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                <text>Image 1. 60 years of SLP (https://www.sealifeparkhawaii.com/content/dam/slp/images/discover-the-park/discover/60%20years%20of%20SLP.jpg)</text>
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                <text>Image 1: Creative Commons&#13;
Image 2: Creative Commons&#13;
Image 3: Creative Commons&#13;
Image 4: Creative Commons&#13;
Image 5: Creative Commons&#13;
Image 6: Creative Commons&#13;
Image 7: Creative Commons&#13;
Image 8: Creative Commons&#13;
Image 9: Creative Commons&#13;
Image 10: Creative Commons&#13;
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                <text>Blair, S. and Bloom, J. (1995) The Art and Architecture of Islam 1250–1800. New Haven: Yale University Press.</text>
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                <text>Canby, S. (2009) Shah ‘Abbas: The Remaking of Iran. London: British Museum Press.</text>
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                <text>Archnet (n.d.) Shah Mosque (Masjid-i Shah), Isfahan. Available at: https://archnet.org/ (Accessed: December 4, 2025).</text>
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                <text>&lt;em&gt;The funerary complex of Shah-i-Zinda in Samarkand features a narrow processional corridor that contains mausoleums that display their exterior walls through intense turquoise and cobalt tilework. The complex follows a sequence of vaulted spaces and pointed arched portals, which produce a visual rhythm to lead visitors through the passage toward the tomb chambers of Central Asian nobles and religious leaders. The mosaic faience surfaces display Timurid decorative elements through geometric stars and floral motifs, and Quranic inscriptions, which create sacred identity through repetitive color patterns. The pilgrimage site of Shah-i-Zinda served a dual purpose to honor religious figures and display imperial power, which demonstrates how Timurid Samarkand used funerary architecture to create religious experiences and preserve imperial history.&lt;/em&gt;</text>
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                <text>Image 1: https://kalpak-travel.com/wp-content/uploads/2025/04/shah-i-zinda-samarkand.jpg</text>
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Longitude: 51.6760 E</text>
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                <text>&lt;em&gt;The Sheikh Lotfollah Mosque stands as a royal mosque which occupies a small space on Naqsh-e Jahan Square through its single cream-colored dome and its lack of minarets. The bent corridor leads visitors toward a domed sanctuary which receives its light through filtered daylight. The interior tilework features complex arabesque designs and calligraphic elements and the famous peacock design which becomes visible under the dome when sunlight hits the tiles at specific times. The mosque was constructed by Shah Abbas I for royal court activities instead of public worship purposes to showcase Safavid artistic values through its precise design and controlled illumination and ornate tilework.&lt;/em&gt;</text>
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                <text>Mursal Abdullah</text>
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                <text>Blair, S. and Bloom, J. (1995) The Art and Architecture of Islam 1250–1800. New Haven: Yale University Press.</text>
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Image 2: Creative Commons&#13;
Image 3: Creative Commons&#13;
Image 4: Creative Commons&#13;
Image 5: Creative Commons&#13;
Image 6: Creative Commons&#13;
Image 7: Creative Commons&#13;
Image 8: Creative Commons&#13;
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