Palace and Mosque at Ukhaidir: A Study in Early Mohammadan Architecture

by Gertrude Lowthian Bell

Fig. 11. Relief from Quyundjik.

(From L’Art antique de la Perse, by kind permission of M. Dieulafoy.)

façades as those of Ctesiphon or Ukhaiḍir. But it must be admitted that while the recessing of Babylonian and Assyrian wall surfaces is in no sense an imitation of architectural forms, least of all an imitation of the column, which was an element unknown to the designers of these recessed buildings,[137] and that while on the Quyundjik relief the architrave is placed directly upon the piers without the intermission of impost or capital, the engaged columns of Firûzâbâd are true columns carrying an impost, and the whole scheme is no longer a pattern, but a copy in relief of a colonnade in the round. In the courtyard the rectangular niching is retained, but without the engaged columns.[138] On the façade of the palace a series of seven arched niches is set high up in the wall, on either side of the arched opening of the lîwân.[139] It is a motive which recalls the open loggias in the façade of an Assyrian palace.[140]

The palace of Sarvistân bears an obvious relationship to that of Firûzâbâd, but the strict symmetry which regulates the latter is not so closely adhered to, and the construction is handled with greater freedom and skill ([Plate 76]). The principal lîwân happens, it is true, to have resumed the old latitudinal disposition, but the longitudinal lîwân is present in a subsidiary position. The lateral chambers are provided with wide arched openings which, together with the arch of the lîwân, form a façade not unlike those of the Ukhaiḍir courts.[141] The breaking of the façade by doors leading into the lateral chambers of the lîwân occurs first at Hatra, and characterizes all lîwân buildings later than that of Sarvistân. Instead, however, of the piers and engaged columns of Ukhaiḍir, the three arches of Sarvistân are separated by groups of triple flutes. These flutes are far more clearly connected with ancient oriental tradition than the engaged columns of Firûzâbâd. They are derived from the reed-like flutings of Babylonia and Assyria, which are to be found as late as the Parthian counterfeit at Tellôh.[142] The motive does not disappear after the Mohammadan invasion. It occurs at Kharâneh, a ḥîrah on the western borders of the Syrian desert (see below, [Plate 80], Fig. 2), and I found it upon the façade of Sultan Khân, a Seldjuk building in the heart of Asia Minor.[143] Here, as at Sarvistân, it flanks a central doorway. At Sarvistân it gives way at the angles of the palace to a single engaged column. As at Firûzâbâd, the audience hall at Sarvistân is a square domed chamber, but it opens immediately into the posterior courtyard and a single lîwân faces it on the further side. Besides the partial detachment from the wall of the supports of some of the vaults and of the columns bearing the smaller dome, there are other evidences of advance in structural knowledge. In the central lîwân, in the tower chambers, and in the central domed chamber the walls are partially hollowed out by blind niches, which add to the security of the vaults while they increase the interior space of the chambers. These blind niches lend to the supports of the dome something of the appearance of free standing angle piers, and they show a dawning apprehension of the fact that the thrust of the dome is concentrated mainly upon the corners of the substructure. In the isolated dome of Ferâshâbâd[144] the hollowing out of the walls is carried yet further.

The building material used in walls and vaults is undressed stone and mortar, but at Sarvistân the stones are more carefully coursed than at Firûzâbâd. As far as can be judged from photographs, the vaults must have been built over a centering. They oversailed the walls as at Ukhaiḍir, while the semicircular door and window arches were set back from the jambs according to Dieulafoy’s restoration, and oversailed the walls according to the restoration of Flandin.[145] The side walls of the palace are broken by frequent doorways, and in the smaller dome windows were pierced through the drum.[146] The domes are built far more skilfully than those of Firûzâbâd. The zone which contains the squinch oversails the wall, standing flush with the outer edge of a small cornice adorned with a dog-tooth. The squinches are built with a proficiency which is in marked contrast with their rude prototypes at Firûzâbâd. They are divided from the dome by a second dog-tooth cornice, and the dome itself is constructed of light brick tiles.[147] This combination of the two materials is resorted to again at Ukhaiḍir. The niches in the columned chambers are covered with semi-domes which are set clumsily over the angles on very small squinches.[148] The Achaemenidizing plaster-work of Firûzâbâd is not repeated, but the dog-tooth is copied from the cornice under the dome in the older palace. It is significant that the cornices of Sarvistân have but one fillet instead of the two fillets of Firûzâbâd. A tendency to reduce the importance of horizontal decorations is characteristic of Sasanian and of Mohammadan work in Mesopotamia (see below, [p. 130]).

Both for Firûzâbâd and for Sarvistân a minute re-examination is urgently needed, but the political conditions of the province of Fars are not favourable to archaeological research. Nor was the state of affairs ideal at Qaṣr-i-Shîrîn when I was there in April 1911, and I measured the palace of Khusrau to the tune of the whizzing of stray bullets. That they were not intended to hit me was due principally to the fortunate circumstance of my having been accredited by a powerful Kurdish ally on the Turkish side of the frontier to the leading Kurdish brigand, Kerîm Khân, on the Persian side. This fact rendered the situation more reassuring, but I was not tempted to prolong my stay beyond the five days which I devoted to the palaces, neither did I loiter over my work. It would have been difficult to push on further into the interior, or perhaps I should say that it would have been too expensive; for though Kerîm Khân would have provided me with an escort, he would have expected a small fortune in return for his protection, and perhaps it might fairly be urged that he would have deserved it. According to the information which has reached me from Baghdâd, matters have gone from bad to worse since the date of my visit, and the high road of the Sasanian kings has been definitely closed to traffic.

Like the Achaemenid palaces, Firûzâbâd and Sarvistân were not intended for the lodging of vast hordes of retainers. These may have been accommodated in tents or in mud-built houses of an unpretending nature. But with the close of the sixth century we come to a group of royal dwelling-places wherein provision was made for an indefinite number of women, courtiers, servants, and guards, and the type of building thus created was taken over by the khalifs of Islâm and extended to proportions vaster still. Of this type the palace of Khusrau at Qaṣr-i-Shîrîn is the best example we possess.[149] In general terms Ukhaiḍir is its fortified counterpart.

The palace of Khusrau is built upon an artificial platform like Persepolis and the Assyrian palaces, while additional lodgings for the king’s family and suite are placed on the level of the plain. The double ramps or stairways by which the platform is approached are exactly similar to those employed in the older prototypes. The eastern end of the platform is occupied by an immense open space lying before the entrance to the state apartments. A deep porch, possibly with columns on either side, leads into a latitudinal chamber, the details of which cannot be determined without excavation. From this antechamber a doorway communicates with the square hall of audience, which corresponds precisely with the audience halls of Firûzâbâd and Sarvistân. In the posterior wall there is a deep lîwân in which, perhaps, the throne of the Chosroës may have been placed. Behind the reception-rooms there is an open court round which the living-rooms are grouped, not singly, but in a series of subsidiary courts, some of which are placed on a lower level. The whole scheme is thus exactly parallel to the scheme of the palaces in Fars, though the reduplication and enlargement of the various parts somewhat obscures the resemblance at first sight. At Qaṣr-i-Shîrîn a porch is added to the lîwân palace and the entrance lîwân has become a closed chamber, the porch having superseded the columned entrance of the Achaemenids and the archways of the earlier Sasanians. The rectangular audience hall of the normal Sasanian khilâni palace follows. The small lîwân to the rear, with its flanking rooms, have their parallel at Firûzâbâd, but the small lîwân at Qaṣr-i-Shîrîn forms part of the hall of audience and three of the flanking rooms can be entered from that hall, as well as from the open court behind it.