Mamluke Keep

Karak, Jordan

Built in the early 14th century, the Mamluke Keep is located at the south end of Karak; it is seen here from the north, where the rest of the castle is located.

Vaulted Tunnel

Karak, Jordan

A vaulted passage within the castle is shown here. Although surrounded by massive rock, the tunnel is relatively large, well-lit, and airy.

Roman Oil Lamp

Karak, Jordan

A small museum displays various objects found in the vicinity, including this bronze Roman oil lamp. Usually described as a duck, the shape of the beak and length of the neck seem more like a swan. Two small children, one on either side, are folded within the bird's wing. Of each child, only the head and one arm are visible. The lamp depicts Castor and Pollux (or perhaps, Helen and Pollux), whose father, Zeus, took the form of a swan to impregnate their mother Leda.

Entrance to Vaulted Passage

North Wall, Karak, Jordan

A vaulted passageway leads from the north wall into the castle. The Crusaders built strong but hastily, incorporating material from older structures willy-nilly into the castle. It's possible to find Corinthian capitals, Byzantine lintels, and even Nabataean torsos incorporated here and there into the walls.

Crusader Castle

Karak, Jordan

Karak (also spelled, "Kerak") was built in 1142, the anchor of a chain of mighty fortifications that defended the Crusader Kingdom of Jerusalem (see: The Crusades, at Boise State University). The castle's most infamous occupant was Reynald de Chatillon, a man so notorious for his cruelty that he was personally beheaded by Saladin after the Battle of Hattin in 1187. Once the battle was lost, it was only a matter of time until the castle was starved into submission. The defenders held out for eight months, leaving Saladin so impressed by their valor that he set them free after they finally had to surrender. Substantial alterations were made to the castle by the Mamlukes in the following two centuries. Karak remained in use even under the Ottomans (19th century), thus accounting for its fine state of preservation down to the modern era.

This photo shows Karak in all its strength, perched on top of a mountain and above a deep valley, near the southern end of the Dead Sea. The photo was taken from across the valley, looking west; the Dead Sea and Israel are on the other side, behind the fortress, and the modern town lies just out of the photo to the right (north).

Abbasid Mosque

Medieval Ayla 

Aqaba, Jordan

The Blue Guide dates this mosque, at least in its present form, between the mid-8th century and mid-9th century AD. It is a mosque for congregational worship, with a peristyle courtyard. Read this photo from left (north), to right (south). The mosque is seen here from the west side; the front, and longer (sic), side of the building is north .

From the columned entrance (1), worshipers passed into a large rectangular courtyard (2), and continued through another row of columns and into the first prayer hall (3). Past yet another row of columns is the inner prayer hall, with a mihrab (A niche in the wall of a mosque that is oriented towards Mecca, the direction of prayer (qibla); for example, towards the west, when one is in India) on the south wall (4). The dimensions of the mosque are approximately 30m (N-S) by 50m (E-W).

Medieval Ayla is located on the beach of modern Aqaba, Jordan's port on the Red Sea.

Qasr Amra

 

Qasr Amra (Arabic: قصر عمرة‎ / ALA-LC: Qaṣr ‘Amrah), often Quseir Amra or Qusayr Amra, is the best-known of the desert castles located in present-day eastern Jordan. It was built early in the 8th century (probably between 711 and 715) by the Umayyad caliph Walid I whose dominance of the region was rising at the time. It is considered one of the most important examples of early Islamic art and architecture.

The building is actually the remnant of a larger complex that included an actual castle, of which only the foundation remains. What stands today is a small country cabin, meant as a royal retreat, without any military function. It is most notable for the frescoes that remain on the ceilings inside, which depict hunting, naked women and, above one bath chamber, an accurate representation of the zodiac. These have led to its designation as a UNESCOWorld Heritage Site, one of three in the country. That status, and its location along Jordan's major east-west highway, relatively close to Amman, have made it a frequent tourist destination.

Building:-

 

South (rear) view, from highway 

Qasr Amra is located on the north side of Jordan's Highway 40, roughly 85 kilometres (53 mi) from Amman and 21 kilometres (13 mi) southwest of Al-Azraq.[1] It is currently within a large area fenced off in barbed wire. An unpaved parking lot is located at the southeast corner, just off the road. A small visitor's center collects admission fees. The castle is located in the west of the enclosed area, below a small rise.

It is a low building made from limestone and basalt. The northern block, two stories high, features a triple-vaulted ceiling over the main entrance on the east facade. The western wings feature smaller vaults or domes.

Traces of stone walls used to enclose the site suggest it was part of a 25-hectare (62-acre) complex; there are remains of a castle which could have temporarily housed a garrison of soldiers. Just to the southeast of the building is a well 40 metres (130 ft) deep, and traces of the animal-driven lifting mechanism and a dam have been found as well.

Today, Qasr Amra is in a poorer condition than the other desert castles, with graffiti damaging some frescos. However, restoration projects are underway.

History:-

One of the six kings depicted is King Roderick of Spain, whose short reign dates the image, and possibly the building, to around 710. For a long time archaeologists believed that sitting caliph Walid I was the builder and primary user of Qusayr Amra, but recently doubts have been cast. Now it is believed more likely that one of two princes who later became caliph themselves, Walid II or Yazid III, are more likely candidates for that role.

Both spent long periods of time away from Damascus, the Umayyad seat, before assuming the throne. Walid was known to indulge in the sort of sybaritic activities depicted on the frescoes, particularly sitting on the edge of pools listening to music or poetry. One time he was entertained by performers dressed as stars and constellations, suggesting a connection to the sky painting in the caldarium. Yazid's mother was a Persian princess, suggesting a familiarity with that culture, and he too was known for similar pleasure-seeking.

The abandoned structure was re-discovered by Alois Musil in 1898, with the frescoes made famous in drawings by an Austrian artist named Mielich for Musil's book. In the late 1970s a Spanish team restored the frescoes. The castle was made a UNESCO World Heritage Site in 1985 under criteria i), iii), and iv) ("masterpiece of human creative genius", "unique or at least exceptional testimony to a cultural tradition" and "an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates a significant stage in human history").

Frescoes:-

 

Apodyterium fresco 

Qusayr Amra is most notable for the frescoes on the inside walls. The main entry vault has scenes of hunting, fruit and wine consumption, and naked women. Some of the animals shown are not abundant in the region but were more commonly found in Persia, suggesting some influence from that area. One surface depicts the construction of the building.

 Near the base of one wall a haloed king is shown on a throne. An adjoining section, now in Berlin's Pergamon Museum, shows attendants as well as a boat in waters abundant with fish and fowl.

An image known as the "six kings" depicts the caliph with other regional rulers. Its intent was unclear until conservators in the late 1970s discovered the Greek word "NHKH", or nike, meaning victory, nearby. It was concluded that the "six kings" image was meant to suggest the caliph's supremacy over his enemies.

The apodyterium, or changing room, is decorated with scenes of animals engaging in human activities, particularly performing music. One ambiguous image has an angel gazing down on a shrouded human form. It has often been thought to be a death scene, but some other interpretations have suggested the shroud covers a pair of lovers. Three blackened faces on the ceiling have been thought to represent the stages of life. Christians in the area believe the middle figure is Jesus Christ.

On the walls and ceiling of the tepidarium, or warm bath, are scenes of plants and trees similar to those in the mosaic at the Umayyad Mosque in Damascus. They are interspersed with naked females in various poses, some bathing a child. The caldarium or hot bath's hemispheric dome has a representation of the heavens in which the zodiac is depicted, among 35 separate identifiable constellations.

It is believed to be the earliest image of the night sky painted on anything other than a flat surface. The radii emerge not from the dome's center but, accurately, from the north celestial pole. The angle of the zodiac is depicted accurately as well. The only error discernible in the surviving artwork is the counterclockwise order of the stars, which suggests the image was copied from one on a flat surface.

Naked woman 

The frescoes in all rooms but the caldarium reflect the advice of contemporary Arab physicians. They believed that baths drained the spirits of the bathers, and that to revive "the three vital principles in the body, the animal, the spiritual and the natural," the bath's walls should be covered with pictures of activities like hunting, of lovers, and of gardens and palm trees.

 

Zodiac painting on caldarium dome 

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Qusair Amra (en arabe : قصير عمرة, quṣayr ʿamra , « petit palais ») est le plus célèbre des châteaux du désert de l'Est jordanien. C'est l'un des exemples les plus remarquables du premier art omeyyade et de l'architecture islamique.

Géographie

Le château se trouve au bord de la route n° 40, à environ 85 kilomètres d'Amman, et à environ 21 kilomètres d'Al-Azraq. Le site est aujourd'hui protégé et clôturé, et fait partie des biens culturels gérés par le Ministère jordanien du Tourisme et des Antiquités.

Histoire

Qusair Amara a été construit au début du viiie siècle (probablement entre 711 et 715) par le calife Omeyyade Walid I dont la domination progressait à l'époque dans cette région). Longtemps à l'état d'abandon, il a été redécouvert par Alois Musil en 1898.

Description

Le château, qui aurait été utilisé comme lieu de villégiature par le calife ou par ses princes pour le sport et le plaisir, est couvert de fresquesdécrivant des scènes de chasse (de mammifères que la chasse a conduit depuis à l'extinction au Proche-Orient), des fruits et des femmes. Il contient également un système thermal divisé en trois pièces, témoignant d'une influence romaine.

Classement au Patrimoine mondial par l'UNESCO

Les longues années d'abandon ont provoqué une grave déterioration de la décoration : les fresques sont endommagées par des graffitis. Des projets de restauration sont en cours. Le puits et le système d'adduction sont visibles. Il a été désigné patrimoine de l'humanité de l'UNESCO en 1985, sur la base des critères i), iii) et iv) (« chef d'œuvre du génie créatif humain », « témoignage unique ou pour le moins exceptionnel d'une tradition culturelle », et « exemple remarquable d'un type de bâtiment, d'ensemble architectural ou technologique ou paysage illustrant une étape significative de l'histoire humaine .

Variantes orthographiques

La translittération de l'arabe donne lieu à diverses variantes : Quseir Amra, Qasr Amrah, Qasayr Amra and Qasr Amra.

العربية

 قصر عمرة أو قصير عمرة هو قصر صحراوي أموي يقع في شمال الصحراء 

الأردنية في منطقة الأزرق في محافظة الزرقاء حوالي 75 كم شرقي عمان بناؤه صغير نسبياً لذلك يُسمّيه البعض بالقصير.

تاريخه

شيد القصر في عهد الخليفة الوليد بن عبد الملك سادس الخلفاء الأمويين 705 – 715 م. ويعتقد أن القصر كان يستخدم لرحلات الصيد التي يقوم بها الخلفاء وأمراء بني أمية.

عمارته

يتكون القصر من قاعة استقبال مستطيلة الشكل ذات عقدين يقسمانها إلى ثلاثة أروقة لكل رواق قبو نصف دائري ويتصل الرواق الأوسط في الجهة الجنوبية بحنية كبيرة على جانبيها غرفتانصغيرتان تطلاّن على حديقتين كانتا تستخدمان للقيلولة. تزدان أرضية الغرف والقاعة بالفسيفساء التي تمثّل زخارف نباتية. أما الغُرَف الأخرى فمكسوة بالرخام.

للقصر حمام مجاور لقاعة الاستقبال يتكون من ثلاث قاعات، اثنتان مسقوفتان بأقبية نصف دائرية والثالثة مسقوف بقبة صغيرة. يتكون الحمام، الذي لا زال بحالة جيدة، من ثلاث قاعات: باردة وفاترة وساخنة، الأخيرة مزودة بأنابيب للبخار. ملحق بالحمام غرفة كبيرة لخلع الملابس مزودة بمقصورتين.

زود القصر أيضا بشبكة مائية تمر من تحته، ففي ساحة القصر هناك بئر ماءعمقها 40 متراً وبقطر 1.8 متر تتسع البئر ل 100 متر مكعب من الماء الذي كان يملأ من وادي البطم عندما يهطل المطر وتنساب المياة في ذلك الوادي كان يتم رفع الماء منها بواسطة ساقية قديمة يوضع في خزان ماءبجانب البئر وكان الماء ينساب في خطان احدهما يتجة إلى الساحة الداخلية ليغذي النافورة الموجودة على يسار المدخل وخط ليزود الحمام وغرفة الحمام في انابيب فخارية.

الزخرفة

على جدران القصر رسوما تجسيدية ونقوشات عديدة، مواضيعها تتعدد من مشاهد من رحلات الصيد والحيوانات التي وجدت في المنطقة في تلك الحقبة، ومنها الأسود والنمور والغزلان والنعام، قبة الحمام تظهر فيها الأبراج السماوية المرسومة يتميز بهندسته ويشبه الحمامات الرومانية بشكلها ومكوناتها.

Decoration of Vines and Grapes

early 8th century AD 

Small Chamber, Amra, Jordan

 

The two small chambers on either side of the throne room are decorated with scrolls of vines and grapes, imitating the decoration found on Byzantine mosaics. The Umayyad artists drew on the Classical heritage of their newly-conquered territories, in order to decorate their royal palaces with secular themes rather than Christian or Islamic religious designs. 

Palace Lady

early 8th century AD 

Audience Hall, Amra, Jordan

•  
• A seated palace lady or courtesan, dressed in a transparent upper garment and voluminous lower robe, beckons invitingly to the revelers below. 

Stone Quarrying

early 8th century AD 

Audience Hall, Amra, Jordan

 

The eastern barrel vault is divided into small panels that depict artisans and their occupations. In the lower register, camels are transporting stone blocks, while carpenters work above. Other frescoes in the room, not shown here, depict scenes from court life, hunting, and classical mythology.

The lady on the soffit (photo upper right)

Woman Dancer

early 8th century AD 

Audience Hall, Amra, Jordan

 

The naked dancer is portrayed on the underside of the western arch of the audience hall, as if to emphasize the pleasure-loving character of this desert palace. 

Young Woman Holding a Plate

early 8th century AD 

Audience Hall, Amra, Jordan

 

One of the better-preserved images at Amra is this bare-breasted young woman, bejewelled with armlets and necklaces, who extends a plate as if to offer refreshment to the prince's guests. The painting is located on the underside of the eastern arch in the audience hall, facing the entrance. 

Dome with Constellations

early 8th century AD 

Caldarium, Amra, Jordan

 

The constellations are painted on the dome in reversed order, as if seen from the outside of a celestial globe. North is in the center, surrounded at a distance by a narrow red band representing the Zodiac. The ever-helpful Blue Guide provides a key:

A = Ursa Major	F = Andromeda	K = Leo	P = Capricorn
B = Ursa Minor	G = Cygnus	L = Cancer	Q = Sagittarius
C = Cepheus	H = Hercules	M = Gemini	R = Scorpio
D = Draco	I = Ophiucus	N = Orion	S = Erichthonius
E = Perseus	J = Bootes	O = Dophinus	T = Aquarius

Bibliography of Jordan and Petra

 

  The Blue Guide to Jordan, by Sue Rollin and Jane Streetly, WW Norton and Company, Third Edition (1991) or later. This useful and informative guidebook includes detailed itineraries, site descriptions, and 

background information.

  Jordan Past & Present: Petra, Jerash, Amman, by E. Borgia, Oxford University Press, 2003. Like other books in the "Past and Present" series, this book cleverly presents photographs of archaeological structures, as they appear today, overlaid by color transparencies that show how they might have looked in the past. This is a helpful, and often revelatory, aid that can greatly enhance the visitor's experience.

  Jordan: Treasures from an Ancient Land: The Art of Jordan, by Piotr Bienkowski (ed.), Alan Sutton Publishing, 1991. Published in connection with a 1991 exhibition in Liverpool, this useful and well-illustrated book includes chapter-length articles on ancient Jordanian sculpture, pottery, mosaics, and other media such as faience and copper.

  The Mosaics of Jordan, by Michele Piccirillo, American Center for Oriental Research (ACOR), Amman, 1993. Among the glories of Jordan are its profusion of Byzantine church floor mosaics, which are impressively documented in this volume. Due to its high cost, the book will appeal more to specialists and enthusiasts than to the general reader.

  Petra: Lost City of the Ancient World, by Christian Auge and Jean-Marie Dentzer, Harry N. Abrams, 2000. Like other entries in the publisher's "Discoveries" series, this slender paperback compresses a lot of information and photos into a small amount (127pp, 5"x7") of space. It's perfect for slipping into one's backpack when visiting Petra, and useful afterwards as a concise reference to the site.

  Petra and the Lost Kingdom of the Nabataeans, by Jane Taylor, Harvard University Press, 2002. This first-rate survey of the Nabatean kingdom includes their political and cultural history, religion, writing, and capital city of Petra. Taylor's book, fully illustrated in color and informed by an expert's knowledge and love of her subject, is a great introduction to the Nabateans and their fascinating civilization.

  Petra Rediscovered: Lost City of the Nabataeans, by Glenn Markoe (Ed.), Harry N. Abrams, 2003. This book accompanies the traveling museum exhibit of the same name. It's not a catalogue of the exhibit, but rather a well-illustrated collection of chapter-length topical essays by scholars in their respective fields. More suitable for the enthusiast than for the beginner, it provides an overview of current research, and an introduction to the professional literature

Rear of Bath Complex

Amra, Jordan

 

This view from the south shows the triple-vaulted audience hall (left) and attached baths (right). The baths seem to have consisted of a tepidarium (warm room) and two caldaria (hot rooms), oddly omitting the classical Roman frigidarium (cold room). The rooms were heated, as is typical, by a furnace and underground ("hypocaust") pipes.

Behind the audience hall (photo left, again) is a throne area. Flanking this, two private chambers were used by the prince and his guests for (various kinds of) rest and relaxation.

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Arrière du Complexe Bath

Amra, en Jordanie

Ce point de vue du sud montre l'auditoire triple salle voûtée (à gauche) et les bains ci-jointes (à droite). Les bains semblent avoir consisté en un tepidarium (salle tiède) et deux caldaria (salles chaudes), curieusement en omettant le romain classiquefrigidarium (salle froide). Les chambres ont été chauffés, ce qui est typique, par un fouret le métro («hypocauste») tuyaux.

Derrière la salle d'audience (photo de gauche, encore une fois) est une zone trône. A côté de cet, deux chambres privées ont été utilisés par le prince et ses invités pour(dif

férents types de) repos et de détente

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Parte posterior del complejo de baños

Amra, Jordania

Este punto de vista desde el sur muestra a la audiencia de triple bóveda de la sala (izquierda) y baños adjuntos (derecha). Los baños parecen haber consistido en untepidarium (sala caliente) y dos Caldaria (salas calientes), por extraño que la omisión de la clásica romana frigidarium (sala fría). Las habitaciones se calentaban, como es habitual, por un horno y metro ("hipocausto") las tuberías.

Detrás de la sala de audiencias (foto a la izquierda, otra vez) es un área trono. Junto a este, dos aposentos privados fueron utilizados por el príncipe y sus invitados de (varios tipos de) descanso y la relajación.

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Rear of Bath Complex

Amra, Jordanien

Diese Ansicht von Süden zeigt die Triple-gewölbten Audienzhalle (links) undangebrachte Bäder (rechts). Die Bäder scheinen von einem Tepidarium (warmeZimmer) und zwei Caldaria (hot Zimmer), seltsam Weglassen der klassischen römischen Frigidarium (kalte Zimmer) bestanden haben. Die Räume waren geheizt, wie es typisch ist, durch einen Ofen und U-Bahn ("Hypokausten") Rohren.

Hinter der Audienzhalle (Foto links, wieder) ist ein Thron Bereich. Flankierende Dazu wurden zwei privaten Gemächer des Prinzen und seine Gäste für (verschiedene Arten von) Ruhe und Entspannung genutzt

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Posteriore del complesso termale
Amra, Jordan

Questo punto di vista da sud mostra la tripla volta Aula (a sinistra) e bagni annessi (a destra). I bagni sembrano aver consisteva in un tepidarium (sala tiepida) e due Caldaria(camere calde), stranamente omettendo il classico romano frigidarium (sala fredda). Lecamere sono state riscaldate, come è tipico, da un forno e sotterranea ("ipocausto")tubi.

Dietro la sala delle udienze (foto a sinistra, ancora una volta) è una zona trono. Accanto a questo, due camere private sono stati usati dal principe e dai suoi ospiti per (vari tipi),riposo e relax.

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Πίσω από συγκρότημα λουτρών

Amra, Ιορδανία

Η θέα από το νότο δείχνει η τριπλή-θολωτή αίθουσα ακροατήριο (αριστερά) και το συνημμένο λουτρά (δεξιά). Τα λουτρά φαίνεται να αποτελούνταν από ένα tepidarium(ζεστό δωμάτιο) και δύο Caldaria (ζεστό δωμάτια), παραδόξως παραλείποντας τηνκλασική ρωμαϊκή frigidarium (ψυχρή αίθουσα). Τα δωμάτια θερμαίνονται, όπως είναι χαρακτηριστικό, από ένα φούρνο και τον υπόγειο σιδηρόδρομο («υπόκαυστο") σωλήνες.
Πίσω από την αίθουσα ακροάσεων (φωτογραφία αριστερά, και πάλι) είναι μια περιοχήθρόνο. Συνοδευτικά αυτό, δύο ιδιωτικές αίθουσες χρησιμοποιήθηκαν από τον πρίγκιπακαι τους καλεσμένους του για την (διαφόρων ειδών), ξεκούραση και χαλάρωση.

Hydraulic System

Amra, Jordan

 

Amra was supplied by a 40m-deep ground-water well (photo center, behind arch). The water was pumped to a large holding tank behind the well, and distributed from there to the baths. This photo shows the pumping mechanism. A horizontal wood beam (waist height, photo center) is attached to the vertical shaft. Plodding around in a circle, a tethered animal would push the beam, which turned the vertical shaft, which was geared to the horizontal shaft, which turned the windlass, which raised water from the well. 

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Système hydraulique

Amra, en Jordanie

Amra a été fourni par un 40m de profondeur des eaux souterraines ainsi (photo au centre, derrière arc). L'eau était pompée dans un réservoir de grande exploitationderrière le puits, et distribué à partir de là aux bains. Cette photo montre le mécanisme de pompage. Une poutre de bois horizontal (hauteur de la taille, un centre de photo) est fixé à l'arbre vertical. Laborieux autour d'un cercle, un animal captif serait pousser lefaisceau, qui a transformé le puits vertical, qui a été axée sur l'arbre horizontal, qui a transformé le guindeau, qui a soulevé l'eau du puits............................

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Impianto idraulico

Amra, Jordan

Amra è stato fornito da un 40-deep terra-acqua di pozzo (foto al centro, dietro arco).L'acqua è stata pompata in un serbatoio grande holding dietro il pozzo, e distribuito da lìai bagni. Questa foto mostra il meccanismo di pompaggio. Una trave orizzontale(altezza della vita, foto centro) è fissato all'albero verticale. Arrancando intorno in uncerchio, un animale legato avrebbe spinto la trave, che ha trasformato l'albero verticale, che è stata orientata verso l'asse orizzontale, che si rivelò il verricello, che ha sollevatol'acqua dal pozzo.

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Sistema hidráulico

Amra, Jordania

Amra fue suministrada por uno de 40 m de profundidad del suelo-agua de pozo (foto del centro, detrás del arco). El agua se bombea a un tanque de almacenamiento de gran tamaño detrás del pozo, y se distribuye desde allí a los baños. Esta foto muestra elmecanismo de bombeo. Una viga de madera horizontal (altura de la cintura, la fotocentro) está unido al eje vertical. Perseverante alrededor de un círculo, un animal atadoque empujar la viga, que se convirtió el eje vertical, que estaba orientado en el ejehorizontal, que se convirtió el molinete, lo que elevó el agua del pozo.

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Hydraulik-System

Amra, Jordanien

Amra wurde von einem 40 Meter tiefen Boden-Wasser-Brunnen (Foto Mitte, hinterBogen) geliefert. Das Wasser wurde zu einem großen Vorratstank hinter dem Brunnengepumpt und von dort aus verteilt zu den Bädern. Das Foto zeigt denPumpmechanismus. Ein horizontaler Holzbalken (Hüfthöhe, Foto Mitte) ist an der vertikalen Achse befestigt. Plackerei im Kreis herum, würde eine gefesselte Tierschieben Sie den Strahl, der die vertikale Achse gedreht, die auf die horizontale Achseausgerichtet wurde, die die Winde, die Wasser aus dem Brunnen erhoben sich.

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Υδραυλικό Σύστημα

Amra, Ιορδανία

Amra δόθηκαν από 40μ-βαθιά στα υπόγεια ύδατα και (φωτογραφία κέντρο, πίσω απόαψίδα). Το νερό αντλείται σε μια μεγάλη δεξαμενή εκμετάλλευση πίσω από το καλά, καιαπό εκεί διανέμεται στα λουτρά. Αυτή η φωτογραφία δείχνει το μηχανισμό άντλησης. Έναοριζόντιο δοκάρι ξύλο (το ύψος της μέσης, φωτογραφία κέντρο) επισυνάπτεται στονκάθετο άξονα. Βραδυκίνητοι γύρω σε έναν κύκλο, ένα δεμένο ζώο θα ωθήσει τη δέσμη, η οποία μετέτρεψε το κάθετο άξονα, η οποία είχε στόχο τη οριζόντιο άξονα, ο οποίος γύρισετην εργάτης, ο οποίος έθεσε το νερό από το πηγάδι.

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النظام الهيدروليكي

عمرة، الأردن

تم تزويد عمرة من بئر الماء  البالغ عمقه 40 م.(الصوره الوسطى وراء القوس). المياه كانت تضخ الى خزان كبير خلف البئر و يتم توزيعها من هناك الى الحمامات هذه الصوره تظهر ألية الضخ.عارضة الخشب الأفقية متصله مع العارضه العاموديه في الفتحه العاموديه.

تحول الحركه بشكل دائري, و حيوان مربوط ليدفع العارضه , التي سوف تدير العارضه العاموديه التي ستوجه العارضه الأفقيه, التي ستحول ألة الرفع لترفع الماء من البئر.

Qasr Amra

Amra, Jordan

 

The desert complex of Qasr Amra is located about 100km east of Amman and 20km south of Azraq. It was built in the early 8th century by an Umayyad ruler or prince: perhaps Walid I (705-715), builder of the Great Mosque in Damascus; or alternatively the pleasure-loving Walid II (743-744), during his long exile in the desert, before he became caliph.

The restored buildings consist of a triple-vaulted audience hall (right) with attached bathhouse and waterworks (left). They are seen here from the front (north). The inside is covered with rare but very deteriorated wall paintings, that depict scenes of pleasure in a style influenced by Classical and Byzantine traditions.

Alternate spellings include Qusayr or Quseir for Qasr, and Amrah for Amra.

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 Le complexe désert de Qasr Amra est situé à environ 100 km à l'est d'Amman et 20km au sud de Azraq. Il a été construit dans le début du 8ème siècle par un prince souverain omeyyade ou: peut-être Walid Ier (705-715), constructeur de la Grande Mosquée de Damas, ou encore le plaisir d'amour-Walid II (743-744), au cours de son long exil dans le désert, avant qu'il ne devienne calife.

Les bâtiments restaurés se composent d'un public triple salle voûtée (à droite) avecétablissement de bains ci-jointe et d'adduction d'eau (à gauche). On les voit ici à l'avant(au nord). L'intérieur est recouvert de peintures murales rares, mais très dégradé, quidépeignent des scènes de plaisir dans un style influencé par les traditions classiques et byzantines.

Les variantes orthographiques Qusayr ou Quseir pour Qasr, et Amrah pour Amra.

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Il complesso deserto di Qasr Amra si trova a circa 100km ad est di Amman e 20 km a sud di Azraq. E 'stato costruito agli inizi del secolo ottavo da parte di un sovrano o principe omayyade: forse Walid I (705-715), costruttore della Grande Moschea di Damasco, o in alternativa, il gaudente Walid II (743-744), durante il suo lungo esilio nel deserto, prima di diventare califfo.

Gli edifici restaurati sono costituiti da una tripla volta Aula (a destra) con annessostabilimento balneare e giochi d'acqua (a sinistra). Sono visti qui di fronte (nord).L'interno è ricoperto da pitture murali rari ma molto deteriorato, che raffigurano scene dipiacere in uno stile influenzato dalla tradizione classica e bizantina.

Varianti includono Qusayr o Quseir per Qasr e Amrah per Amra.

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El complejo desierto de Qasr Amra está situado a unos 100 kilometros al este de Ammán y 20 kilómetros al sur de Azraq. Fue construido en el siglo 8 por un gobernanteo príncipe omeya: tal vez Walid I (705-715), constructor de la Gran Mezquita de Damasco, o, alternativamente, el amante de los placeres Walid II (743-744), durante su largo exilio en el desierto, antes de que él se convirtió en califa.

Los edificios restaurados consisten en una audiencia de triple bóveda de la sala (derecha) con baños adjunto y abastecimiento de agua (izquierda). Se ve aquí desde el frente (norte). El interior está cubierto con pinturas murales muy raras, aunque deteriorados, que representan escenas de placer con un estilo influenciado por la tradición clásica y bizantina.

Variantes incluyen Qusayr o Quseir de Qasr, y Amrah de Amra.

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Die Wüste Komplex von Qasr Amra liegt etwa 100km östlich von Amman und 20 km südlich von Azraq entfernt. Es wurde im frühen 8. Jahrhundert von einemUmayyaden-Herrscher oder Fürst gebaut: vielleicht Walid I. (705-715), Erbauer der Großen Moschee in Damaskus, oder alternativ die vergnügungssüchtigen Walid II. (743-744), während seines langen Exils in der Wüste, bevor er zum Kalifen.

Die restaurierten Gebäude bestehen aus einem dreifach gewölbten Audienzhalle(rechts) mit angebautem Badehaus und Wasserwerke (links). Sie werden hier von der Vorderseite (N) zu sehen. Die Innenseite ist mit seltenen, aber sehr verschlechtertemWandmalereien, die Szenen der Freude zeigen und im Stil von klassischen undbyzantinischen Traditionen beeinflusst abgedeckt.

Alternative Schreibweisen gehören Qusayr oder Quseir für Qasr und Amrah für Amra

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Το συγκρότημα του Κασρ έρημο Amra βρίσκεται περίπου 100 χιλιόμετρα ανατολικά τουΑμάν και 20 χιλιόμετρα νότια της Azraq. Χτίστηκε στις αρχές του 8ου αιώνα, από ένανχάρακα ή Umayyad πρίγκιπα: ίσως Ουαλίντ Ι (705-715), οικοδόμος της Μεγάλης Τζαμίστη Δαμασκό? Ή, εναλλακτικά, την ευχαρίστηση που αγαπούν Ουαλίντ ΙΙ (743-744), κατά τη διάρκεια της μακράς εξορίας του στην έρημο, πριν γίνει χαλίφης.

Τα αναπαλαιωμένα κτίρια αποτελούνται από ένα τριπλό-θολωτή αίθουσα ακροατήριο(δεξιά) με συνημμένη λουτρά και ύδρευσης (αριστερά). Έχουν δει εδώ από τηνμπροστινή (βόρεια). Το εσωτερικό είναι καλυμμένο με σπάνιες αλλά πολύυποβαθμισμένες τοιχογραφίες, που απεικονίζουν σκηνές της απόλαυσης σε ένα ύφοςεπηρεάζεται από κλασική και τη βυζαντινή παράδοση.

Αναπληρωματικό ορθογραφίες περιλαμβάνουν Qusayr ή Quseir για Κασρ, και Amrahγια Amra.

Northeast Tower

Ajlun Castle, Jordan

 

Leaving the castle, this photo shows Ajlun's partially-rebuilt northeast tower. Its current state picturesquely embodies Ajlun's 800-year history of repair and refurbishment. 

Upper Room

Ajlun Castle(Qalat al Rabad)

 

The castle's vaulted rooms and corridors are relatively spacious. For the comfort of residents, a series of carefully designed ceiling apertures, ventilation shafts, and cisterns allow free circulation of light, water, and air throughout the structure. 

Inner Entrance

Ajlun Castle

Ajlun Castle(Qalat al Rabad)

, Jordan

 

The passage through Ajlun's outer entrance  leads eventually to this double gate, which was actually the original entrance to the castle before a 1214-1215 enlargement. The double gate incorporates a portcullis that could be lowered between its inner and outer arches. 

Outer Entrance

East Wall, Ajlun Castle

Ajlun Castle(Qalat al Rabad)

, Jordan

 

Ajlun, an Islamic castle, was built in 1183-1184, during the rule of Saladin. The castle was briefly taken by the Mongols in 1260, then reoccupied (1262) by the Mamlukes under Sultan Baybars.

Ajlun is located about 50km north of Amman, near Jarash. Its foundations measure about 100m on a side. The entrance was originally approached by a drawbridge, now a footbridge (D). Other defenses included machicolations (A), sloped glacis above a fosse (B), and arrow slits (C).

Portrait Head of T. E. Lawrence

Wadi Rum, Jordan

 

This portrait head of T. E. Lawrence, better known as "Lawrence of Arabia," was produced by a local artist, one of a colony who seem to have set up shop around "Lawrence's Well" in the wadi. Lawrence is honored 

for his assistance, as a British liaison officer, in promoting the Arab Revolt from Turkey in World War I. 

Cette tête portrait de TE Lawrence, mieux connu comme "Lawrence d'Arabie», a été produit par un artiste local, un d'une colonie qui semblent avoir mis en place autour deboutique "Eh bien Laurent" dans l'oued. Laurent est honoré pour son aide, comme unofficier de liaison britannique, dans la promotion de la Révolte arabe de la Turquie dansla Première Guerre mondiale

Esta cabeza retrato de TE Lawrence, más conocido como "Lawrence de Arabia", fue producido por un artista local, uno de una colonia que parece que tienen sus tiendas en torno a "Bien de Lawrence" en la rambla. Lawrence es reconocido por su asistencia, según un oficial de enlace británico, en la promoción de la rebelión árabe de Turquía enla Primera Guerra Mundial

Questa testa ritratto di TE Lawrence, meglio noto come "Lawrence d'Arabia", è statoprodotto da un artista locale, uno di una colonia che sembrano aver impostato guardarsi intorno "Beh Lawrence" nel wadi. Lawrence è onorato per la sua assistenza, come ufficiale di collegamento inglese, nel promuovere la rivolta araba dalla Turchia nella prima guerra mondiale

Αυτό το κεφάλι πορτρέτο του TE Lawrence, καλύτερα γνωστός ως «Λόρενς της Αραβίας», παρήχθη από έναν τοπικό καλλιτέχνη, ένα από μια αποικία που φαίνεται ναέχουν δημιουργήσει γύρω από κατάστημα "Καλά Λόρενς του" στο ρέμα. Lawrence τιμάταιγια τη βοήθειά του, ως Βρετανός αξιωματικός σύνδεσμος, για την προώθηση τηςΑραβικής Επανάστασης από την Τουρκία στο Δεύτερο Παγκόσμιο Πόλεμο

優れている "アラビアのロレンス"、地元のアーティスト、ワジで "ローレンスの井"の周りに店が設定されているように見えるコロニーのいずれかの方法で製造されたとして知られているTEロレンスのこの肖像画の頭。ローレンスは、第一次世界大戦でトルコからアラブの反乱を促進する上で、英国の連絡将校として、彼の援助のために尊重されます

Thamudic Petroglyphs

Wadi Rum, Jordan

 

There are thousands of Thamudic drawings and inscriptions in the Wadi Rum area. They are scratched onto the rock surface, not painted (that is, they are petroglyphs, not pictograms). The Thamud, a nomadic Arab tribe, migrated to Wadi Rum in the early Christian era, where they became associates of their far more cosmopolitan Nabataean neighbors. 

This scene includes most of the typical elements of Thamudic rock art: a hunter with bow and arrow (right), ibex, a camel, and a rider on horseback (bottom).