black, and then
1073
00:57:37,622 --> 00:57:40,691
the color of the wood itself,
where the layer of paint
1074
00:57:40,791 --> 00:57:44,562
has been cut through--
gives it an extremely lively
1075
00:57:44,662 --> 00:57:46,964
nearly garish appearance
to the object.
1076
00:57:47,064 --> 00:57:49,500
It is stunning.
1077
00:57:49,600 --> 00:57:51,769
Colorful paints, enamels,
1078
00:57:51,869 --> 00:57:54,972
and glazes are readily
available today.
1079
00:57:55,072 --> 00:57:56,774
But historically,
they were extracted
1080
00:57:56,874 --> 00:57:59,476
from the natural
environment and given life
1081
00:57:59,577 --> 00:58:01,512
by the artist's hands.
1082
00:58:01,612 --> 00:58:03,080
One of the ways you make color
1083
00:58:03,180 --> 00:58:06,150
is by grinding up pigments.
1084
00:58:06,250 --> 00:58:09,954
Often metallic pigments,
so you can grind up copper,
1085
00:58:10,054 --> 00:58:12,156
and you can get green.
1086
00:58:12,256 --> 00:58:17,494
For tiling, and blue and white
ceramics, you need cobalt.
1087
00:58:17,595 --> 00:58:19,930
And the biggest sources
of cobalt, traditionally,
1088
00:58:20,030 --> 00:58:21,766
were in Iran.
1089
00:58:21,866 --> 00:58:25,670
So we think today of Chinese
blue and white ceramic.
1090
00:58:25,770 --> 00:58:28,939
That cobalt and the idea
of blue and white ceramic
1091
00:58:29,039 --> 00:58:31,942
actually comes from Iran.
1092
00:58:32,042 --> 00:58:34,278
The Iranian city of Isfahan,
1093
00:58:34,378 --> 00:58:36,681
poised between the
East-West trade
1094
00:58:36,781 --> 00:58:39,884
routes became a burgeoning
center of ceramic arts
1095
00:58:39,984 --> 00:58:43,888
in the 16th and 17th century.
1096
00:58:43,988 --> 00:58:46,991
Isfahan's Sheikh
Lotfollah mosque
1097
00:58:47,091 --> 00:58:50,160
with its striking blue
tiles an ornamental dome
1098
00:58:50,260 --> 00:58:56,767
was built in 1618 by the great
Persian ruler, Shah Abbas.
1099
00:58:56,867 --> 00:59:00,270
Used only as a private mosque
for the Shah's royal court,
1100
00:59:00,370 --> 00:59:02,673
it wasn't until
centuries later when
1101
00:59:02,773 --> 00:59:04,875
the building was
open to the public
1102
00:59:04,975 --> 00:59:08,979
that its magnificence was
revealed to the world.
1103
00:59:09,079 --> 00:59:12,717
The ornament is some of the
most colorful and complex tile
1104
00:59:12,817 --> 00:59:14,551
work ever created.
1105
00:59:14,652 --> 00:59:16,621
They would take tiles
and break them
1106
00:59:16,721 --> 00:59:18,288
and then rearrange
them so that you
1107
00:59:18,388 --> 00:59:24,161
would have a more intricate,
rich play of light and color.
1108
00:59:24,261 --> 00:59:27,031
And you see that in this mosque.
1109
00:59:27,131 --> 00:59:31,168
Where in some ways, the building
is dematerialized completely.
1110
00:59:31,268 --> 00:59:34,271
You no longer see the
building as a special form
1111
00:59:34,371 --> 00:59:38,676
or special space but
more as basically
1112
00:59:38,776 --> 00:59:42,246
an overwhelming surface
of color and light.
1113
00:59:42,346 --> 00:59:46,684
Just enough light comes in to
bring the mosaic tiles to life.
1114
00:59:46,784 --> 00:59:48,118
While if there was
more light coming in,
1115
00:59:48,218 --> 00:59:49,720
it probably would
overwhelm them,
1116
00:59:49,820 --> 00:59:52,289
and you would lose that
effect of the tiles.
1117
00:59:52,389 --> 00:59:56,627
But here, the right amount
of light only is let in.
1118
00:59:56,727 --> 00:59:59,329
NARRATOR: Faced with the labor
of cutting each mosaic tile
1119
00:59:59,429 --> 01:00:02,667
by hand, the mosque's
architects adopted
1120
01:00:02,767 --> 01:00:05,135
a more efficient glazing
technique that allowed
1121
01:00:05,235 --> 01:00:09,740
designs to be painted
directly onto the tile.
1122
01:00:09,840 --> 01:00:13,210
They were thinking of
how to transfer ideas.
1123
01:00:13,310 --> 01:00:15,112
They were experimenting.
1124
01:00:15,212 --> 01:00:18,082
They were what we-- they were
the daring artists of the time.
1125
01:00:18,182 --> 01:00:21,686
Because they're introducing
new ideas and new techniques.
1126
01:00:21,786 --> 01:00:23,721
In this new technique, potters
1127
01:00:23,821 --> 01:00:25,790
paint in an outline
of the design
1128
01:00:25,890 --> 01:00:28,025
with a mixture of mineral
pigment and grease
1129
01:00:28,125 --> 01:00:31,261
before filling it in
with colored glazes.
1130
01:00:31,361 --> 01:00:33,998
Once fired, the
grease would burn off,
1131
01:00:34,098 --> 01:00:38,268
leaving a thin line to
separate the colors.
1132
01:00:38,368 --> 01:00:42,840
Inside their private palaces,
like the Chehel Sotoun,
1133
01:00:42,940 --> 01:00:46,711
the shahs of Iran used color
in a very different way,
1134
01:00:46,811 --> 01:00:49,013
with figurative
paintings of epic tales
1135
01:00:49,113 --> 01:00:50,815
from their own history.
1136
01:00:50,915 --> 01:00:54,084
This fresco commemorates
the Battle of Chaldiran,
1137
01:00:54,184 --> 01:00:58,989
when the Persians bravely
faced the Ottoman army in 1514.
1138
01:00:59,089 --> 01:01:02,092
Outnumbered and fighting
only with traditional weapons
1139
01:01:02,192 --> 01:01:04,962
against the firearms of
the Ottoman soldiers,
1140
01:01:05,062 --> 01:01:07,397
the Persians suffered
a devastating defeat,
1141
01:01:07,497 --> 01:01:10,901
losing more than 5,000 men.
1142
01:01:11,001 --> 01:01:12,970
In the secular environment,
1143
01:01:13,070 --> 01:01:16,841
in bathhouses, in palaces,
in the private tradition
1144
01:01:16,941 --> 01:01:20,878
of manuscripts that are not
Korans, not prayer books,
1145
01:01:20,978 --> 01:01:24,114
but rather story books
or historic or epics,
1146
01:01:24,214 --> 01:01:27,684
or historical narratives,
or scientific manuals,
1147
01:01:27,785 --> 01:01:32,056
for example, there are
lots of images of people.
1148
01:01:32,156 --> 01:01:34,191
These were made in the court,
1149
01:01:34,291 --> 01:01:38,228
and they were not made-- this is
important point-- they were not
1150
01:01:38,328 --> 01:01:44,101
made with the same obvious
externalization that
1151
01:01:44,201 --> 01:01:46,136
happen in Western art.
1152
01:01:46,236 --> 01:01:47,437
This was not for a public.
1153
01:01:48,572 --> 01:01:49,039
The public probably didn't
even know of the existence
1154
01:01:49,139 --> 01:01:51,842
of these paintings.
1155
01:01:51,942 --> 01:01:54,011
With high drama and emotion,
1156
01:01:54,111 --> 01:01:56,113
illustrated narratives
tell the tales
1157
01:01:56,213 --> 01:01:58,949
of the princes'
distant ancestors,
1158
01:01:59,049 --> 01:02:01,852
linking them symbolically to
the wise rulers of the past.
1159
01:02:04,989 --> 01:02:06,957
The greatest most
famous of these
1160
01:02:07,057 --> 01:02:11,295
is the Persian epic poem by
Ferdowsi called the Shahnameh,
1161
01:02:11,395 --> 01:02:11,829
or Book of Kings.
1162
01:02:15,900 --> 01:02:18,468
Mythical figures like
Rostam are recounted
1163
01:02:18,568 --> 01:02:21,738
as heroes, cloaked
in animal skins,
1164
01:02:21,839 --> 01:02:24,308
slaying demons,
and saving humanity
1165
01:02:24,408 --> 01:02:27,377
from the evils of the world.
1166
01:02:27,477 --> 01:02:29,479
The imagination runs wild.
1167
01:02:29,579 --> 01:02:34,184
And heroic exploits are
depicted on the page-- not just
1168
01:02:34,284 --> 01:02:37,822
human beings but also
super human animals,
1169
01:02:37,922 --> 01:02:41,959
and monsters, and angels.
1170
01:02:42,059 --> 01:02:45,495
Rostam's rival, the
valiant knight, Esfandiyar,
1171
01:02:45,595 --> 01:02:47,865
must face his own
supernatural enemies
1172
01:02:47,965 --> 01:02:50,801
before he can meet
Rostam in battle.
1173
01:02:50,901 --> 01:02:53,170
After wisely wounding
the ferocious beast
1174
01:02:53,270 --> 01:02:56,373
with his blade covered
horse, Esfandiyar
1175
01:02:56,473 --> 01:03:01,245
delivers the last
fatal blow by hand.
1176
01:03:01,345 --> 01:03:06,016
You have the monster
with its striking wings
1177
01:03:06,116 --> 01:03:09,786
and color and the clouds
that look like the monster.
1178
01:03:09,887 --> 01:03:12,122
And this is where the
talent of the composition
1179
01:03:12,222 --> 01:03:15,459
comes in, where
details repeat itself,
1180
01:03:15,559 --> 01:03:18,228
echo each other in the image.
1181
01:03:18,328 --> 01:03:21,999
Here, you have very
slowly to start looking,
1182
01:03:22,099 --> 01:03:26,436
and then you start drowning
within those images.
1183
01:03:26,536 --> 01:03:28,973
Finally, after much bloodshed,
1184
01:03:29,073 --> 01:03:32,109
Rostam is able to
conquer the invincible
1185
01:03:32,209 --> 01:03:37,114
Esfandiyar, by discovering
his only weakness, his eyes.
1186
01:03:37,214 --> 01:03:42,186
One double-pointed arrow
silences his opponent forever.
1187
01:03:42,286 --> 01:03:44,855
The Shahnameh
recalls great battles
1188
01:03:44,955 --> 01:03:46,957
of the pre-Islamic past.
1189
01:03:47,057 --> 01:03:49,994
It also recounts
great love stories.
1190
01:03:50,094 --> 01:03:54,164
It has a certain sensitivity
to the human condition,
1191
01:03:54,264 --> 01:03:58,035
much like we see in the
work of Homer, for example.
1192
01:03:58,135 --> 01:04:00,170
The Shahnameh was so beloved
1193
01:04:00,270 --> 01:04:03,140
that other characters like the
fifth century Persian prince
1194
01:04:03,240 --> 01:04:08,612
Bahram Gur took on new
life in romantic epics.
1195
01:04:08,712 --> 01:04:11,515
In the poem "Seven
Beauties" by Nizami,
1196
01:04:11,615 --> 01:04:14,418
Bahram Gur asks an
architect to build
1197
01:04:14,518 --> 01:04:17,421
seven pavilions for
the seven princesses
1198
01:04:17,521 --> 01:04:20,124
he admires from afar.
1199
01:04:20,224 --> 01:04:23,360
As he visits each one,
the pavilions' colors
1200
01:04:23,460 --> 01:04:28,132
are used to illuminate the
prince's own spiritual journey.
1201
01:04:28,232 --> 01:04:32,336
Poetry, like art, is a mirror
reflecting the invisible world
1202
01:04:32,436 --> 01:04:34,905
of the human spirit.
1203
01:04:35,005 --> 01:04:37,507
The central part of this beautiful poem
1204
01:04:37,607 --> 01:04:42,146
is his entering seven
pavilions and being entertained
1205
01:04:42,246 --> 01:04:44,481
by a princess in each pavilion.
1206
01:04:44,581 --> 01:04:47,317
And each privilege is
identified, distinguished
1207
01:04:47,417 --> 01:04:50,087
by a certain color.
1208
01:04:50,187 --> 01:04:54,191
And these colors are
related to a progression
1209
01:04:54,291 --> 01:04:59,329
of going from a point of
just thinking about oneself
1210
01:04:59,429 --> 01:05:02,432
and not being enlightened
to enlightenment.
1211
01:05:07,071 --> 01:05:09,239
These Persian art forms spread,
1212
01:05:09,339 --> 01:05:14,078
as Islam blossomed in
India under the Mughals.
1213
01:05:14,178 --> 01:05:17,214
There was a lot of strong contacts
1214
01:05:17,314 --> 01:05:21,685
and interest between Iran
and India in this period,
1215
01:05:21,785 --> 01:05:24,354
and we have a lot
of interaction,
1216
01:05:24,454 --> 01:05:26,590
a lot of movement
of poets and artists
1217
01:05:26,690 --> 01:05:29,459
going between these two empires.
1218
01:05:29,559 --> 01:05:31,528
And that's how ideas
are transmitted.
1219
01:05:31,628 --> 01:05:36,166
That's how techniques are
transmitted and goods.
1220
01:05:36,266 --> 01:05:39,069
By the 17th century, under the reign
1221
01:05:39,169 --> 01:05:43,240
of Emperor Jahangir,
Mughal art and architecture
1222
01:05:43,340 --> 01:05:44,708
was flourishing.
1223
01:05:44,808 --> 01:05:46,710
The monuments built
during his reign
1224
01:05:46,810 --> 01:05:52,349
reveal how Islamic heritage took
new forms, influenced by trade.
1225
01:05:52,449 --> 01:05:57,254
Janhangir himself admired and
collected European and even
1226
01:05:57,354 --> 01:05:59,189
Christian art.
1227
01:05:59,289 --> 01:06:00,557
And that probably
1228
01:06:00,657 --> 01:06:03,393
has a lot to do
with the Portuguese,
1229
01:06:03,493 --> 01:06:08,098
the Jesuits, who had already
come to India in Jahangir's
1230
01:06:08,198 --> 01:06:10,434
reign, bringing gifts.
1231
01:06:10,534 --> 01:06:14,638
Along with gifts, they're
bringing illustrated Bibles.
1232
01:06:14,738 --> 01:06:18,375
And, of course, in
the hopes to-- they're
1233
01:06:18,475 --> 01:06:22,579
proselytizing, hopefully
converting these great emperors
1234
01:06:22,679 --> 01:06:24,281
of this great empire.
1235
01:06:24,381 --> 01:06:27,251
And, of course, the emperors
are accepting these gifts.
1236
01:06:27,351 --> 01:06:28,252
They're very gracious.
1237
01:06:28,352 --> 01:06:30,220
They're very thankful.
1238
01:06:30,320 --> 01:06:34,024
So the reservoir, then,
becomes quite rich from where
1239
01:06:34,124 --> 01:06:36,693
the artist is drawing.
1240
01:06:36,793 --> 01:06:39,163
Here, a Mughal painter experiments
1241
01:06:39,263 --> 01:06:42,499
with the Western concepts
of perspective and shading,
1242
01:06:42,599 --> 01:06:45,635
while using local materials.
1243
01:06:45,735 --> 01:06:47,237
The colors are all
1244
01:06:47,337 --> 01:06:50,006
derived from pigments,
natural pigments, and even
1245
01:06:50,107 --> 01:06:51,508
semi-precious stones.
1246
01:06:51,608 --> 01:06:54,578
The blue, especially,
is from lapis lazuli,
1247
01:06:54,678 --> 01:06:56,580
which comes from Afghanistan.
1248
01:06:56,680 --> 01:07:01,418
But most of the reds,
the yellows, the white
1249
01:07:01,518 --> 01:07:06,656
is all naturally derived and
is indigenous to the place
1250
01:07:06,756 --> 01:07:09,459
in which the
painting was created.
1251
01:07:09,559 --> 01:07:12,396
Indian yellow is a mixture
1252
01:07:12,496 --> 01:07:16,733
of the urine of cows
that are fed on Mango,
1253
01:07:16,833 --> 01:07:21,638
and that's bound with water
and also a gum arabic.
1254
01:07:21,738 --> 01:07:24,408
And mixed together, and it
creates this incredibly vibrant
1255
01:07:24,508 --> 01:07:26,376
yellow.
1256
01:07:26,476 --> 01:07:29,246
It is in Jahangir's illustrated memoir
1257
01:07:29,346 --> 01:07:31,781
that the growth and
sophistication of Mughal
1258
01:07:31,881 --> 01:07:35,119
painting is most clearly seen.
1259
01:07:35,219 --> 01:07:37,421
In this work, he's shown with a halo.
1260
01:07:37,521 --> 01:07:40,457
And that links him
to Western art,
1261
01:07:40,557 --> 01:07:42,392
and specifically Christian art.
1262
01:07:42,492 --> 01:07:44,494
He is above everyone.
1263
01:07:44,594 --> 01:07:47,364
Even though everyone is
dressed in their finery
1264
01:07:47,464 --> 01:07:52,536
and they are individualized,
that beautiful blue basically
1265
01:07:52,636 --> 01:07:56,540
winds us back to our
primary focus, which should
1266
01:07:56,640 --> 01:07:58,242
be the emperor and nobody else.
1267
01:08:01,378 --> 01:08:04,281
And colors in Islamic
art are very moving.
1268
01:08:04,381 --> 01:08:09,786
They're very sumptuous, lush,
almost supernatural colors
1269
01:08:09,886 --> 01:08:13,857
that transport you to another
place that is not earthly.
1270
01:08:35,445 --> 01:08:37,847
Water gives
life in barren lands.
1271
01:08:37,947 --> 01:08:40,284
It changes its surroundings.
1272
01:08:40,384 --> 01:08:41,618
It moves.
1273
01:08:41,718 --> 01:08:43,620
It reflects.
1274
01:08:43,720 --> 01:08:48,292
It is also a simple element that
ties us to our past in a way
1275
01:08:48,392 --> 01:08:50,460
that nothing else can.
1276
01:08:50,560 --> 01:08:52,629
Water is one of those elements
1277
01:08:52,729 --> 01:08:54,598
that we take for granted.
1278
01:08:54,698 --> 01:08:59,369
But when I see water in a
pool in a tomb or in a palace,
1279
01:08:59,469 --> 01:09:01,605
I'm often struck by the
fact that it's actually
1280
01:09:01,705 --> 01:09:06,543
the same water that flowed
when the palace was built.
1281
01:09:06,643 --> 01:09:08,912
Because water doesn't go away.
1282
01:09:09,012 --> 01:09:12,382
It evaporates, and then it
falls back on the earth.
1283
01:09:12,482 --> 01:09:14,484
And it evaporates, and
it falls back down again.
1284
01:09:14,584 --> 01:09:15,319
It's the same water.
1285
01:09:15,419 --> 01:09:16,353
It's the Roman water.
1286
01:09:16,453 --> 01:09:18,188
It's the Islamic water.
1287
01:09:18,288 --> 01:09:20,890
It's water from all
stages of history.
1288
01:09:20,990 --> 01:09:22,392
It's continuous.
1289
01:09:22,492 --> 01:09:26,196
And so for that moment,
I am in that place,
1290
01:09:26,296 --> 01:09:28,198
not just in my
imagination but literally,
1291
01:09:28,298 --> 01:09:32,369
materially, I'm part of
that same environment.
1292
01:09:32,469 --> 01:09:34,638
Though appearing effortless,
1293
01:09:34,738 --> 01:09:37,707
the water that ran for centuries
into the reflecting pools
1294
01:09:37,807 --> 01:09:40,810
and garden beds of
the Islamic world
1295
01:09:40,910 --> 01:09:44,814
traveled a difficult journey,
one involving a complex system
1296
01:09:44,914 --> 01:09:48,218
of engineering and labor.
1297
01:09:48,318 --> 01:09:50,687
A number of parts
of the Islamic world
1298
01:09:50,787 --> 01:09:52,689
do suffer from
scarcity of water.
1299
01:09:52,789 --> 01:09:55,325
They have very little rainfall.
1300
01:09:55,425 --> 01:09:57,494
Some of them might have
large sources of water,
1301
01:09:57,594 --> 01:10:00,630
but you have to move the
water to other locations.
1302
01:10:00,730 --> 01:10:03,667
Perched on the edge
of the Orontes River, the city
1303
01:10:03,767 --> 01:10:08,438
of Hama, Syria once had as many
as 30 water wheels in service,
1304
01:10:08,538 --> 01:10:12,542
bringing water from the
source to the people.
1305
01:10:12,642 --> 01:10:14,744
You have these wonderful,
enormous water
1306
01:10:14,844 --> 01:10:17,314
wheels, which could be
20 meters in diameter
1307
01:10:17,414 --> 01:10:18,882
or 60 feet in diameter.
1308
01:10:18,982 --> 01:10:22,218
And they would carry the
water from the bottom
1309
01:10:22,319 --> 01:10:24,821
from the river up to the
top of the water wheel.
1310
01:10:24,921 --> 01:10:26,823
And then from there,
it would be transferred
1311
01:10:26,923 --> 01:10:29,859
to aqueducts or to canals.
1312
01:10:29,959 --> 01:10:31,795
And then it would feed
various other parts
1313
01:10:31,895 --> 01:10:33,597
of the city, whether
for agriculture
1314
01:10:33,697 --> 01:10:38,635
or for residential
use and so on.
1315
01:10:38,735 --> 01:10:41,471
There's a very important
verse in the Koran that
1316
01:10:41,571 --> 01:10:45,342
often is repeated, which
is that God has made
1317
01:10:45,442 --> 01:10:47,577
everything alive through water.
1318
01:10:47,677 --> 01:10:50,847
So it's actually a very even
simple and basic principle,
1319
01:10:50,947 --> 01:10:53,817
which is water is life.
1320
01:10:53,917 --> 01:10:56,520
Through irrigation, an otherwise dry
1321
01:10:56,620 --> 01:10:59,756
landscape is made doubly
productive in that it
1322
01:10:59,856 --> 01:11:02,025
is-- you can grow crops
through the summer.
1323
01:11:02,125 --> 01:11:04,761
You can grow crops
through a time of the year
1324
01:11:04,861 --> 01:11:06,330
when you wouldn't
ordinarily have
1325
01:11:07,564 --> 01:11:11,034
any crops at all because of
this ability to manage water.
1326
01:11:11,134 --> 01:11:13,670
In more arid
climates like Iran,
1327
01:11:13,770 --> 01:11:18,308
the challenging desert
topography spurred innovation.
1328
01:11:18,408 --> 01:11:19,709
One of the wonders
1329
01:11:19,809 --> 01:11:21,878
engineering feats of
this part of the world
1330
01:11:21,978 --> 01:11:26,650
is the subterranean aqueduct
called, in Persian, a qanat,
1331
01:11:26,750 --> 01:11:31,020
in Arabic a [arabic],
Probably invented in Iran
1332
01:11:31,120 --> 01:11:34,424
already in the
fourth century BCE,
1333
01:11:34,524 --> 01:11:37,060
but certainly developed
in the Islamic period
1334
01:11:37,160 --> 01:11:41,598
and brought from Iran all
the way to West Africa
1335
01:11:41,698 --> 01:11:44,534
and then in fact
to the new world.
1336
01:11:44,634 --> 01:11:46,636
From above, qanats appear
1337
01:11:46,736 --> 01:11:50,774
as a series of large
crater-like holes in the earth.
1338
01:11:50,874 --> 01:11:53,710
Workmen were lowered
into these access points,
1339
01:11:53,810 --> 01:11:57,914
some as deep as 150 feet,
to tap the water's source
1340
01:11:58,014 --> 01:12:00,517
in the heart of a mountain.
1341
01:12:00,617 --> 01:12:02,919
Then, by hand, they
cut through the earth
1342
01:12:03,019 --> 01:12:05,955
to create a long tunnel.
1343
01:12:06,055 --> 01:12:09,359
You bring this water
25 miles underground
1344
01:12:09,459 --> 01:12:11,327
on a slightly sloping
path, and then you
1345
01:12:11,428 --> 01:12:14,531
bring it out whenever you
want to water your field.
1346
01:12:14,631 --> 01:12:16,600
The management of that water
1347
01:12:16,700 --> 01:12:20,870
requires a very careful
understanding of slope.
1348
01:12:20,970 --> 01:12:25,575
Because the cardinal rule about
water is it flows downhill.
1349
01:12:25,675 --> 01:12:28,111
If it flows too fast,
you lose your water
1350
01:12:28,211 --> 01:12:29,979
because it spills
over the edges.
1351
01:12:30,079 --> 01:12:33,450
If it flows too slowly,
you have a stagnant pool,
1352
01:12:33,550 --> 01:12:36,352
and it doesn't go where
you want it to go.
1353
01:12:36,453 --> 01:12:39,856
In Kairouan, Tunisia,
water flowed from aqueducts
1354
01:12:39,956 --> 01:12:42,659
into massive reservoir basins.
1355
01:12:42,759 --> 01:12:45,962
Built in the ninth century,
these highly sophisticated
1356
01:12:46,062 --> 01:12:48,398
collection pools
provided water that
1357
01:12:48,498 --> 01:12:51,067
was both fresh and filtered.
1358
01:12:51,167 --> 01:12:52,736
They're quite sizable.
1359
01:12:52,836 --> 01:12:54,938
You have a small pool
and then a large pool.
1360
01:12:55,038 --> 01:12:56,773
The idea is that
the water, which
1361
01:12:56,873 --> 01:12:59,476
is brought in from
another location,
1362
01:12:59,576 --> 01:13:01,411
goes into the small pool.
1363
01:13:01,511 --> 01:13:04,881
There, the sediments
basically settle.
1364
01:13:04,981 --> 01:13:07,884
And then it moves
into the larger pool
1365
01:13:07,984 --> 01:13:13,623
where it's stored for the use
of the residents of the city.
1366
01:13:13,723 --> 01:13:15,725
Once inside the city walls,
1367
01:13:15,825 --> 01:13:18,628
water played an
important religious role,
1368
01:13:18,728 --> 01:13:23,066
as all Muslims are required
to wash before prayer.
1369
01:13:23,166 --> 01:13:25,469
Washing involves
1370
01:13:25,569 --> 01:13:30,840
a symbolic and practical
cleansing of one's self
1371
01:13:30,940 --> 01:13:33,777
before approaching God.
1372
01:13:33,877 --> 01:13:36,780
And so it is a way
of putting yourself
1373
01:13:36,880 --> 01:13:42,519
in the right mental framework
for approaching the divine.
1374
01:13:42,619 --> 01:13:44,688
You have the section for ablutions
1375
01:13:44,788 --> 01:13:47,957
in the mosque, and often these
are very beautiful elements
1376
01:13:48,057 --> 01:13:49,459
within the mosque.
1377
01:13:50,627 --> 01:13:51,027
Sometimes you find them in
the middle of the courtyard.
1378
01:13:51,995 --> 01:13:52,962
Sometimes you find them
outside the mosque.
1379
01:13:53,797 --> 01:13:54,964
You find them in
different locations.
1380
01:13:55,932 --> 01:13:56,933
But they do have an
architectural presence
1381
01:13:57,033 --> 01:13:57,734
in the mosque.
1382
01:14:02,171 --> 01:14:04,508
Water takes on this sacred association
1383
01:14:04,608 --> 01:14:05,809
in many cases.
1384
01:14:06,976 --> 01:14:09,178
But at the same time, it has
a day-to-day connotation,
1385
01:14:09,278 --> 01:14:11,447
and you can't separate the two.
1386
01:14:11,548 --> 01:14:12,849
Water is actually
1387
01:14:12,949 --> 01:14:15,885
a very complicated substance
because it does not
1388
01:14:15,985 --> 01:14:17,086
hold its own shape.
1389
01:14:17,186 --> 01:14:18,855
It has to be given form.
1390
01:14:18,955 --> 01:14:21,925
It's very heavy, and
therefore very heavy to lift.
1391
01:14:22,025 --> 01:14:24,661
And any time you
work with water,
1392
01:14:24,761 --> 01:14:26,830
any time you manage
water or carry water,
1393
01:14:26,930 --> 01:14:28,164
you actually need
a container for it.
1394
01:14:28,264 --> 01:14:30,567
You need a vessel for it.
1395
01:14:30,667 --> 01:14:32,936
Decorated ewers, or pitchers,
1396
01:14:33,036 --> 01:14:35,171
carried drinking
water and could be
1397
01:14:35,271 --> 01:14:38,708
used for washing before meals.
1398
01:14:38,808 --> 01:14:40,977
SHEILA S. BLAIR: Someone would
come out and pour the water,
1399
01:14:41,077 --> 01:14:43,079
and you would rub
your hands over it.
1400
01:14:43,179 --> 01:14:45,048
And the wastewater
would go into the basin.
1401
01:14:45,148 --> 01:14:47,050
But water was so precious
you wouldn't just
1402
01:14:47,150 --> 01:14:48,117
let it run away on the floor.
1403
01:14:48,217 --> 01:14:49,485
You.
1404
01:14:49,586 --> 01:14:50,520
Would take that
basin of dirty water
1405
01:14:50,620 --> 01:14:52,756
and pour it on your garden.
1406
01:14:52,856 --> 01:14:56,092
Water is about so many things.
1407
01:14:56,192 --> 01:14:58,628
It's not only about cleanliness.
1408
01:14:58,728 --> 01:15:00,063
It's not only about produce.
1409
01:15:00,163 --> 01:15:01,998
It's not only about beauty.
1410
01:15:02,098 --> 01:15:02,498
It's all of that.
1411
01:15:05,902 --> 01:15:09,606
In palaces like the Chehel Sotoun
in Iran,
1412
01:15:09,706 --> 01:15:12,041
called the Palace
of 40 Columns, water
1413
01:15:12,141 --> 01:15:17,847
magnified the ruler's majesty,
making it as valuable as gold.
1414
01:15:17,947 --> 01:15:19,649
Water has the ability
1415
01:15:19,749 --> 01:15:23,519
to enhance the
architecture around it--
1416
01:15:23,620 --> 01:15:24,788
the architecture
that contains it
1417
01:15:24,888 --> 01:15:27,123
or the architecture
that it surrounds.
1418
01:15:27,223 --> 01:15:30,159
So if you think of the Chehel
Sotoun, the Palace the 40
1419
01:15:30,259 --> 01:15:33,563
Columns in Isfahan, it
doesn't have 40 columns.
1420
01:15:33,663 --> 01:15:37,000
Its columns are in
fact doubled by being
1421
01:15:37,100 --> 01:15:41,905
reflected on the body of water
that sits in front of it.
1422
01:15:42,005 --> 01:15:43,973
It's a very nice poetic interpretation
1423
01:15:44,073 --> 01:15:45,241
of the building.
1424
01:15:45,341 --> 01:15:46,943
But it also shows,
again, that water always
1425
01:15:47,043 --> 01:15:50,647
plays an element in how the
popular imagination sees
1426
01:15:50,747 --> 01:15:52,281
a building.
1427
01:15:52,381 --> 01:15:55,551
In the Alhambra Palace
in Granada, Spain,
1428
01:15:55,652 --> 01:15:59,088
water spouted upward
from an alabaster basin
1429
01:15:59,188 --> 01:16:02,992
and poured from the
mouths of 12 marble lions.
1430
01:16:03,092 --> 01:16:07,664
A poem carved on the basin
echoed its physical form.
1431
01:16:07,764 --> 01:16:11,200
"The fountain is the sultan
who showers all his subjects
1432
01:16:11,300 --> 01:16:16,139
and land with grace, just
as water wets the gardens."
1433
01:16:16,239 --> 01:16:17,741
The fountain
1434
01:16:17,841 --> 01:16:21,210
is nothing more than the
mechanism of extracting water
1435
01:16:21,310 --> 01:16:24,580
from the earth, turned
into a celebration.
1436
01:16:24,681 --> 01:16:28,818
Every time water enters
into a palace environment,
1437
01:16:28,918 --> 01:16:31,988
it enters through some
kind of theatrical effect.
1438
01:16:32,088 --> 01:16:34,658
It enters through
the mouth of a lion
1439
01:16:34,758 --> 01:16:38,828
or the mouth of a bronze
deer so that the animal
1440
01:16:38,928 --> 01:16:40,596
seems to come alive.
1441
01:16:40,697 --> 01:16:43,332
And this is the only way
of creating animation
1442
01:16:43,432 --> 01:16:44,968
in this world.
1443
01:16:45,068 --> 01:16:48,972
And it must have had an
enormous effect on viewers.
1444
01:16:49,072 --> 01:16:51,607
It must have been-- it must
have excited the imagination
1445
01:16:51,708 --> 01:16:53,910
to see something like that.
1446
01:16:54,010 --> 01:16:56,112
Now covered in pebbles,
1447
01:16:56,212 --> 01:16:59,683
the Alhambra's Court of Lions
was once a four-part garden
1448
01:16:59,783 --> 01:17:02,051
fed by the channels
of water, representing
1449
01:17:02,151 --> 01:17:05,822
a microcosm of the
irrigated landscape outside.
1450
01:17:05,922 --> 01:17:07,857
The ultimate expression of water
1451
01:17:07,957 --> 01:17:09,225
is, of course, in the garden.
1452
01:17:09,325 --> 01:17:11,327
Because none of the gardens
in the Islamic world
1453
01:17:11,427 --> 01:17:14,798
would exist if they
didn't have a man-made,
1454
01:17:14,898 --> 01:17:20,003
an artificially introduced,
source of water.
1455
01:17:20,103 --> 01:17:23,239
The Generalife,
Granada's 14th century summer
1456
01:17:23,339 --> 01:17:27,643
estate, was a pleasure palace,
decorated with lush gardens
1457
01:17:27,744 --> 01:17:30,013
and whimsical fountains.
1458
01:17:30,113 --> 01:17:32,782
They evoke, on the one
hand, the garden that
1459
01:17:32,882 --> 01:17:34,751
is the garden that grows food.
1460
01:17:34,851 --> 01:17:38,287
But they also evoke the gardens
of paradise and the very word
1461
01:17:38,387 --> 01:17:42,358
"paradise" comes from the
Persian "paradeisos" which
1462
01:17:42,458 --> 01:17:46,162
means a walled park or garden.
1463
01:17:46,262 --> 01:17:48,297
Islamic gardens are typically
1464
01:17:48,397 --> 01:17:52,368
walled enclosed spaces,
and the reason for that
1465
01:17:52,468 --> 01:17:55,038
is that by enclosing
the space, you
1466
01:17:55,138 --> 01:17:58,808
are creating a box in
which fragrant flowers,
1467
01:17:58,908 --> 01:18:01,978
fragrant fruit trees,
are contained and made
1468
01:18:02,078 --> 01:18:04,347
more available to the nose.
1469
01:18:04,447 --> 01:18:05,381
You can smell them.
1470
01:18:05,481 --> 01:18:06,883
They are close at hand.
1471
01:18:06,983 --> 01:18:08,952
They are meant to be
something that you have
1472
01:18:09,052 --> 01:18:12,121
almost physical contact with.
1473
01:18:12,221 --> 01:18:14,057
You also should think of water
1474
01:18:14,157 --> 01:18:16,459
in the context of
sound, because water
1475
01:18:16,559 --> 01:18:18,995
provides a pleasing sound.
1476
01:18:19,095 --> 01:18:23,867
So most gardens, like the
Alhambra or the Generalife,
1477
01:18:23,967 --> 01:18:28,371
have running water because it's
this babbling noise behind you
1478
01:18:28,471 --> 01:18:32,475
that screens out other noise
but also brings quiet and calm.
1479
01:18:37,246 --> 01:18:40,083
During Mali's long dry season,
1480
01:18:40,183 --> 01:18:43,386
water is an even greater luxury.
1481
01:18:43,486 --> 01:18:46,389
In the mud villages
outside the city of Djenne,
1482
01:18:46,489 --> 01:18:49,926
people persist and
thrive without rain,
1483
01:18:50,026 --> 01:18:52,962
grinding the millet grown before
the floodwaters slowly recede.
1484
01:19:01,137 --> 01:19:04,307
In the hands of an artist,
water becomes a medium
1485
01:19:04,407 --> 01:19:07,243
for creativity, used
to shape and build
1486
01:19:07,343 --> 01:19:08,511
the world around them.
1487
01:19:13,482 --> 01:19:18,988
For over 4,000 years, people
have used the sun, the earth,
1488
01:19:19,088 --> 01:19:24,293
and water to create mud
brick or adobe buildings.
1489
01:19:24,393 --> 01:19:28,064
The word "adobe" itself comes
from the Arabic word for mud,
1490
01:19:28,164 --> 01:19:32,268
"at-tub."
1491
01:19:32,368 --> 01:19:34,838
The city of Djenne
is actually an island
1492
01:19:34,938 --> 01:19:37,140
in a vast flood plain.
1493
01:19:37,240 --> 01:19:40,877
Here, water is both a
blessing and a curse.
1494
01:19:40,977 --> 01:19:43,379
And here, the
buildings tell a story
1495
01:19:43,479 --> 01:19:45,882
of survival and community.
1496
01:19:45,982 --> 01:19:47,984
This part of West Africa
1497
01:19:48,084 --> 01:19:52,055
has a very long dry season
and a short wet season,
1498
01:19:52,155 --> 01:19:54,390
rainy season, only about
two and a half, sometimes
1499
01:19:54,490 --> 01:19:55,959
three and a half months.
1500
01:19:56,059 --> 01:19:57,426
But the rains are
monsoonal rains,
1501
01:19:57,526 --> 01:19:59,996
so they come in torrentially.
1502
01:20:03,632 --> 01:20:07,136
Mud architecture needs constant repair
1503
01:20:07,236 --> 01:20:10,206
because these rains wear
way the plaster walls.
1504
01:20:15,178 --> 01:20:17,346
The Great Mosque of Djenne
1505
01:20:17,446 --> 01:20:20,984
is the largest adobe
structure in the world.
1506
01:20:21,084 --> 01:20:22,485
You see the mosque,
1507
01:20:22,585 --> 01:20:24,253
and there are very
few sharp corners.
1508
01:20:24,353 --> 01:20:25,421
Everything is softed.
1509
01:20:25,521 --> 01:20:27,323
Everything is rounded.
1510
01:20:27,423 --> 01:20:31,227
That's in part a
good protection.
1511
01:20:31,327 --> 01:20:35,064
But it's a tribute, if you
will, to the force of the rains
1512
01:20:35,164 --> 01:20:38,968
and the force of nature
in that-- in that sense.
1513
01:20:39,068 --> 01:20:41,905
This mosque is very important
1514
01:20:42,005 --> 01:20:44,240
not only for me but
for all the Malians
1515
01:20:44,340 --> 01:20:46,542
because it shows
how creative and how
1516
01:20:46,642 --> 01:20:50,613
ingenious our masons are.
1517
01:20:50,713 --> 01:20:52,315
The masons of Djenne mix
1518
01:20:52,415 --> 01:20:54,317
earth and water
with a vegetable fat
1519
01:20:54,417 --> 01:20:57,486
called shea butter to
shape the cylindrical mud
1520
01:20:57,586 --> 01:21:01,324
bricks which form the skeleton
of the mosque building.
1521
01:21:01,424 --> 01:21:03,092
There is a very long
1522
01:21:03,192 --> 01:21:05,161
archeological
tradition that goes
1523
01:21:05,261 --> 01:21:09,198
beyond a millennium of dealing
with these traditional mud
1524
01:21:09,298 --> 01:21:10,366
bricks.
1525
01:21:10,466 --> 01:21:11,867
And the traditional
mud bricks are
1526
01:21:13,036 --> 01:21:17,606
the signature of the barey
ton or the masons of Djenne.
1527
01:21:17,706 --> 01:21:19,342
They are cylindrical bricks.
1528
01:21:19,442 --> 01:21:21,444
They're about 20
centimeters high.
1529
01:21:21,544 --> 01:21:23,579
And they're laid
vertically in rows,
1530
01:21:23,679 --> 01:21:26,049
but they're extremely hard.
1531
01:21:26,149 --> 01:21:28,017
In order to protect them
from erosion
1532
01:21:28,117 --> 01:21:30,219
during the heavy
rains, mud plaster
1533
01:21:30,319 --> 01:21:33,389
is continuously applied
to the traditional bricks
1534
01:21:33,489 --> 01:21:35,891
by masons who scale
the timber scaffolding.
1535
01:21:39,095 --> 01:21:42,198
The timbers not only
serve as decoration.
1536
01:21:42,298 --> 01:21:45,568
They also serve as a tool to
create, to build a mosque,
1537
01:21:45,668 --> 01:21:50,273
to plaster it, and to make
repairs on the mosque.
1538
01:21:50,373 --> 01:21:52,275
They let this mud and the grain
1539
01:21:52,375 --> 01:21:55,378
and the butter
ferment for weeks.
1540
01:21:55,478 --> 01:21:59,348
It's really foul smelling,
but it's-- once it's put
1541
01:21:59,448 --> 01:22:04,420
on, it's as hard as
regular Portland cement.
1542
01:22:04,520 --> 01:22:06,422
The Mosque of Djenne
1543
01:22:06,522 --> 01:22:09,158
is eternal in a
different sense, and it
1544
01:22:09,258 --> 01:22:13,462
is in the act of rebuilding and
renewing and replenishing it
1545
01:22:13,562 --> 01:22:14,964
that it's importance is found.
1546
01:22:23,172 --> 01:22:25,574
The legacy of Islamic art
1547
01:22:25,674 --> 01:22:31,014
is intertwined with the very
fabric of world civilization.
1548
01:22:31,114 --> 01:22:38,321
In a deep and meaningful way,
it is part of who we are today.
1549
01:22:38,421 --> 01:22:40,523
It's not that Islam has suddenly
1550
01:22:40,623 --> 01:22:43,159
appeared in our lives now.
1551
01:22:43,259 --> 01:22:46,562
We've been involved with
Islam for centuries.
1552
01:22:46,662 --> 01:22:48,998
I think that Islamic art puts
1553
01:22:49,098 --> 01:22:53,536
a face on a lot of the
uncertainties Western society
1554
01:22:53,636 --> 01:22:55,704
has about Islamic culture.
1555
01:22:55,804 --> 01:23:00,009
And also it sheds light
on some shared histories
1556
01:23:00,109 --> 01:23:03,279
between Western culture
and Islamic culture
1557
01:23:03,379 --> 01:23:07,616
and shows a continuity
rather than a break.
1558
01:23:07,716 --> 01:23:09,518
To ancho ourselves in the past
1559
01:23:09,618 --> 01:23:11,354
as a way of giving
ourselves, I think,
1560
01:23:11,454 --> 01:23:15,591
an anchor in a world that is in
such enormous and threatening
1561
01:23:15,691 --> 01:23:17,326
flux.
1562
01:23:17,426 --> 01:23:21,130
Art, I think, is something
that is the most human thing.
1563
01:23:21,230 --> 01:23:23,332
It's what makes us human.
1564
01:23:23,432 --> 01:23:26,035
Sometimes material objects
1565
01:23:26,135 --> 01:23:30,173
can be the bridge between
one world and another.
1566
01:23:30,273 --> 01:23:32,441
That translucent
glass is beautiful
1567
01:23:32,541 --> 01:23:34,743
regardless of your
religious background.
1568
01:23:34,843 --> 01:23:37,680
Mosaic sparkles and
dazzles the eye, regardless
1569
01:23:37,780 --> 01:23:40,116
of what time in
history you are in.
1570
01:23:40,216 --> 01:23:43,086
Monumental, tall domes
that stretch overhead
1571
01:23:43,186 --> 01:23:47,156
like the heavens themselves
are awesome whoever
1572
01:23:47,256 --> 01:23:49,725
you are, whether you walk in
there to pray or walk in there
1573
01:23:49,825 --> 01:23:51,026
with a camera as a tourist.
118789
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