SdA 2-02 — Le palais ayn ul-emarat

• Souvenir d’Afghanistan, série 1 (petit format) : n’y figure pas.
• Souvenir d'Afghanistan, série 3 (double face) SdA 3-013 : identique.
• Seraj ul-akhbar 7/10 (1917), p. 5 : le même bâtiment en train de construction.
• Seraj ul-akhbar 7/10 (1917), p. 6 : le même bâtiment, vue de l’autre côté.
• Rybitschka (1927) : Im gottgegebenen Afghanistan, le même bâtiment, en face de p. 112 : «Ein prinzliches Heim, zum Teil von österreichischen Soldaten erbaut.»
• Dupree, N.H. (1977) : Early 20th Century Afghan Adaptations of European Architecture, Fig. 6 : identique, et p. 18 : «Ain ul-Emorat, south façade, Kabul; const. 1911-1912.» ; p. 19 : «Sardar Amanullah, third son and successor to Amir Habibullah, indicated his eclectic interest in architecture when he constructed a two-building complex in Kabul called the Ain ul-Emorat, «Eyes of Buildings», in 1911-1912. The one-storey building intended for official receptions, designed in typical cantonment bungalow style along the lines of the remodeled Chihilsitoon, was unadorned on its exterior except for the baseless pediments familiar to his father’s structures. In the garden next to this building, he constructed a two-storey haremserai for the ladies of the household. In marked contrast, the form and decoration of this building was clearly derived from his uncle’s Zain ul-Emorat. Innovations such as the columns on pedestals supporting an open balustraded verandah over the portico, heavily pronounced quoins, curved pediments, and festoons garlanding his personal insignia in the central gable pediment were early indicators of the prince’s more flamboyant style. The inevitable inclusion of two attic windows under the pediment which gave light to the lofty principal reception room was a curious disruption of the otherwise attractive façade design.»
• Adamec, L.W. (1987) : A Biographical Dictionary, pp. 193-194 : Uliya Hazrat, Siraj Al-Khawanin.
• Schinasi, M. (2008) : Kaboul 1773-1948, p. 124 : «[…] Le style européen de 'Ayn ol-emârat, auquel les réfugiés autrichiens prêtèrent leur savoir-faire et ajoutèrent sans doute leur inspiration, s'apparentait à celui de Zayn ol-'emârat. La façade présentait aussi un fronton couronnant la partie centrale, mais à l'étage, en saillie, une terrasse et les quatre grosses colonnes rondes qui la soutenaient formaient une sorte de porche abritant la porte d'entrée du rez-de-chaussée et deux grandes fenêtres ; […] le motif de briques soulignant l'arête des murs était très apparent. […]»

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