Bagh-e Umumi (Public Garden) Paghman– A Fusion of European and Islamic Landscape Traditions

There is no written documentation describing the design of Bagh-E-Umumi (Public Garden) In Paghman, Kabul. However, an effort has been made to analyze its design origins, stylistic influences, and architectural elements based on available Historical Images.

The garden blends Islamic and European garden traditions by taking inspiration from Mughal and French formal garden styles. Interestingly, European influences, especially from Spanish Formal Garden, Italian, and French Formal Gardens, can be traced back to Islamic Garden principles, which emphasize geometric order, symmetry, and structured landscapes.

Geometric and Symmetrical Layout

Baghi Umumi Is A Highly Structured, Symmetrical Design with Delineated Gravel Paths, Clipped Hedges, Structured Flower Beds And Manicured Lawns. These elements echo the geometry and order imposed over nature found in French formal gardens or Islamic Chahar Bagh layouts.

• Symmetrical gravel paths, structured plantings and tidy little flower beds embrace the French formal garden style.
• The Garden central axis, intersected by perpendicular pathways, leads the viewer’s eye toward key features such as the grand mansion, water features, and pavilions.
• The carefully cultivated greenery against the surrounding wild landscape of Paghman’s valley presents a visual exchange between developed nature and wilderness.

Looking at European landscape traditions while travelling, King Amanullah Khan commissioned the construction of this garden in the early 20th century as part of a greater drive for modernization. This makes Bagh-e Umumi Paghman is one of the best examples of a formal French-style garden constructed in Afghanistan.

Terracing and Elevation – A Hierarchical Spatial Composition

The garden is arranged across multiple terraces which creates a gradual elevation leading toward grand buildings. This tiered structure introduces a sense of hierarchy, guiding visitors visually and physically toward the main architectural focal point—the mansion, common in European palace gardens.

Architectural Integration with the Landscape

Upper Terrace – The Grand Mansion (Caffe)

• The Mansion, Positioned On The Highest Terrace, follows European neoclassical architecture, characterized by large balconies, symmetrical facades, and panoramic windows.
• The raised position lets residents to view the entire garden, strengthening their dominance over the space while offering spectacular views.
• This layout reflects European aristocratic estates, where Architecture And Landscape Were Seamlessly Integrated to emphasize wealth and power.

Lower Terraces – Formal Garden Spaces

• The garden is arranged into well-defined planting beds, Intersecting Pathways, And Water Features, forming a harmonious composition.
• The structured geometric forms of the garden contrast with the natural, untamed mountains in the background, Highlighting A Duality Between Cultivated And Wild Landscapes.

Central Water Features – A Symbol of European and Mughal Influence

Both aesthetically and functionally, water plays a major role in the garden’s design. Multiple Fountains And Water Basins Appear From Rock Piles At The Center Of The Garden, acting as ornamental and cooling elements.

• The Tiered Fountain Is Adorned With Sculpted Horse Figures, symbolizing power and movement which is an artistic feature often found in European palace gardens.
• The Strong Vertical Water Jet, Rising High Above The Basin, creates a dramatic and refreshing visual effect, reinforcing the grandeur of the landscape.
• The Stone-Edged Basin, surrounding the fountain, follows the European tradition of placing water features at the center of public promenades and leisure spaces.
• Unlike Persian Chahar Bagh gardens, where water often symbolized spiritual purity and paradise, The Fountains In Paghman Reflect A More Ornamental, European influence, reminiscent of French and Italian Renaissance Garden traditions.

This fountain, along with other water basins and decorative pools, transformed the garden into a cooling retreat, offering visitors relaxation and aesthetic pleasure, a defining feature of royal and aristocratic gardens.

Pavilions, Monuments, and Seating Areas – European Elegance in a Public Space

The garden is designed for both movement and contemplation, with various resting areas, pavilions, and monuments strategically placed throughout the landscape.

Pavilion & Seating Arrangements

In addition to the mansion and fountain, Bagh-E Umumi Paghman Features Several Pavilions And Colonnades, reinforcing its European-inspired public garden character.

• A white pavilion, situated on one of the terraces, serves as a resting or viewing area, reminiscent of classical European garden structures.
• Wooden benches line the second terrace, offering shaded resting spaces along gravel pathways.
• Electric streetlamps indicate that the garden was designed with modern public access in mind, making it not just a royal retreat but also a civic gathering space.
• In the center of the garden, a tall white monumental column, possibly marble, acts as a focal point, further emphasizing European design influences
• The wide-open pathways and seating areas suggest a space meant for public gatherings, leisurely walks, and social engagement, much like French and Italian promenades.

Lush Greenery and Floral Arrangements – A Symbol of Prestige

The garden features meticulously maintained greenery, including:

• Clipped hedges and symmetrical flower beds, reinforcing the formal layout.
• Strategic placement of benches, indicating that the garden was intended for both movement and contemplation.
• A mix of flowering plants and shade trees, enhancing seasonal beauty while offering cool retreats for visitors.

This level of structured planting and maintenance reflects the garden’s historical significance as a royal retreat, symbolizing prosperity and sophistication.

Conclusion: A Reflection of Afghanistan’s Modernization in the Early 20th Century

King Amanullah Khan (r. 1919–1929), deeply influenced by his European travels, envisioned Bagh-e Umumi Paghman as part of his broader modernization efforts. This garden became a symbol of Afghanistan’s brief period of European-inspired landscape transformation, merging Western aesthetics with traditional Afghan spatial organization.

For much of the 20th century, Paghman remained a prestigious retreat for the Afghan elite, serving as a cultural and recreational hub. However, due to political instability and conflicts in the late 20th century, much of Bagh-e Umumi Paghman’s former grandeur declined.

Despite this, the garden remains an important historical landmark, reflecting Afghanistan’s complex History Of Cultural Exchange And Modernization. Its unique blend of French, Mughal, and Persian elements makes it a valuable case study for urban and landscape historians interested in cross-cultural influences on garden design.