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Fountain in Andalusia Court
The Hall of the Muqarnas at Alhambra Palace Granada / Spain
Elements of Andalusian origins harmonize with Persian provenance.
a magnificent example of 16th-century Andalusian architecture with its characteristic mixture
Court of the Lions, Granada
It is important to note that a distinction between Islamic art and architecture is not important since the two are often tied together. Muslim art is limited, in a sense, by Islamic religious dogmas that frown upon the glorification of human being or animals in the form of art. Thus Muslim art tends to avert from depicting people or animals in art. The art of Al-Andalus had a distinctly Arabic and Islamic inspired flavor, and manifested itself mostly in sculptures and mosaics, as well as, other artifacts that served a dual purpose besides that of being aesthetically pleasing. What made these works distinctly Andalusian was the combination of various artistic elements from Catholic, Classical Roman, and Byzantine artistic traditions. The culmination of Christian and Moorish art culminated in the 11th century. This style became known as the Mozarabic art. This artistic style included ceramics which incorporated mosaic works. It also included the use of repetitive patterns revolving around flower-like designs within sculptures and crafted works. Moorish ivory caskets in Al-Andalus showed signs of western influences. Some depicted individual people and human forms, an element that is not typical in Islamic art. Visigothic tradition also had an influence on the rulers of Cordoba as they adopted the crowns in the style of those worn by Visigothic kings. Many of these artistic elements were incorporated into architectural works, which reflected Muslim rulers’ desire to associate themselves with their ancestral roots in the Middle East, and indeed to assert their Arabic heritage, even though many of these rulers were hybrids even in terms of their genealogy. This is indicative of the multi-cultural influences that culminated in the unique architectural style of Al-Andalus. One famous example that illustrates this desire of Muslim rulers’ to tie themselves to their ancestral homeland, while at the same inadvertently reflecting their multiculturalism, is the Great Mosque of Cordoba. Construction began under the reign of Abd ar-Rahman I in 784 AD and was completed in 987 AD. It was built in part to demonstrate the linkage between Al-Andalus and the ancestral land of the Arabs in Syria. The Great Mosque of Cordoba’s architectural layout and style shares many similarities with the Great Mosque of Damascus (completed 715). They share many of the same features like the prayer halls, high ceilings held by double-tiered arcades on columns, and many mosaics.[12] The two also share similar foundation myths, which further points to Muslim attempts in Al-Andalus to reconnect to a nostalgic sense of homeland. Despite these similarities, the mosque is not purely Arabic in style. It is a combination of Roman, Byzantine, and Visigothic architectural elements. The capitals and column closely emulate older Visigothic and Roman building found throughout the city of Cordoba. The red and white colored arches are also reminiscent of the Roman aqueduct of Merida. The mosaics themselves, although connected to those at the Great Mosques of Damascus, are also a hybrid of Christian and Arabic influence. The artisans that produced these mosaics, both at the Great Mosque and at the Cordoban palace estate al-Rustafa, were called from Byzantium. Another example of the cultural exchange within architecture is illustrated by the Medina Azahara, meaning beautiful city, on the outskirts of Cordoba started in 996 AD, by Abd-ar-Raham III al-Nasir, which served as the capital of the Iberian Caliphate. Roman influences can be seen throughout with the incorporation of an old Roman statue of a goddess present in the gardens of the building. The feminine form also appeared along all the various gates to the city. The capitals and columns of the palace are also in the style of Christian cathedrals, while Byzantine influence is also seen throughout the construction of the palace. Byzantium artisans are believed to have come to teach these techniques to Andalusian artisans. Some of the original Byzantium artisans also remained in Al-Andalus and became integrated into Andalusian society. Likewise, Christians and Jews adopted the Arabic architectural elements into their own churches and synagogues built under Moorish rule. This became known as the Mozarabic style. Mozarabic architecture included the absence of exterior decoration, diversity of floor plans, the use of the horseshoe arch in the Islamic style, and the use of the column as support, with a capital decorated with vegetable elements.[13] Moorish styled architecture continued to be popular long after Muslim rule was pushed out of Spain by the Reconquista.[14] Many Christian Cathedrals were built in the Moorish architectural style. Jewish synagogues, like the Sinagoga del Transito in Toledo (built between 1357–1363), were built in the Moorish style. The Spanish-Moorish artistic style that is exemplified by the Sinagoga del Transito became known as the Mudejar style. Overall, the architecture of Al-Andalus is reflective of the cultural exchange that took place between Christian and Arabic architectural styles, the latter being representative of the need of Muslims leaders to form a connectedness with their ancestral homelands.
The Hall of the Muqarnas at Alhambra Palace Granada / Spain
Elements of Andalusian origins harmonize with Persian provenance.
a magnificent example of 16th-century Andalusian architecture with its characteristic mixture
Court of the Lions, Granada
It is important to note that a distinction between Islamic art and architecture is not important since the two are often tied together. Muslim art is limited, in a sense, by Islamic religious dogmas that frown upon the glorification of human being or animals in the form of art. Thus Muslim art tends to avert from depicting people or animals in art. The art of Al-Andalus had a distinctly Arabic and Islamic inspired flavor, and manifested itself mostly in sculptures and mosaics, as well as, other artifacts that served a dual purpose besides that of being aesthetically pleasing. What made these works distinctly Andalusian was the combination of various artistic elements from Catholic, Classical Roman, and Byzantine artistic traditions. The culmination of Christian and Moorish art culminated in the 11th century. This style became known as the Mozarabic art. This artistic style included ceramics which incorporated mosaic works. It also included the use of repetitive patterns revolving around flower-like designs within sculptures and crafted works. Moorish ivory caskets in Al-Andalus showed signs of western influences. Some depicted individual people and human forms, an element that is not typical in Islamic art. Visigothic tradition also had an influence on the rulers of Cordoba as they adopted the crowns in the style of those worn by Visigothic kings. Many of these artistic elements were incorporated into architectural works, which reflected Muslim rulers’ desire to associate themselves with their ancestral roots in the Middle East, and indeed to assert their Arabic heritage, even though many of these rulers were hybrids even in terms of their genealogy. This is indicative of the multi-cultural influences that culminated in the unique architectural style of Al-Andalus. One famous example that illustrates this desire of Muslim rulers’ to tie themselves to their ancestral homeland, while at the same inadvertently reflecting their multiculturalism, is the Great Mosque of Cordoba. Construction began under the reign of Abd ar-Rahman I in 784 AD and was completed in 987 AD. It was built in part to demonstrate the linkage between Al-Andalus and the ancestral land of the Arabs in Syria. The Great Mosque of Cordoba’s architectural layout and style shares many similarities with the Great Mosque of Damascus (completed 715). They share many of the same features like the prayer halls, high ceilings held by double-tiered arcades on columns, and many mosaics.[12] The two also share similar foundation myths, which further points to Muslim attempts in Al-Andalus to reconnect to a nostalgic sense of homeland. Despite these similarities, the mosque is not purely Arabic in style. It is a combination of Roman, Byzantine, and Visigothic architectural elements. The capitals and column closely emulate older Visigothic and Roman building found throughout the city of Cordoba. The red and white colored arches are also reminiscent of the Roman aqueduct of Merida. The mosaics themselves, although connected to those at the Great Mosques of Damascus, are also a hybrid of Christian and Arabic influence. The artisans that produced these mosaics, both at the Great Mosque and at the Cordoban palace estate al-Rustafa, were called from Byzantium. Another example of the cultural exchange within architecture is illustrated by the Medina Azahara, meaning beautiful city, on the outskirts of Cordoba started in 996 AD, by Abd-ar-Raham III al-Nasir, which served as the capital of the Iberian Caliphate. Roman influences can be seen throughout with the incorporation of an old Roman statue of a goddess present in the gardens of the building. The feminine form also appeared along all the various gates to the city. The capitals and columns of the palace are also in the style of Christian cathedrals, while Byzantine influence is also seen throughout the construction of the palace. Byzantium artisans are believed to have come to teach these techniques to Andalusian artisans. Some of the original Byzantium artisans also remained in Al-Andalus and became integrated into Andalusian society. Likewise, Christians and Jews adopted the Arabic architectural elements into their own churches and synagogues built under Moorish rule. This became known as the Mozarabic style. Mozarabic architecture included the absence of exterior decoration, diversity of floor plans, the use of the horseshoe arch in the Islamic style, and the use of the column as support, with a capital decorated with vegetable elements.[13] Moorish styled architecture continued to be popular long after Muslim rule was pushed out of Spain by the Reconquista.[14] Many Christian Cathedrals were built in the Moorish architectural style. Jewish synagogues, like the Sinagoga del Transito in Toledo (built between 1357–1363), were built in the Moorish style. The Spanish-Moorish artistic style that is exemplified by the Sinagoga del Transito became known as the Mudejar style. Overall, the architecture of Al-Andalus is reflective of the cultural exchange that took place between Christian and Arabic architectural styles, the latter being representative of the need of Muslims leaders to form a connectedness with their ancestral homelands.
