Qusayr 'Amra or Quseir Amra, sometimes also named Qasr Amra (), is the best-known of the desert castles located in present-day eastern Jordan. It was built some time between 723 and 743, by Walid Ibn Yazid, the future Umayyad caliph Walid II,
It is most notable for the frescoes that remain mainly on the ceilings inside, which depict, among others, a group of rulers, hunting scenes, dancing scenes containing nude women, working craftsmen, the recently discovered "cycle of Jonah", and, above one bath chamber, the first known representation of heaven on a hemispherical surface, where the mirror-image of the constellations is accompanied by the figures of the zodiac. This has led to the designation of Qusayr 'Amra as a UNESCO World Heritage Site.
That status, and its location along Jordan's major east–west highway, relatively close to Amman, have made it a frequent tourist destination. A preservation project that began in 2010 involves both removing old maintenance attempts and implementing new ones to support the site better.
Location and access
Qusayr 'Amra is located on the north side of Jordan's Highway 40, roughly from Amman and southwest of Al-Azraq.
It is within a large area fenced off in barbed wire. A paved parking lot is located at the southeast corner, just off the road. A small visitor center collects admission fees. The castle is located in the west of the enclosed area, below a small rise.
thumb|200px|right|South (rear) view, from highway
Description
Traces of stone walls used to enclose the site suggest it was part of a complex; there are remains of a castle which could have temporarily housed a garrison of soldiers.
It is a low building made from limestone and basalt. The northern block, two stories high, features a triple-vaulted ceiling over the main entrance on the east facade. The western wings feature smaller vaults or domes.
History
Construction
The painting of the six kings includes King Roderick of Visgothic Kingdom, whose short reign (710–712) has been taken to date of the image, and possibly the building, to around 710. Therefore, for a long time researchers believed that sitting caliph Walid I was the builder and primary user of Qasr Amra, until doubts arose, making specialists believe that one of two princes who later became caliph themselves, Walid or Yazid, were the more likely candidates for that role.
Rediscovery in 1898
The abandoned structure was re-discovered by Alois Musil in 1898, with the frescoes made famous in drawings by the Austrian artist Alphons Leopold Mielich for Musil's book. In the late 1970s a Spanish team restored the frescoes. The castle was made a UNESCO World Heritage Site in 1985 under criteria i), iii), and iv) ("masterpiece of human creative genius", "unique or at least exceptional testimony to a cultural tradition" and "an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates a significant stage in human history").
Conservation
Since 1970, there have been multiple conservation projects undertaken at Qusayr 'Amra to address the state of the structure and the frescoes. The first was carried out by the Archaeological Museum of Madrid and spanned three years from 1971 to 1974. Over the years, the color of the shellac turned and covered the paintings. During and after the removal process, the shellac also caused some of the paint to come off of the wall. It is difficult to tell whether they illustrate the story as told in the Quran or in the Bible, since these two tellings are very similar. The last one was for a long time unidentified, speculated to be the Turkish, Chinese, or Indian ruler, Another possible interpretation is that the six figures are depicted in supplication, presumably towards the Caliph who would be seated in the hall. One examples of this theme of water is a mosaic where the Triumph of the Roman god Neptune. This was the god of the sea and his presence accentuates the theme of water. These themes emphasize the water within the bathhouses.
Apodyterium
The apodyterium, or changing room, is decorated with scenes of animals engaging in human activities, particularly performing music. One ambiguous image has an angel gazing down on a shrouded human form. It has often been thought to be a death scene, but some other interpretations have suggested the shroud covers a pair of lovers. The only error discernible in the surviving artwork is the counterclockwise order of the stars, which suggests the image was copied from one on a flat surface.