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Critic and art historian Andrew Graham-Dixon travels from southern to northern Spain to tell the story of some of Europe¡¯s most exciting and vital art. In an exploration of Moorish Spain, he looks at Muslim political and cultural influence as he travels from Cordoba to Granada, seeing classic buildings such as the Great Mosque in Cordoba, the Alcazar in Seville and the Alhambra in Granada. He also shows how the Moors introduced new foods ¨C including citrus fruits, coffee and spices ¨C to Spain.
The films covers the period from the first tentative stirrings of Tchaikovsky's musical talent to the composition of his opera Eugene Onegin and the failure of his marriage to Antonina Milyukova.It looks at the women who fired his musical imagination in the early years, from Katerina Kabanova in his first orchestral work, The Storm, to his dearly loved Tatyana in Onegin.
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But this city was also meant to touch the soul. In the Koran, the words of Muhammad dictated in the desert, paradise is described as a garden flowing with streams. And Madinat al-Zahara was built around gardens and water. This was an attempt to create a paradise on earth, a tantalizing glimpse of the eternal garden that awaits the righteous.
These arches are the same as in the Cordoba's mosque. Even the colors are the same, red and white, the colors of the Al-Rahman Dynasty. But here power politics are blended with spirituality. And running through it all is the idea of paradise.
This is the most impressive of all of the rooms in Madinat al-Zahara. It's the nerve center of the entire complex, the throne room of Caliph Abd Al-Rahman III. And here it¡¯s as if this idea of paradise has been set in stone. It's allowed to take over the architecture. Look at that great wall of ornamental carving, it¡¯s as if / stone itself has been made to go against its own nature and been turned into a kind of plant life, these tendrils and shoots that grew up the wall. You really do feel you are in a kind of paradise.
Plant motifs aren¡¯t the only decoration in this room. The walls are also covered in patterns made from geometry and Arab writing, both loaded with religious significance. In a world/ in which the depiction of real figures, real life was forbidden, the Muslim artists had to turn to pattern and elevate it to an art form. And these stunningly intricate forests of decoration are the pinnacle of early Islamic art. Nothing like them survives anywhere else in the world. They are the Islamic equivalent of the greatest Christian frescoes, but without a human figure in sight. |