Figure 1: Alhambra, Granada (What to Know About Tickets and Tours at the Alhambra in Spain. (n.d.).

Retrieved from
https://www.tripsavvy.com/alhambra-tickets-and-tours-1644404)

A Study of Alhambra, Granada

LDEM 207 Final Paper
Presented to: Dr. Nayla Al-Akl
Presented by: Rayan Hamdar
Due on: December 13, 2018

1
 Outline

I. Introduction
II. Paradisiacal Gardens
III. Islamic Conquest of Spain and Building the Alhambra
IV. Alhambra: Notions
a. Cuarto Dorado
b. Court of Myrtles
c. Court of Lions
V. Generalife: Summer Retreat
a. Court of the Water Channel
b. Water Stairway
VI. Conclusion

2
 List of Figures

Figure 1: Alhambra, Granada (What to Know About Tickets and Tours at the Alhambra in
Spain. (n.d.). Retrieved from https://www.tripsavvy.com/alhambra-tickets-and-tours-
1644404) .................................................................................................................................... 1 
Figure 2: Chahar Bagh (Arcady. (2009, February 07). Char Bagh. Retrieved from
http://www.gardenhistorygirl.com/2009/02/char-bagh-gardens.html) ...................................... 5 
Figure 3: Climate of Mediterranean Basin (Mediterranean Sea. (2018, December 07).
Retrieved from https://en.wikipedia.org/wiki/Mediterranean_Sea) .......................................... 6 
Figure 4: Cuarto Dorado (Visiting the Alhambra: 12 Top Attractions, Tips & Tours |
PlanetWare. (n.d.). Retrieved from https://www.planetware.com/granada/alhambra-hill-e-
and-ah.htm) ................................................................................................................................ 8 
Figure 5: Court of Myrtles (Larken81. (2011, August 10). Court of Myrtles. Retrieved from
https://www.flickr.com/photos/12592344@N04/6027203815) ................................................ 9 
Figure 6: Court of Lions (Alhambra-palace-court-of-lions. (2017, May 11). Retrieved from
https://elamarthistory.com/slide-lists/early-christian-byzantine-and-islamic-art/alhambra-
palace-court-of-lions-2/) .......................................................................................................... 11 
Figure 7: Hall of Abencerrajes (Dome, Hall of the Abencerrajes. (n.d.). Retrieved from
https://www.travelblog.org/Photos/6855084) .......................................................................... 12 
Figure 8: Hall of Two Sisters (Nazaries dome in Alhambra. GRANADA, SPAIN. (2011,
August 16). Retrieved from https://www.shutterstock.com/image-photo/nazaries-dome-
alhambra-granada-spain-82904071) ........................................................................................ 12 
Figure 9: Court of the Water Channel (Els. (2008, May 14). Patio de la Acquia (Court of the
Water Channel). Alhambra, Granada, Spain. Retrieved from
https://www.flickr.com/photos/elsa11/2492360169)............................................................... 14 
Figure 10: Water Stairway (Jeffreygardens. (1970, January 01). The Generalife. Retrieved
from http://jeffreygardens.blogspot.com/2012/04/generalife.html) ........................................ 16 

3
 For as long as he existed, man has strived to harness the landscape around him in order to
make use of it. At first, it was all about mere survival; hunting and gathering were the most
necessary activities relating to the landscape, as well as finding shelter. However, as man
evolved in his thinking, and at the onset of tools, man’s understanding of the landscape
started shifting. Two questions became crucial for man to answer in order to make sense of
life; where did we come from, and where do we go after we die? So, man sought to answer
these questions using nature as a guideline, and subsequently started worshipping nature.
They found answers in alignments with the stellar, solar, and lunar entities, the Cosmos, in
the happenings of natural disasters, or in seasonal changes. This relationship continued on for
many centuries; each generation, each culture, had its own way of answering these questions
by referring to nature in different ways, but all had the same reverence towards nature. The
holy was seen as part of the landscape, the divinity being an actual part of the landscape
(Rogers, 2001).
Fast forward to the times of Ancient Greece and the Roman Empire, where man started
seeing nature more aesthetically, aiming towards getting the best experience out of nature.
This was established by building according to the genius locus, which they thought most
accurately caught the spirit of the place, giving them the most out of the place in terms of
spirituality, more so with the Greeks than with the Romans. During Roman and Hellenistic
times, this relationship was no longer a priority of the landscape, more so than the
monumentality of the buildings and the sheer drama, as well as the organization. It was the
dawn of what would later be termed urbanization. There were still some exquisite exceptions
to this growing order of landscape design, which were the villas built in Italy at the time.
These kept an elevated level of interaction with nature, implementing gardens in their centers
and agricultural lands around them, especially in the villa rustica. The next major section in
landscape history is the one based on the three Abrahamic religions and their view of
paradise, which brings us to our focus in this paper; Islamic gardens (Rogers, 2001).
The Islamic gardens, much like Christian and Jewish beliefs, were rooted in the notion of
paradise and how the Divine created the landscape to represent the eternal beauty that is God,
instead of seeing the landscape as the literal residence of the Divine. Paradise is a place of
pleasure and rest, one of beauty and connection to God, reaching peace of mind in a lavish
garden. In Islamic religion, all throughout the Quran, the mentions of paradise were always
coupled with the imagery of gardens; lush gardens of greens and shade, with fruits aplenty
and rivers of water, milk, honey, and wine that would steadily flow for all of eternity,
granting the faithful Muslims infinite delight. This picture of a magnificent garden was only

4
further perfected by the notion that everything in paradise - be it the birds’ singing, the
flowers’ scents, or the trees’ slender shape – worshipped Allah and showcased His bottomless
grace and power, as well as His eternal beauty. Paradise is believed to be endless, with no
boundaries, extended:
And a Garden the breadth whereof is
As the breadth of heaven and earth…. (Sura 57/21)

Figure 2: Chahar Bagh (Arcady. (2009, February 07). Char Bagh. Retrieved from
http://www.gardenhistorygirl.com/2009/02/char-bagh-gardens.html)

This however, comes with the notion that although paradise might be infinite in its
expanse, it is enclosed with walls and has limited entrances, as seen by the Quran’s mention
of gates, which gatekeepers will open to the faithful and devout Muslims (Sura 39/73). The
Quran also mentions the presence of not one garden, but two gardens which are identical in
every aspect. Theologians interpreted this as what is referred to by the Persians as the chahar
bagh (Figure 2), which is the organization of the paradisiacal garden into four identical
square quadrants, separated by the four steadily-flowing rivers mentioned above, which gush
out of a central fountain or source, the Spring of Life. This later became the organization
followed by many Islamic royal gardens in order to try and create a closer image of paradise
on Earth (Ettinghausen & MacDougall, 1976).
Paradise – and consequently, Islamic gardens as well – was viewed as a place of pleasure,
derived by the entertainment of all the senses. When one sat in such a garden, his senses
would continuously be stimulated. The sense of sight was captured by manipulating light and
by including colorful decorations and vegetation. The sense of smell was kept busy due to the

5
vegetation present. The running water created slight sounds for the ear’s delight. However, it
was not to the extent of it being overwhelmingly powerful and confusing; rather, it was tuned
to a suitable level of sensory excitement, just higher than the usual baseline, such that it
soothes the viewer while providing him with an experience that was fit to be compared with
what was expected to be paradise (Foret, 2009).
This concept of paradise most probably has arisen as an effect of the climate of the Arab
countries in the Middle East and North Africa. The experience of oases in an arid land of
sand would bring about the notion that paradise must be similar to this haven in the dessert,
only multiple times better. The Arabs mainly lived in desserts where the sand was infertile
and unsuitable to plant in, the sun was intolerable during the day, the night too cold in
contrast, and water very scarce. Therefore, it is quite understandable for them to picture their
eternal rest in the afterlife as a garden that would provide for all that they lack. Their
organization of their gardens will hence take this picture as a guideline, since gardens were
places of pleasure on Earth. This was possible once the Arabs expanded their influence and
reached areas with different climates and types of landscapes, namely Spain, or what was
known as Andalusia (Figure 3).

Figure 3: Climate of Mediterranean Basin (Mediterranean Sea. (2018, December 07). Retrieved from
https://en.wikipedia.org/wiki/Mediterranean_Sea)

During the flourishing of Islam, the Arabs sought to increase their area of influence, and
performed several conquests. During the Umayyad caliphate, they eventually reached the
Iberian Peninsula. With only a small military force, the commander Tariq ibn-Ziyad started
the conquest on the south of Spain, or what was known as Hispania at the time. This was
around the year 711 A.D., and their conquest continued as they wanted to expand their
influence further north. During their rule of Spain, the Muslims took Cordoba to be their
capital, and Spain became known as Andalusia. As with every conquest, the invading power
brought a new culture to the occupied lands, and this allowed for an exchange in cultures and

6
ideas. The Muslims brought with them the knowledge and philosophy they had culminated in
the East, whereas the Spanish offered new agriculture and different landscapes. The Arabs
took advantage of their resources and the new culture to create some of the most magnificent
and exotic gardens in Islamic history. One example of these gardens that still stands to this
day – more or less intact – is the Alhambra in Granada (Demaray, 1969).
The Alhambra started out as the ruins of a small fortress from the Roman Empire. It was
later renovated and expanded into a palace-garden complex by the Nasrids in the mid-13th
century – mainly during the times of Mohamad ben Al-Ahmar, Yusuf I, and Mohamad V.
The complex, whose name means ‘the red one’ in Arabic due to the redness of its brick walls,
was first built as a military stronghold; however, it then became the residence of the royal
family. Due to increased conflict with the Christian forces in northern Spain, the Arabs were
driven further south, and the Nasrid dynasty began to decline. The Alhambra was the last site
of Moorish rule in Spain, its last ruler fleeing on January 2, 1492 (“Historical Introduction”,
n.d.).
The palace sits on the Sierra Nevada, overlooking the city of Granada. Although the walls
of the Alhambra contrast painfully with the surrounding natural forest, it was built to serve as
isolation from the bustle of the adjacent city, as well as to keep any unwanted guests from
entering and preserve the security of the royal family. The walls could also be linked to the
idea of the walled paradise in Islamic religion mentioned earlier, where only a select few can
enter. Although one would expect the entire palace-garden to have a quadripartite
organizational pattern similar to that of the chahar bagh, that is not the case. The complex
comprises of several courtyards and spaces, each with its own pattern and layout (Moore,
Mitchell & Turnbull, 2000). Together, they form the massive palace within the walls. Of
these spaces, the most discussed in scholarship – and seemingly the most important – are the
Cuarto Dorado, the Court of Myrtles, and the Court of Lions.
The first space that one enters in the Alhambra is the Cuarto Dorado – the Patio of the
Gilded Room. Its name is not an exaggeration, as in days when the sunlight was strong, this
room really did appear as though it was gold-plated. This is due to several factors, the first
being that the patio was not an indoor room; rather, it was an enclosed space with an open
roof, similar to what one might see in the ruins of early Roman houses with the enclosed
gardens. This layout is common with all the courts and patios in the Alhambra, thus making
use of the Spanish climate. The sunlight which enters the patio is directly reflected off the
marble tiled floor, giving a sense that the ground is glowing from beneath one’s feet. An

7
added value to the marble floor is its cooling effect; it stays cold to the touch and maintains
the room’s ambient temperature.
In the middle of the patio is a small fountain inlaid in the floor. The fountain is a circular
basin with scalloped edges and a water outlet in the middle. The single source of water causes
circular ripples to emanate from the center, which will reflect some sunlight at their peaks. As
the ripples reach the scalloped edges of the basin, they will be reflected back towards the
center, and this cause the water to give off a shimmering pattern of light for the viewer’s
delight (Moore et al., 2000). The fountain’s low height was not without meaning as well, as it
allowed the water to gently flow into the octagonal cavity in the floor, producing the soothing
acoustics of running water without them being overwhelming. Continuing with the light’s
manipulation, the arches above the entrance’s door are finely carved into repeating patterns.
When struck by sunlight, these will create patterns of golden light on the walls behind them
creating captivating visuals (Figure 4). On the southern side of the court is a wall that is
lavishly decorated with stuccos and tiles, with two doors that are similar in shape and size.
While one takes the visitors back the entrance, the other leads them into our next space of
interest, the Court of Myrtles, and ultimately into the rest of the palace.

Figure 4: Cuarto Dorado (Visiting the Alhambra: 12 Top Attractions, Tips & Tours | PlanetWare. (n.d.). Retrieved from
https://www.planetware.com/granada/alhambra-hill-e-and-ah.htm)

The Court of Myrtles, as one might guess, gets its name from the neatly trimmed and
manicured hedges of myrtle, stretching on either side of the open space. The myrtle is the

8
first vegetation that one encounters in the Alhambra’s palace. An evergreen with glossy
leaves that give off a fresh aroma similar to that of the eucalyptus, the myrtle is seen as a
symbol of Divine generosity. It grows white flowers, which adds to the colorful aspect of the
space, which would have been amplified by tapestries hanging from the windows at either
side of the court. The hedges were specifically trimmed to that height – which is almost
elbow height – so that one can glide one’s hand along its top in order to excite the aroma
even more. It was also kept at that convenient height so as not to obstruct the visual field
from the sides of the court.
In the middle of the court, along the north-south axis, stretches a pool of still water. The
stillness of the water serves two main purposes; one is to give off a shimmering light due to
the incident sunlight, and the other is to act as a mirror, reflecting the porticoes with
intricately carved arches, the tiled walls on either side of the axis, and the Comares Tower in
the background, ultimately creating an alluring dual image (Figure 5). This pool, which is 24
by 114 feet, has two circular fountains at either ends of it. The fountains are inlaid in the
floor, with one small jet in the center of each, gently spilling out water. The water then
gradually cascades down small chutes into the pool; this emphasizes the pool’s stillness and
helps create soft sounds without disturbing the visual display of the pool.

Figure 5: Court of Myrtles (Larken81. (2011, August 10). Court of Myrtles. Retrieved from
https://www.flickr.com/photos/12592344@N04/6027203815)

This combination of sensory stimulation – visual, auditory, and olfactory – are essential
in the experience of pleasure in this court, and experiencing that pleasure is in itself essential

9
in bringing one to a state of peace so that one can contemplate God’s greatness through the
garden. This relationship between pleasure and the contemplation of God was what drove the
Arabs to organize their gardens as they did because through this they could reach the pleasure
above all pleasures, the knowledge of God. However, the pleasure they sought after was not
just sensory pleasure; pleasure derived from intellect and cognitive acuity was also important,
as mentioned by the philosopher Ibn Khaldun. He states that the enjoyment of beauty, as well
as the enjoyment of cognition would bestow one with the harmony needed to know God
(Foret, 2009). The pleasure in knowledge is an important part of our next space.
Moving from the Court of Myrtles, one would reach the Court of Lions, which might as
well be the most famous court in Alhambra. The rectangular patio is famously named for the
fountain in its center; a circular basin with a central jet, sitting on the back of 12 carved
marble lions which spew water out of their mouths (Figure 6). Upon entering the court, one
can instantly see the referencing of the chahar bagh mentioned earlier. Moving out of the
center of the room – radiating from the fountain – are four water canals, representing the
Spring of Life with the four rivers flowing out of it. However, when one pays closer
attention, it can be seen that only two of the canals move outward from the center, whereas
the other two actually flow into the center from two rooms along the North-South axis,
known as the Hall of two Sisters and the Hall of Abencerrajes. In both halls, there is a small
circular fountain inlaid in the floor, with a single jet of water, much like the fountains in the
Court of Myrtles. However, instead of emptying into a pool of still water, they spill into the
water canals that reach the fountain of lions. This cools the air inside – along with the marble
floors – and causes soft auditory stimulation inside the halls, which complements with what
the viewer would be seeing.

10
Figure 6: Court of Lions (Alhambra-palace-court-of-lions. (2017, May 11). Retrieved from https://elamarthistory.com/slide-
lists/early-christian-byzantine-and-islamic-art/alhambra-palace-court-of-lions-2/)

Looking up in the halls, one would see an exquisite display of architectural ability in both
halls. Adorning the ceilings of both halls are domed muqarnas, or honeycomb vaults, made of
carved stucco that are pointing downwards (Figures 7 & 8). The rooms could be compared to
caves – with the muqarnas as stalactites – which are an important motif in Islamic tradition
since they draw on the idea that the Prophet Muhamad was given the first revelation of the
Quran in a cave. This would instill a feeling of reverence in the viewer, helping him/her to
contemplate God (Ahmad, 2008). Adding to the notion of religion in the architecture of the
muqarnas is the dome shape, which is common in a lot of great mosques throughout Islamic
history. The shape represents the domes of heavenly spheres, which could be seen stretching
upward as if reaching God at the very top (Moustafa, 2008). The patterns and symmetry of
the muqarnas emphasize this notion of expanding infinitely towards the heavens by using the
geometrical concept of continuity, which states that a pattern can be replicated infinitely
(Tennant, 2004). Another major religious and geometrical concept used in the muqarnas is
the organization of the dome into an octagon, a shape we also saw in the Cuarto Dorado. The
number eight is a primary number in the Islamic religion, the ‘perfect’ number of God’s
mercy, attesting that God’s mercy is more powerful than His wrath, seen as the seven levels
of hell (Demaray, 1969).

11
 Figure 7: Hall of Abencerrajes (Dome, Hall of the Abencerrajes. (n.d.). Retrieved from
https://www.travelblog.org/Photos/6855084)

Figure 8: Hall of Two Sisters (Nazaries dome in Alhambra. GRANADA, SPAIN. (2011, August 16). Retrieved from
https://www.shutterstock.com/image-photo/nazaries-dome-alhambra-granada-spain-82904071)

Going back to the court, one might not see this space as serving striking as the other
spaces, since there is currently barely any greenery, and the room looks basic – with the
exception of the fountain. However, one must try to picture what might have been in during
early times of the Alhambra. There are two prominent theories that would give justice to the
room regarding its organization and use. In one theory, the Court of lions is envisioned as a
lavish garden which served to pleasure the patron of Alhambra. This theory states that during
the time of Alhambra’s occupation, the Court of Lions was divided into four spaces of
greenery, with the fountain as the center. These four divisions – or parterres – were said to be
at a lower level than the ground’s surface, providing a sunken space where the vegetation was
grown. This served three main purposes; one of these was to create the impression that the

12
person moving in the court was walking on a ‘carpet of flowers’, so to speak, providing this
consistent image of one being in paradise (Nevins, 1988). Another aim behind this difference
in level was to facilitate irrigation. Since the water canals are positioned on the inside of the
parterres, the canals could have had small holes in their sides through which water would
seep very gradually into the soil underneath, keeping the vegetation properly hydrated –
much like the drip irrigation one would witness in today’s gardens. The third advantage for
having the parterres sunken would be to keep the people’s field of vision unobstructed. One
must keep in mind that in such a room, the visitors would most likely be seated on cushions,
therefore they needed to still be able to enjoy the room with ease.
Another theory for the use of the Court of Lions lies in the Islamic notion of pleasure
through knowledge and through the contemplation of God. This theory centers on the idea
that the Court of Lions was used for intellectual pursuits and for social gatherings. The court
was seen as a place where intellectuals and writers studied important works of Islamic
literature and interpreted them. This madrasa would have emphasized the pleasure of reading
prose and reflecting on poetry, which helped build a sense of wisdom among the visitors. The
court could have also been used to lecture in the teachings of the holy Quran, which is the
basis of Islam and Islamic decoration. This is highlighted by the Quranic verses that spread
across the Alhambra’s inner walls, which were inscribed using calligraphy, a hallmark of
Islamic architecture. Some scholars even state that the Court of Lions was used in celebrating
the visitors and entertaining them (Foret, 2009). These were referred to as majalis, and were
an important aspect of Islamic social life. Nonetheless, one must keep in mind that even with
the Court of Lions being used as a madrasa, a majlis, or a place of religious preaching, this
does not exclude the fact that this is an Islamic garden, so there will surely have been
vegetation to liven up the place, thought probably not quite as exaggerated as the sunken
parterres.
The Alhambra was the primary household of the ruling family of Granada. However, as
isolated as it is, with its walls keeping the inhabitants away from the city’s bustle, the ruling
family needed a place to escape from everything, including the political and social duties
expected of them. Therefore, they built the summer palace of Generalife as a country estate.
This complex was built in the late 13th century and early 14th century and was originally
linked to the Alhambra for easier movement between both palaces. Generalife is composed of
five main spaces overall, distributed onto separate terraces. The two spaces that are most
known are the Court of the Water Channel and the Water Stairway.

13
 As discussed earlier, water is an essential feature of Islamic gardens that was incorporated
into almost every court and space in their palace gardens. Generalife is no different; in fact,
considering Generalife’s size in comparison with the Alhambra, the former has more
extensively made use of water throughout its organization. The first water feature one
encounters is in the Court of the Water Channel. This court, as one would guess, is named for
the long canal of water across the center, along the viewer’s vision through the entrance. It is
fed by a small circular fountain with scalloped edges at its farthest side, at the residential
building’s entrance. On either side, jets of water flank the canal. These spew water in a
crossing manner into the water in the canal (Figure 9). However, this stunning display is
thought to be a later addition to the palace, since the sound they generate is too overwhelming
and would not fit in with the Islamic notion of sensory pleasure (dailymotion.com, 2013).
Instead, the waterway was intended for similar purposes as the water canal in the Court of
Myrtles; for reflection of sunlight to provide a shimmering display, to cause the mirror image
of the surrounding geometrically engraved arches, and to cool the atmosphere whenever it got
too hot.

Figure 9: Court of the Water Channel (Els. (2008, May 14). Patio de la Acquia (Court of the Water Channel). Alhambra,
Granada, Spain. Retrieved from https://www.flickr.com/photos/elsa11/2492360169)

Behind the jets of water on both sides, there are beds of vegetation which provide a
colorful display for the viewer to enjoy by including a staggering variety of flowering plants.
These consisted of about twenty flowers common to Andalusian gardens, each with a purpose

14
behind its use. For example, jasmine blossoms were grown to relieve the harsh colors of the
rocks used in building with their green foliage. White lilies were used to symbolize purity.
Narcissus, pomegranate blossoms, and chamomile were said to inspire poets in their writings
(Ettinghausen & MacDougall, 1976). Therefore, in addition to instilling a colorful aspect to
the garden and enriching the sensory experience with their aromas, flowers were used as a
source of literary contemplation and inspiration, combining both types of pleasure found in
Islamic gardens. In order to fully enjoy this court, the viewer can walk along a walkway to
the side of the space, which has arched openings in the wall adjacent to it. These arches,
which provide a view onto the Alhambra and the city of Granada underneath – a sort of
belvedere, or borrowed view – was not originally part of Generalife, but an addition done by
the Christians once they took over Granada.
This use of water – not just in the Court of the Water Channel, but all throughout the
Alhambra as well – could be attributed to the need of the ruling entity to showcase their
power by manipulating water. However, in the Water Stairway – our next space in Generalife
– the water was used for a mainly religious purpose. The Water Stairway is actually one of
the later spaces in Generalife, but it is a very important one. As the name implies, it is a
diagonal stairway that leads from the Patio of Cypresses to the Sultana’s Mirador. It is one of
the most celebrated spaces thanks to its defining feature; its rails are water channels that carry
water from the top of the stairs to the bottom in little currents. The stair also has three
landings, each finely decorated with mosaics in the concentric geometric shapes (Moore et
al., 2000). A small circular fountain is inlaid in the center of each landing’s floor, in the
middle of an eight-pointed star shape (Figure 10) – which relates back to the number eight
being an important number in Islamic religious tradition.

15
 Figure 10: Water Stairway (Jeffreygardens. (1970, January 01). The Generalife. Retrieved from
http://jeffreygardens.blogspot.com/2012/04/generalife.html)

The stairway is flanked by trees growing on either side and over the stairs, forming a sort
of archway or tunnel covering the length of the stairs., which is similar to the pergolas that
define Roman garden designs (Ettinghausen & MacDougall, 1976). This ‘green’ archway,
along with the water cascading down the rails and spewing out of the fountains, cools the
atmosphere along the stairway and provides shade for the people walking. Combining this
coolness with the sound of the rushing water and the geometric decorations, one would be
caught in a tunnel of sensory delight, which would help prepare the person walking up the
stairs for reaching the top. At the very top of the staircase, there is a small oratory in order for
the sultan and his family to worship God in a private setting and probably serving as a place
where they partook their everyday prayers (Ruggles, 2006). The presence of an oratory at the
end of the staircase heightens the importance of the Water Stairway even more, by ascribing a
new aspect to the water. In Islamic tradition, water is seen as a source of life and one of
purity. Therefore, it is imperative that a devout Muslim cleans oneself with water, termed
wudu, which involves an ablution before prayer (Foret, 2009). This could have been done
along the staircase, where the arms and face are cleaned with the water of the rails and the
feet would be cleaned with the water of the fountain.
These two gardens are two of the most prominent Arab palaces in Spain, mainly because
they are the last surviving Moorish gardens after the Moors were driven out of Andalusia.
These gardens, as well as all other Islamic gardens, were built on the universal Islamic notion

16
of pleasure and Earthly paradise. This was achieved by the geometric patterns and
mathematical symmetry used to decorate the walls, the water that was manipulated to get the
best out of it, the greenery that was grown for their smell, colors, and shade, as well as the
crucial religious aspects represented by the Quranic calligraphies. Pleasure was a vital
concept for the Muslims, because it is only through this soft pleasure of the senses and mind
can one truly contemplate God and get closer to spiritual awakening. Ruzbihan Baqli of
Shiraz, a Persian poet of the 13th century, described this notion in the best of ways, stating
that one can achieve spiritual awakening by looking at three main things; water, greenery,
and a lovely face (Ettinghausen & MacDougall, 1976).

17
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Ahmad, I. (2008). The Bride Unveiled: Influences on and Interpretations of the
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Demaray, H. Disinger. (1969). Gardens and culture: eight studies in history and
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Ettinghausen, R., & MacDougall, E. B. (1976). The islamic garden. Washington:
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Foret, A. S. (2009). Reflections on pleasure: The fourteenth-century Alhambra(Master's
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Moore, C. W., Mitchell, W. J., & Turnbull, W. (2000). The poetics of gardens.
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