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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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The Moors might have been coming to the end of their power and influence in Spain,
but they were determined to go out in style.
The Alhambra is like/ greatest hits of Moorish design, with the volume turned up to ten.
It's the absolute summation of everything that made the art of Islamic Spain so extraordinary£¬a place where the expression of power and deep spirituality, that eternal search for paradise, are absolutely intertwined.
There's such a scrum of tourists in the Alhambra today/that I think it makes it pretty difficult to appreciate this place as it was originally meant to be appreciated, which is as a space of contemplation and reflection.
Each of the spaces in this palace were meant to bring you closer to God, and that's the fundamental purpose of this wonderful room called the Hall of the Ambassadors, which is all about pattern and geometry.
The numbers seven and four are repeated everywhere in this space.
Seven signifies the stages by which the soul ascends to God,
and four represents the number of areas into which the vault of heaven could be divided, and we see that reflected in this magnificent ceiling.
But the seven and the four lead us ineluctably to the one, and that's the message that's reinforced in all of these inscriptions.
There is no God but Allah; there is no conqueror but Allah.
This is a space that's designed hypnotically through the repetition of pattern and design and inscription to focus our minds solely and exclusively on the higher reality of God. |