Gardens of Babur；《巴布爾回憶錄》；李渝《賢明時代 提夢 (Timur--鐵木耳) 》台北：麥田，2005，pp.171~209

Gardens of Babur；《巴布爾回憶錄》；李渝《賢明時代 提夢 (Timur--鐵木耳) 》台北：麥田，2005

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Babur

https://www.wonders-of-the-world.net/Taj-Mahal/Babur.php

Map of Conquests of Babur

 

巴布爾
蒙兀兒帝國皇帝
巴布爾
第一任蒙兀兒帝國皇帝
統治	1526年4月30日—1530年12月26日
繼任	胡馬雍
出生	1483年2月14日 東察合台汗國安集延 （今屬烏茲別克斯坦）
逝世	1530年12月26日（47歲） 蒙兀兒帝國阿格拉（今屬印度）
安葬	阿富汗喀布爾

Babur (1483年2月14日－1530年12月26日），統治印度次大陸的蒙兀兒帝國的開國君主。其名字於波斯語中意為「老虎」？。

身世[編輯]

巴布爾是成吉思汗（母系）和帖木兒（父系）的後裔，卽巴魯剌思氏。是突厥化蒙古人。母語為察合台語，曾以察合台文為自己立傳，名為巴布爾回憶錄。「蒙兀兒」即是波斯語的「蒙古」。巴布爾生於中亞的費爾干納谷地。

生平[編輯]

以11歲長子身份繼承父親的王位，在中亞錫爾河上游稱王，成功挫敗了來自四方的吞併陰謀，但後來巴布爾被烏茲別克人打敗，並逐出中亞，被迫放棄重建帖木兒帝國的理想，成為無家可歸的流浪者。1504年，趁阿富汗內亂之際，他率領300名部下攻入阿富汗，建立以喀布爾為首都的國家。1525年，巴布爾率軍進攻北印度。1526年，在第一次帕尼帕特戰役中，他大量使用火繩槍和大炮，擊敗由蘇丹易卜拉欣·洛提統帥的德里蘇丹國軍隊，易卜拉欣·洛提陣亡。在征服過程中，巴布爾以12,000人的部隊打敗了印度的10萬大軍。巴布爾接著攻取德里，並於4月27日在大清真寺的禮拜儀式上，宣布為「印度斯坦皇帝」，以阿格拉為新首都，建立蒙兀兒帝國，也結束了德里蘇丹國在印度320年的統治。1527年，蒙兀兒軍隊與以梅瓦爾的拉那·桑伽為首的拉其普特同盟在亞格拉以西的坎奴村進行決戰，拉其普特同盟戰敗。1530年，巴布爾在亞格拉駕崩，其子胡馬雍繼位為蒙兀兒皇帝。

李渝《賢明時代 提夢 (Timur(e)--鐵木耳 》台北：麥田，2005，pp.171~209


《巴布爾日記》=《巴布爾回憶錄》
維基百科，自由的百科全書


《巴布爾回憶錄》插圖之一。遠征森珀爾前，於蘇丹易卜拉辛廣場舉行頒獎典禮。

《巴布爾回憶錄》（察合台語/波斯語：بابر نامہ‬‎，直譯為「巴布爾的歷史」或「巴布爾的文字」）是帖木兒後裔、蒙兀兒帝國建立者巴布爾(1483-1530)的回憶錄，以豐富的內容和精美的插圖聞名。該書原由帖木兒王朝的慣用語言察合台語寫成，巴布爾將其稱為「突厥語」；阿克巴時期，朝臣阿布杜．拉辛於伊斯蘭曆998年(1589-1590)將其翻譯為蒙兀兒帝國慣用的波斯語。[1]

巴布爾是一位受過教育的帖木兒王子。他在回憶錄中反映出對自然，社會，政治和經濟學的興趣；生動的描述不止於自己的私生活，還涵蓋所處時空的歷史、人文和地理。該書包含各種主題，包括天文學、地理、治國方略、軍事問題、武器和戰鬥、動植物、傳記和家庭紀事、朝臣和藝術家、詩歌、音樂和繪畫、酒會、歷史古蹟、自我省思及對人性的探討。[2]

巴布爾本人沒有委託畫家為該書製作插圖，而是由其孫阿克巴於波斯語翻譯版完成後進行插圖繪製，期間花費十年有餘。阿克巴最早製作的4本插畫版《巴布爾回憶錄》於1913年開始印刷銷售，現存70多份微縮資料分散於維多利亞與艾伯特博物館、新德里國立博物館、大英圖書館、大英博物館、莫斯科東方文化國家博物館、巴爾的摩沃爾特斯美術館等地。[3]

即便沒有留下生前的肖像畫，但為《巴布爾回憶錄》插畫的藝術家們一致將其描繪為圓臉、長鬍、頭戴特本，身穿長袖上衣與短袖外掛的形象。[4]
插圖



巴布爾、王子胡馬雍與隨從在巴格朗一帶休息，聽聞附近出現一頭犀牛。由於胡馬雍從未看過犀牛，一群人便興匆匆的前往察看。藏於維多利亞與艾伯特博物館。



巴布爾大軍從誇賈·迪達爾堡衝出。藏於大英博物館。



圍攻伊斯法拉。藏於巴爾的摩。


巴布爾參觀巴格朗附近的印度洞穴。藏於巴爾的摩。
參考文獻

^ Biography of Abdur Rahim Khankhana. [2006-10-28]. （原始內容存檔於2006-01-17）.
^ ud-Dīn Muhammad, Zahīr. Babur Nama : journal of Emperor Babur. Hiro, Dilip., Beveridge, Annette Susannah. New Delhi: Penguin Books. 2006: xxv. ISBN 9780144001491. OCLC 144520584.
^ Losty, 39; British Museum page
^ Crill and Jariwala, 60

Gardens of Babur - Wikipedia

https://en.wikipedia.org › wiki › Gardens_of_Babur

The Garden of Babur (locally called Bagh-e Babur, Persian: باغ بابر / bāġ-e bābur) is a historic park in Kabul, Afghanistan, and also has tomb of the first ...

‎History · ‎Notable people also buried here · ‎Restoration · ‎Gallery

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Garden of Babur
باغ بابر
Inside the Gardens of Babur in Kabul, Afghanistan
Wikimedia | © OpenStreetMap
Location	Kabul, Afghanistan
Coordinates	34.503°N 69.158°ECoordinates: 34.503°N 69.158°E
Created	1528
Founder	Zahir-ud-din Muhammad Babur
Open	7 AM
Status	Active
Parking	Yes

The Garden of Babur (locally called Bagh-e Babur, Persian: باغ بابر / bāġ-e bābur) is a historic park in Kabul, Afghanistan, and also has tomb of the first Mughal emperor Babur. The garden is thought to have been developed around 1528 AD (935 AH) when Babur gave orders for the construction of an "avenue garden" in Kabul, described in some detail in his memoirs, the Baburnama.

It was the tradition of Mughal princes to develop sites for recreation and pleasure during their lifetime, and choose one of these as a last resting-place. The site continued to be of significance to Babur's successors; Jahangir and his step-mother Empress Ruqaiya Sultan Begum (Babur's granddaughter)^[1] made a pilgrimage to the site in 1607 AD (1016 AH) when he ordered that all gardens in Kabul be surrounded by walls, that a prayer platform be laid in front of Babur's grave, and an inscribed headstone placed at its head. During the visit of the Mughal Emperor Shah Jahan in 1638 (1047 AH), a marble screen was erected around tomb of his foster-mother, Ruqaiya Sultan Begum,^[2] and a mosque built on the terrace below. There are accounts from the time of the visit to the site of Shah Jahan in 1638 (1047AH) of a stone water-channel that ran between an avenue of trees from the terrace below the mosque, with pools at certain intervals.

Contents

• 1History
  • 1.1Notable people also buried here
• 2Restoration
• 3Gallery
• 4See also
• 5References
• 6External links

History[edit]

Babur watching men altering the course of the stream

The original construction date of the gardens (Persian: باغ, romanized: bāġ) is unknown. When Babur captured Kabul in 1504 from the Arguns he re-developed the site and used it as a guest house for special occasions, especially during the summer seasons. Since Babur had such a high rank, he would have been buried in a site that befitted him. The garden where it is believed Babur requested to be buried in is known as Bagh-e Babur. Mughal rulers saw this site as significant and aided in further development of the site and other tombs in Kabul. In an article written by the Aga Khan Historic Cities Programme,^[3] describes the marble screen built around tombs by Mughal Emperor Shah Jahan in 1638 with the following inscription:

only this mosque of beauty, this temple of nobility, constructed for the prayer of saints and the epiphany of cherubs, was fit to stand in so venerable a sanctuary as this highway of archangels, this theatre of heaven, the light garden of the godforgiven angel king whose rest is in the garden of heaven, Zahiruddin Muhammad Babur the Conqueror.^[4]

Inside the tomb, believed to be Babur's, in the garden.

Although the additions of the screens by Shah Jahan contained references to Babur, Salome Zajadacz-Hastenrath, in her article "A Note on Babur's Lost Funerary and Enclosure at Kabul"^[5] suggests that Shah Jahan's work transformed Bagh-e Babur into a graveyard. She states that a "mosque was built on the thirteenth terrace, the terrace nearest to Mecca; the next, the fourteenth terrace, was to contain the funerary enclosure of Babur's tomb and the tombs of some of his male relatives."^[6] This transformation towards a proper graveyard, with an enclosure around Babur's tomb, points towards the importance of Babur. By enclosing Babur's tomb, Shah Jahan separates the tomb of the Emperor from others.

The only hint of the design lies in an 1832 sketch and short description by Charles Masson, a British soldier, which was published in 1842, the year the tomb was destroyed by an earthquake. One description of the tomb praised it, "although obviously-in a poor state of preservation, reveals fine workmanship in stone carving: high walls with lavish jali-work and relief decoration."^[7] Mason described the tomb as being "accompanied by many monuments of similar nature, commemorative of his relatives, and they are surrounded by an enclosure of white marble, curiously and elegantly carved... No person superintends them, and great liberty has been taken with the stones employed in the enclosing walls."^[8] Mason's sketch and Mason's description gives us the only modern view of how extravagant the tomb was.

View of the gardens from the west, 1890s

Bagh-e Babur has changed drastically from the Mughal impression of the space to the present. Throughout the years outside influences have shaped the use of the site. For example, the Aga Khan Historic Cities Programme describes how by 1880, Amir Abdur Rahman Khan constructed a pavilion and a residence for his wife, Bibi Halima. In 1933, the space was converted into a public recreation space with pools and fountains becoming the central focal point. A modern greenhouse and swimming pool were added in the late 1970s.^[9] Although the enclosure of the Babur's tomb is no longer present, Bagh-e Babur still remains a major historically important site in Kabul.

Over the past few years, attempts at rebuilding and reconstructing the city of Kabul and Babur's tomb have been undertaken. Zahra Breshna, an architect with the Department for Preservation & Rehabilitation of Afghanistan's Urban Heritage, argues that, “emphasis should be on developing and strengthening the partially forgotten local and traditional aspects, whilst placing them in a contemporary global context. The goal is to preserve the tradition without hindering the development of a modern social, ecological and economical institution.”^[10] Planners also discuss the importance of ‘a revival of cultural identity’ in the development of Kabul.^[11] These ideas seem to fall in line with the plan of Aga Khan.

The plan put forth by Aga Khan calls for the reconstruction of the Bagh-e Babur and includes several key components. The rebuilding of the perimeter walls, the rehabilitation of the Shah Jahani mosque, and the restoration of Babur's grave enclosure are all important parts of the rehabilitation of the garden and aid in the ‘revival of cultural identity.’ The perimeter walls, common throughout many Islamic cities, would provide for closure of the area. This enclosure of orchards is traditional in the area.^[12] Also, the restoration of the Shahjahani mosque, a place for prayer and meditation for visitors to the gardens would be restored.

The biggest idea proposed is the restoration of Babur's tomb. The reconstruction of Babur's garden would bring about a unity fixed around the ruler responsible for the importance of Kabul and the restoration of the historic quarters would restore the pride of the citizens of the city. Architect Abdul Wasay Najimi writes that, "Restoration of confidence, pride and hope would be the main outcome in reintegrating the historic quarters in the mainstream rehabilitation and development of Kabul. This would have a direct impact on the revival of identity."^[13]

Bagh-e Babur - UNESCO World Heritage Centre
https://whc.unesco.org › tentativelists
Nov 2, 2009 — From the top terrace, the visitor has a magnificent vista over the garden and its perimeter wall, across the Kabul River towards the snow ...

Bagh-e Babur

Description

Bagh-e Babur is located on the slopes of Kuh-e Sher Darwaza, southwest of the old city of Kabul. The garden is c. 11.5 ha large and arranged in 15 terraces along a central axis in east west direction. From the top terrace, the visitor has a magnificent vista over the garden and its perimeter wall, across the Kabul River towards the snow covered mountains.

Created by the founder of the Mughal dynasty, Ziihir ad-Din Muhammad Biibur (1483-1530), after his conquest of Kabul in 1504, Bagh-e Babur is one of the earliest surviving Mughal gardens. The king was a passionate gardener and personally designed and supervised at least 10 gardens in his capital Kabul (frontispiece). They are described in the BlJbur-name, but the historical name of Bagh-e Babur is not known. Excavations revealed that Babur did not design his garden on an empty plot: ruins of a monumental building dating to the 3rd century BC and traces of a subsequent occupation to the 15th century made it necessary to clear the ground before a large terraced garden with a different orientation could be landscaped at this very spot. For political reasons, Babur had to move east and conquered northern India in 1526; he died in Agra in 1530. Throughout his years in the flat, dusty plains of India he missed his home country and thus wished to be buried in Kabul. His body was transferred to Bagh-e Babur by his widow around 1544. The texts do not provide a reason why out of all gardens he chose this one. However, remains of older tombs with brick vaults and stone cists excavated underneath the tomb platform revealed that the area was already used as a cemetery, possibly by his Timurid kin -a finding which might provide a context for his choice.

As the tomb garden of the founder of the Mughal dynasty, Bagh-e Babur became a place of veneration, a symbol, and hence gained superior importance among Babur's gardens: For nearly 150 years, his heirs, especially Jahangir (r. 1605-1627) and Shah Jahan (r. 1627-1658), paid their respects to his burial place and sponsored ambitious building programs to preserve and beautify the garden according to contemporary taste. However, beside the spiritual aspect there was also a political dimension through the representation of imperial presence. While this particular significance fostered the survival of the garden beyond the decline of the Mughal dynasty to the present day, it also exposed the garden to changes of its built surface until the 20th century.

Particularly intrusive was the building program implemented by Amir Abdur Rahman (r. 18801901). He constructed the haramseray in the southeast corner and a pavilion in the central axes on the 9th terrace, and landscaped the terraces and water works. His structural interventions changed the ''face'' and visual concept of the garden significantly: the formerly lofty tomb was enclosed by a wall, the pavilion blocked the view towards Shah Jahan's mosque and Babur's tomb from the entrance in the lower west.

However, Amir Abdur Rahman's garden did not survive for long: King Nadir Shah (r. 19291933) removed these structures apart from the pavilion and haramseray, realigned the tomb terrace on one level and restored its airy appearance, and opened the park with tea houses and restaurants to the general public. He gave the garden a definite "European" touch. It was his garden that was preserved until 2003, while the older ones, and especially the Mughal garden, were unknown apart from standing buildings, such as the tomb and the mosque.

Evidence for these different phases was brought to light in 13 seasons of excavation carried out by German Archaeological Institute between 2002 and 2005, supplemented by information from historical documents, book illustrations, drawings and photographs from the 19th and 20th century. This research placed the cultural history of Bagh-e Babur into social, cultural and political context, deepened the understanding of the site and revealed its position within the tradition of and its contribution to the development of Islamic landscape gardens. It was carried out by the German Archaeological Institute and the National Institute of Archaeology in Afghanistan (DAI, with shared funding from the German Foreign Office and AKTC) within the framework of the Aga Khan Trust for Culture (AKTC) rehabilitation project which started in 2003, in collaboration with the Afghan government, the Kabul Municipality, donors and the local population it included specialists from various fields of expertise, such as architectural conservation, landscape architecture, management, planning, and historic and modern horticulture. Through an appropriate rehabilitation program and a carefully implemented management plan, this outstanding site was restored by AKTC along its historic roots according to international standards and guidelines, and handed over to the Afghan authorities in 2008.

Islamic Gardens: Concepts, Meaning, Function

Bagh-e Babur belongs to the category of Islamic gardens. The Islamic garden subscribes layers of meaning rooted in religious symbolism which set them apart from their European counterparts, despite the fact that conceptual, social and political aspects maybe shared. In order to explain why criterion IV is applicable for the nomination of Bagh-e Babur, it is appropriate to offer some general comments on this type of site and its historical development.

While gardens already in the third millennium BC were integral parts of urban spaces, Islamic gardens follow particular principles in layout and design, function and meaning. Their form derives from an Iranian tradition going back to gardens landscaped by the Achaemenian kings since the 6th century BC, hence they were later coined Persian gardens. With the spread of Islam, this Iranian heritage received new semantic contents linked to symbolism rooted in Islam, leading to and expressed by a canonized layout and design. Under the Abbasid dynasty (8th century AD), this type of garden became an integral part of representational architecture throughout the Islamic world, e.g. at Samarra and Shiraz.

The Persian garden is a landscape garden, designed individually and created intentionally as a space embedded in the aesthetic and spiritual context of its past and contemporary cultural, political and social environment. Hallmarks of these formal gardens are a geometric layout following geometric and visual principles, implemented to nature by water channels and basins which divide the enclosed space into clearly defined quarters, a principle that has become known as chahar bagh (lour gardens), water works with channels, basins, fountains and cascades, pavilions, a prominent central axes with a vista, and a plantation with a variety of carefully chosen trees, herbs. and flowers. The old-Iranian word for such gardens "pari-daiz1i' expresses the notion of an earthly paradise which is inherent to them. As such, they are a metaphor for the divine order and the unification and protection of the faithful through Islam. Perimeter walls are indispensable parts of Islamic gardens: as described in the Holy Koran they guard the entrance and provide protection. Their counterparts on earth fulfill a similar function. These principles are brought to perfection in the gardens of the emperor as the "good gardener".

Notwithstanding a formal standardization, the landscape gardens also reflect diversity and development, bound to function, regional and chronological characteristics as well as technological know how, personal preferences, ambitions and demands. Islamic gardens are multi-functional: they not only serve contemplation and relaxation, but are also a representation and manifestation of power. Designing and implementing a garden demonstrates the occupation of land, holding audiences and celebrating victories or marriages in these gardens signal superiority, or social and political bonds. Starting from the 12th/13th century, tombs for members of the royal family or important personalities were placed into such formal gardens, providing believers a chance to benefit from the spirituality of a venerated person and the particular aura of the garden. It was only during the Mughal period that tomb gardens per se were designed and brought to perfection, exemplified by Homayoun's tomb in Delhi (commissioned 1562 CE) and by the Taj Mahal in Agra (bUilt from 1531 to 1648 CE).

15th  century Timurid gardens, which developed from the Persian types, had a great influence on garden design. One aspect greatly promoted the creation of gardens in Central Asia, that is the migrating lifestyle of the Turk tribes, exemplified by the mobile court which pitched tents in encampment gardens, a tradition practiced since long and maintained in the later periods, e.g. along the Great Trunk Road of the Mughals and throughout Iran. These gardens were mobile residences, located outside the urban space, seats of political power and centres of social activities. Although few traces of the early gardens survived, historic descriptions leave no doubt about the magnitude of ambitious projects. The famous gardens in Samarqand and Herat, well known to Babur who was of Timurid descendance, were created by Persian craftsmen who migrated throughout the capitals and workshops in Persia, Central Asia, Afghanistan, and India. The migration of artisans within the network of political alliances and bonds, and shifting centres of political power is a widespread phenomenon during this period, hence, arts and crafts share a large number of technological and stylistic features. Only with the more developed duality of the Mughal Empire which absorbed local Indian features in the east and the Safavid Empire in the west, diverging developments became more distinctive.

We can summarize that Islamic gardens are marked by a canonized catalogue of forms and features, manifest in layout, plantation, and architecture. These are determined by symbolic content (religion, power/status), historical context, and the social and political environment (location, patron, purpose, political stability, financial situation). As such the gardens are not only symbols, but also tools which can be used to mirror and shape social and political relations. Assessing the importance and significance of a historic Islamic landscape garden hence requires to consider these different layers of meaning and the political and social environment within which they were created. Thus, large gardens with a spectacular architecture are not per se the most important sites in terms of historical development and cultural tradition, no matter how important they are as monuments. This implies, vice versa, that more modest sites can be equally or even more important than the former.

Justification of Outstanding Universal Value

Bagh-e Babur is an intentionally designed cultural landscape, according to the definition provided in the operational guidelines § 47. and in Annex 3 §.6: Cultural landscapes are cultural properties and represent the "combined works of nature and of man" designated in Article 1 of the Convention. They are illustrative of the evolution of human society and settlement over time, under the influence of the physical constraints and/or opportunities presented by their natural environment and of successive social, economic and cultural forces, both external and internal.

Criterion IV: as an outstanding example of a cultural landscape which illustrates significant stages in human development.

Bagh-e Babur is an outstanding example of an intentionally designed landscape garden. As a cultural and archaeological site it encompasses the designed landscape and its built architecture, which together form a historic ensemble. It is the only landscape garden in the region which mirrors subsequent developmental stages and reflects shifts in function, style and concept from the early 16th to the early 20th century: from a Timurid pleasure to a Mughal tomb garden, to a 19th century representational garden and a 20th century public park. These phases have left their mark in the garden and depict various stages of historical development and their representation in the cultural heritage.

1. The original layout and essential architectural elements mirror the idealized form of the chahar bagh plan and are testimony to the spread of Persian and Timurid spiritual and aesthetic concepts towards east around 1500. It is thus the latest surviving pre-Mughal garden designed in the original Persianmmurid tradition east of Iran. Throughout its existence, Bagh-e Babur maintained the main conceptual features of this type of garden, such as the geometric layout with the typical vista, the perimeter wall, terraces, a central axis with water channels and basins, trees, flowers, and, originally, a pavilion.
2. Bagh-e Babur was designed as a pleasure garden, but became a tomb garden after the death of its founder and, hence, a symbolic place for the Mughal dynasty. It is, therefore, the oldest imperial tomb and the westernmost Mughal garden, and within the borders of Afghanistan the only surviving testimony of a Timurid pleasure garden that was later adorned with Mughal architecture. The garden was adorned with decorative schemes developed in India during the Mughal Period, particularly under Shah Jahan. Features added to the garden until 1660 include a marble platform with lattice work around the tomb, a headstone, a mosque, a perimeter wall, a gateway, a caravanserai, water pools with fountains on each terrace, and marble lined water channels. They witness of the transformation of a Timurid to a Mughal garden. Located far from the capitals in Pakistan and India, the embellishment of Baghe Babur emphasizes its symbolic and, for a certain period, political significance. Although it lost much of its importance with the decline of Mughal power after Shah Jahan, one of his descendants was buried close to him in the 18th century.
3. After a period of decay from the late 17th to the late 19th century, the garden was important enough to be restored 200 years later by the rulers of a modern Afghanistan; it mirrors the beginning of a new era. After 1880, Bagh-e Babur was re-designed by Amir Abdur Rahman, ruler over an united Afghanistan and passionate builder. Changes include landscaping, buildings, vista, and waterworks. The buildings and landscape works commissioned him thoroughly changed the appearance of the upper terraces, they are a portrait of the architectural language typical for this ruler. The garden was used as an international guesthouse and thus retained a representational character.
4. In the 2th quarter of the 20th century, Nadir Shah once more redesigned the garden in terms of landscaping and built architecture. He distanced himself from his predecessor, but although the more airy layout of the garden was closer to its original scheme than under Amir Abdur Rahman, Nadir Shah rather followed European design schemes; this is also reflected by the fact that it became a public park.

Thus, as in intentionally created Islamic garden, Bagh-e Babur is an outstanding example of a cultural landscape since it is, on one hand, a unique testimony for a specific cultural tradition, its spread and metamorphoses, while it reflects, on the other hand, changing aesthetic concepts. Thus, within one cultural ensemble different stages of human and cultural development are preserved and embedded into its original scheme.