Images from Umayyad bath house at Qusayr Amra in Jordan, photographed by Daniel C. Waugh in October 2010.

Daniel C. Waugh

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digital photograph

Qusayr Amra. Audience Hall. Central Bay.

Jordan

<span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Qusayr ‘Amra, “The Little
Palace of ‘Amra,” is a residential and agricultural complex known especially
for its large bath house decorated with a fabulous array of fresco paintings. The complex is located in the heart of
the Jordanian steppe in an arid, rocky region known as al-Balqa’ (the
piebald), approximately 85 kilometers east of Amman. It is situated along the Wadi al-Butum,
which eventually flows into the Jordan valley. The complex’s precise date of
construction is not known but it is clear that it was built under the <a href="https://archnet.org/timelines/48/period/Umayyad/year/691"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Umayyad caliphs of Syria (r. 660-750/39-132 AH)</a><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">, not before 711/92 AH and no later than 750/132
AH.&nbsp;Date:<span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">The once popular attribution
of the bath house to the reign of the sixth Umayyad caliph <a href="https://archnet.org/authorities/2609 " target="_blank" data-bypass="true">Walid I</a>&nbsp;(r. 705-715/89-96 AH) is based on the presence in the
building of a mural depicting six vanquished rulers of late antiquity,
including the Visigoth king Roderick, who died in a battle against the Umayyads
in 711/92 AH. This interpretation was favored by the
philologists who first interpreted the mural’s Greek and Arabic inscriptions.1 Other scholars have questioned the attribution to Walid I. The prevalence of
imagery related to the hunt, dancing and other festive pastimes suggested
instead to others&nbsp;<a href="https://archnet.org/authorities/7259" target="_blank" data-bypass="true">Walid II</a>&nbsp;(r. 743-744/126-127 AH), who is described as a hedonist by the
Arabic sources and, more importantly, is known to have spent considerable time
in the countryside in which the bath house was constructed.2 Another
compelling reason to reject the attribution to Walid I comes after a reading of
the Arabic inscriptions that refer to a prince (amir) or heir apparent (wali
al-‘ahd) rather than a caliph (amir al-mu’minin). This evidence
suggests a successor to Walid I who would have been alive after the defeat of Roderick
but not yet caliph.3 &nbsp;Site description:<span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Like many other <a href="https://archnet.org/sites/4142"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">rural compounds constructed
by the Umayyads in the steppes</a><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">,
Qusayr ‘Amra had multiple components including recreational, residential,
agricultural and religious.
The various structures are situated along the northern flank of the wadi, and include remnants of walls used to control its temporary floods and irrigate the surrounding landscape, which may have included gardens or agricultural plots. The bath house complex is located
toward the eastern side of the site, and consists of three components: the bath
house itself, a hydraulic operation including a well, water wheel and cistern
immediately to its north, and an enclosure wall that forms a roughly triangular
yard to the northwest of the bath house.<o:p></o:p><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Some 600 meters north of the
bath complex lie the remnants of a residential structure centered on a
courtyard whose front gate faces south toward the wadi. Near this structure
were the remnants of a mosque dated to the Umayyad period.&nbsp;<o:p></o:p><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Plan:&nbsp;<span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; font-weight: bold;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">The bath house is the best
preserved structure on site. Its plan is dominated by a&nbsp;<a href="https://archnet.org/media_contents/126939" target="_blank" data-bypass="true">large, rectangular audience hall</a>&nbsp;covered by a triple barrel vault dividing the space into three
bays running north to south (the east, central and west bays). The main
entrance is a doorway on the north side under the central bay. Light enters the
hall through clerestory windows. On the southern side of the hall and directly
opposite the entryway is a recessed alcove (<a href="https://archnet.org/media_contents/126869" target="_blank" data-bypass="true">the central alcove</a>). Two apsidal
side chambers flank this alcove (the&nbsp;<a href="https://archnet.org/media_contents/126901" target="_blank" data-bypass="true">east</a>&nbsp;and&nbsp;<a href="https://archnet.org/media_contents/126972" target="_blank" data-bypass="true">west</a>&nbsp;side chambers), and are
entered through doors in the alcove itself. These spaces rise only half the
height of the hall and their forms are clearly visible from the&nbsp;<a href="https://archnet.org/media_contents/126961" target="_blank" data-bypass="true">exterior of the building</a>, as they project from the large block toward the south.<o:p></o:p><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Adjoining the audience hall
to the east is the bath itself, consisting of three sequential rooms, which
presumably served as an&nbsp;<a href="https://archnet.org/sites/4772/media_contents/126919" target="_blank" data-bypass="true">apodyterium</a>&nbsp;(changing room), tepidarium (warm room),
and&nbsp;<a href="https://archnet.org/sites/4772/media_contents/126853 " target="_blank" data-bypass="true">caldarium</a>&nbsp;(hot room). The apodyterium is tunnel vaulted, the tepidarium is cross-vaulted
and the caldarium is domed with two apses on the north and south sides.<o:p></o:p><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Decoration:<span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Qusayr 'Amra is celebrated for the fresco paintings
that decorate most architectural surfaces in the bath house. These paintings
depict a variety of subjects including hunting scenes, athletic activity,
mythological images, and astronomical representations.&nbsp; <span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">The images in the audience
hall include royal themes: on the west wall of the west bay is the famous&nbsp;<a href="https://archnet.org/sites/4772/media_contents/126925 " target="_blank" data-bypass="true">fresco of “Six Kings,”</a>&nbsp;which depicts Roderick the Visigoth, the Byzantine Emperor
(Caesar), the Sasanian Emperor (Khusraw), the Ethiopian Emperor (Negus) and two
unidentified figures thought to represent a Turkic and Chinese ruler<span style="font-size: 12pt; line-height: 107%; font-family: Verdana, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">.<o:p></o:p><span style="line-height: 107%; font-family: Verdana, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; font-size: 14px;"><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">The six rulers depicted on the west wall of the west
bay gesture with outstretched hands toward a second the image of a seated figure on the south
wall of the central alcove of the audience hall. This figure sits on a throne or baldachin and is depicted
frontally and with a halo, all consistent with the representation of rulers in
the Sasanian tradition.&nbsp;It is thought to represent the patron of the monument
who was a prince at the time of construction. <span style="line-height: 107%; font-family: Verdana, sans-serif; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial; font-size: 14px;">Another important image is
preserved on the<a href="https://archnet.org/sites/4772/media_contents/126885 " target="_blank" data-bypass="true"> barrel vault of the east bay</a>: it depicts a series of artisans
at work along with several animals. The artisans depicted include blacksmiths,
stone-cutters, and woodworkers.Equally celebrated is the&nbsp;<a href="https://archnet.org/sites/4772/media_contents/126855 " target="_blank" data-bypass="true">domed vault of the caldarium</a>, which features an astronomical projection where signs of the zodiac appear with illustrations of the primary constellations found in the northern
hemisphere. This portrayal is of monumental significance in that it is the
earliest known example of stellar representation on a non-flat, semi-circular
surface.&nbsp; Notes:<ol><li>Creswell, Short Account, 112-113. </li><li>Rashdan, al-Qusur al-Umawi, 81, and Fowden, Qusayr ‘Amra, 142-174.</li><li>Note by F. Imbert in Vibert-Guigue and
Bisheh, Qusayr ‘Amra, 45-6.</li></ol><div> </div><div>Sources:</div><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">UNESCO World Heritage.
"Quseir Amra." Accessed February 2, 2007.&nbsp;<a href="http://whc.unesco.org/en/list/327" target="_blank">http://whc.unesco.org/en/list/327</a><span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">.<span style="background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">Creswell, K. A. C., and James W. Allan.&nbsp;A
Short Account of Early Muslim Architecture<span style="background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">,
105-117. Aldershot: Scolar Press, 1989.<o:p></o:p><div>

Fowden, Garth. Quṣayr
‘Amra:
Art and the Umayyad Elite in Late Antique Syria.
Berkeley: University of California Press, 2004.<span style="line-height: 107%; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><o:p></o:p>

Rashdān, Wā’il Munīr. al-Qusūr al-Umawī fī al-Mamlaka
al-Urduniyya al-Hāshimiyya: dirāsa mi‘mariyya, 59-82. al-Riyāḍ: Jāmi’ al-Malik Sa‘ūd, 1430 [2009].<o:p></o:p>

Vibert-Guigue, Claude, and Ghazi Bisheh. Les Peintures de
Qusayr ‘Amra: un bain omeyyade dans la dâdiya jordanienne. Beirut: Institut
français du Proche-Orient/Department of Antiquities of Jordan, 2007.</div>

Qusayr 'Amra

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digital graphic

IAA708484

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Housed in Museum fuer Islamische Kunst, Berlin, Accession Number I-1264.<div> </div><div> </div>

Qusayr Amra. Audience Hall. W Arch. E Face. Fragment.

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Qusayr Amra. Audience Hall. W Archway. Soffit. S Side.

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Qusayr Amra. Caldarium. Dome.

Qusayr 'Amra (test)

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Qusayr Amra. Caldarium. Dome. Composite.

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Qusayr Amra (Waugh Collection)

The Daniel C. Waugh Collection consists of born-digital photographs depicting historical monuments from various regions across the heartland of Islam.&nbsp;<a href="https://archnet.org/authorities/7107" rel="noopener noreferrer" target="_blank">Daniel C. Waugh</a>&nbsp;is Professor Emeritus at University of Washington, Seattle, where he taught courses on the history and culture of Russia and Central Asia from 1972 until his retirement. Professor Waugh has contributed substantially to Silk Road studies. In addition to teaching courses, he is the editor of The Silk Road, the journal of the Silk Road Society, since 2003, and has traveled extensively in Central Asia and throughout the historical Islamic world.&nbsp; Cataloging and processing of the collection is currently underway. To facilitate browsing, images are grouped in sub-collections according to site (e.g. Isfahan: Masjid-i Imam). The collection page will be updated as new groups of material are processed.

Daniel C. Waugh Collection

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IAA706386

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Qusayr Amra (Waugh Collection)

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Qusayr Amra (Waugh Collection)

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