By this is meant its tendency of comparative tolerance and receptivity. Such a transformation was mainly due to the assimilative power of the Abbasid culture, often misrepresented as merely imitative.
Despite the diversity of its origins, however, the Abbasid art of gardening was rather a new creation, in which all these elements were fused together into one new and original artistic whole by the transformation into Islamic form. Practically the Abbasid horticultural art responded just as much to its surroundings as the Assyrian or the Persian one did in the arid and hilly country in north Mesopotamia or Persia. de Jong, and published in the proceedings, the University of Leiden, The Netherlands, 1991, pp.115-122. It is a revised version of a paper read at the symposium ‘The Authentic Garden’ edited by Y. He has published more than 60 works on various themes and topics especially on Arabic and Islamic Paleography and Codicology.
He has held teaching posts at the universities of Cambridge, Baghdad, Leiden, Garyunis (Libya) and Ibn Saud (Saudi Arabia). Professor Dr Qasim Al-Samarrai studied comparative mysticism for his doctorate at Cambridge University. The love of gardens during the Abbâsid period, whether in Baghdad or in Samarra, was born within the already existing cultural tradition of Mesopotamia, where the art of gardening had been perfected many centuries before.
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