Introduction:
The precious metal objects should be among the most valuable of their possessions pre-Islamic Arabs, as the Koran itself was concerned to prohibit its use on the dishes; so it is natural that the Umayyad usasen containers, lamps and weapons of Christian or Sassanid origin, especially bronze, nothing betray the identity of its possessors until they were gradually adding them Kufic figurations signs or characteristics. Soon you see how intense activity unfolds in Muslim crafts dedicated to metalworking; her gold and silver productions are retained, although, as expected, the archaeological sampling is quite low. Most specimens are preserved bronze, whose price and conservation are more balanced and not missing those made with other alloys, especially imitation gold; very little is known about the production of iron objects and copper untreated, given its difficult conservation. These metals were profuse decoration, achieved by various means and generally call damask, whose records the graffiti, black oxide, gold, silver, various inlays were counted etc. Notable elements related to lighting, to contain oil and wicks, such as lamps, single or multiple foot chandeliers, lamps etc. Also those destined to water, as were ewers, bowls, mortars and jars: luxurious stop arms, bells, and finally metal animals that served as the mouths of sources, among them deer Medina Azahara, to name a few excellent examples of source suppliers.
The early (640-900) and medieval (900-1517): In order to fit them, the ten works to be exhibited in two periods are divided. As early works will highlight just two, because most of the production of metalwork of this time was lost while the medieval period were cited eight as it was preserved better. However, all will be explained in detail later.
The precious metal objects should be among the most valuable of their possessions pre-Islamic Arabs, as the Koran itself was concerned to prohibit its use on the dishes; so it is natural that the Umayyad usasen containers, lamps and weapons of Christian or Sassanid origin, especially bronze, nothing betray the identity of its possessors until they were gradually adding them Kufic figurations signs or characteristics. Soon you see how intense activity unfolds in Muslim crafts dedicated to metalworking; her gold and silver productions are retained, although, as expected, the archaeological sampling is quite low. Most specimens are preserved bronze, whose price and conservation are more balanced and not missing those made with other alloys, especially imitation gold; very little is known about the production of iron objects and copper untreated, given its difficult conservation. These metals were profuse decoration, achieved by various means and generally call damask, whose records the graffiti, black oxide, gold, silver, various inlays were counted etc. Notable elements related to lighting, to contain oil and wicks, such as lamps, single or multiple foot chandeliers, lamps etc. Also those destined to water, as were ewers, bowls, mortars and jars: luxurious stop arms, bells, and finally metal animals that served as the mouths of sources, among them deer Medina Azahara, to name a few excellent examples of source suppliers.
The early (640-900) and medieval (900-1517): In order to fit them, the ten works to be exhibited in two periods are divided. As early works will highlight just two, because most of the production of metalwork of this time was lost while the medieval period were cited eight as it was preserved better. However, all will be explained in detail later.
The early period (640-900).
This period stretching from the four orthodox caliphs, successors of Muhammad through the Umayyad dynasty to the Abbasid dynasty. However, Damascus Umayyad period shall be specified in the core of the review of these works.
UMAYYAD PERIOD:
-Incense-burner (Eighth century).
In the early centuries, the Muslims conquered a series of vast territories inhabited by Jews and Christians. These were allowed to live in these lands peacefully and practice their own religions as long as they pay a tax to the Muslim authorities.
That is why the censer is rather primitive representations of the Annunciation, Christ's birth and baptism, crucifixion and Christ's tomb, belonging to a group which is situated in the area of Syria and Palestine. This can be confirmed by an inscription in Kufic early can be translated this way: "In the name of Allah (God), made by Yaqub, son of Ishaq from Damascus".
In the early centuries, the Muslims conquered a series of vast territories inhabited by Jews and Christians. These were allowed to live in these lands peacefully and practice their own religions as long as they pay a tax to the Muslim authorities.
That is why the censer is rather primitive representations of the Annunciation, Christ's birth and baptism, crucifixion and Christ's tomb, belonging to a group which is situated in the area of Syria and Palestine. This can be confirmed by an inscription in Kufic early can be translated this way: "In the name of Allah (God), made by Yaqub, son of Ishaq from Damascus".
The Nativity
In this first image we can deduce that represents the Nativity of the Virgin and Child.
Christ on the Cross
Christ in the grave
Virgin and Child
-Ewer of Marwan II (eighth century).
This ewer of globular belly and circular base, has a cylindrical neck ended in a draft sleeve and has a spout in the form of rooster nervous and recreated realistic attitude. The tubular handle, decorated with floral motifs and rows of pearls, is held up to the lip of the part forming an arch and the height of the belly by a wide plant motif in relief.
The cylindrical neck is decorated with floral motifs, and finally, the belly is ornamented with arches resting on columns and harbor at its center the figure of a circle that shows multiple beams.
Ewers of the eighth-ninth centuries, irrespective of their material, have in common the high and parallel to the neck loop, subject to the height of the lip of the object and the belly. Apparently, the shape of the globular belly and tubular neck come from the Roman-Byzantine models (mainly glass bottles). The spout, on the other hand, remember a series of zoomorphic bronze objects which were most commonly made in the early period of Islamic art. It is known that the source is Umayyad because a cemetery with the name of the last caliph of the Umayyad dynasty in Damascus, Marwan II, whom the ewer that has been exposed is devoted, and who died in Egypt in 750 after he was found murdered by the Abbasids.
The medieval period (900-1517).
The medieval Islamic art is extremely dense, encompassing not only a lot of centuries, but above all a great diversity of territories, where caliphs, kingdoms and dynasties fall to be included then replaced. Therefore, what will be done it will be split into two major parts artistic production, playing first made in the Moorish area, and finally, very briefly, those born in the east. In medieval metalwork, which came in abundance to contemporaneity, a total of eight pieces will be exhibited, englobándose six in the moorish art and two in art located in Asia.
Islam in Spain area:
Then starting with six works from the moorish area, note that they are produced in a geographical area comprising the territory of Al-Andalus, ie, a region that occupies almost the entire length of the Iberian Peninsula, except the United Asturias. And indeed, from this kingdom the Reconquista, carried out by Christians to recover domains at this time were Muslims will start, allowing several phases occur in Islamic Spain, which will be played in this work the Umayyad Caliphate of Córdoba, the period of the Taifa Kingdoms and finally the Moorish period. Roughly speaking, the Hispano area therefore extends from the eighth century until 1492, when the city of Granada is taken by the Christian power and ends the Moorish kingdom.
UMMAYAD CALIPHATE OF CORDOBA:
-Chest of Hisham II (976).
The chest of Hisham II is a wooden box with a lid shaped (inner) vault. The wooden core is coated in embossed silver and niello, is why has that blackened finish (due to polish silver and lead molten sulfur).
It consists of a rectangular base, four vertical rectangles, trapezoids and four inclined horizontal rectangle in which the handle is attached. At the junction between the box and lid, we found an inscription where God's blessing and prosperity for Hisham II and decoration of the chest is of plant type, specifically with scrolls of double palms and roses forked request. In the hinge (the hinge that makes closure) are engraved with: Tarif work of Badr and his servants.
-Deer of Cordoba (X century).
It consists of a rectangular base, four vertical rectangles, trapezoids and four inclined horizontal rectangle in which the handle is attached. At the junction between the box and lid, we found an inscription where God's blessing and prosperity for Hisham II and decoration of the chest is of plant type, specifically with scrolls of double palms and roses forked request. In the hinge (the hinge that makes closure) are engraved with: Tarif work of Badr and his servants.
-Deer of Cordoba (X century).
Deer, very schematically represented, has every coat decorated with framed leaves, and a large rose window stands on his chest. Some like this deer bronzes are associated with the workshop Medina Azahara, although not total safety, such as the tap of Pisa, with a much more profuse and complex ornamentation, however, but that would date on similar dates.
KINGS OF TAIFAS:
-Gripho of Pisa (XI century).
This enigmatic sculpture in bronze, probably adorned a fountain, it has been attributed either to Egypt, Al-Andalus, Sicily and Iran. It is unknown how he got to the top of the Cathedral of Pisa and is therefore a very mysterious piece. It knows that was installed in this place in the late eleventh or early twelfth century and continued there until 1828.
The place of the piece is investigated in a scientific paper published by JJ Marcel where shuffled two possibilities:
According to legend, the local armies took as booty after the conquest of the Balearic Islands.
'Another legend narrated Pisan says Griffin miraculously found when digging the foundations of the Cathedral of Pisa.
The main features are its monumental tap size and hieratic, rounded volumes of his body, wings and legs, and incised decoration that covers almost the entire surface.
The place of the piece is investigated in a scientific paper published by JJ Marcel where shuffled two possibilities:
According to legend, the local armies took as booty after the conquest of the Balearic Islands.
'Another legend narrated Pisan says Griffin miraculously found when digging the foundations of the Cathedral of Pisa.
The main features are its monumental tap size and hieratic, rounded volumes of his body, wings and legs, and incised decoration that covers almost the entire surface.
This decoration is divided into several distinct areas; and so, while in some areas there are scales in other listed reasons feathers and there with ornamentation like a tapestry. Borders with Kufic inscriptions decorative border the area.
-Scent bottle (1044-1103).
This scent bottle for the period of the Taifa kingdoms was commissioned by Muayyid al-Dawla, a Berber family member located in Al-Andalus after the conquest. Both the man and his father decided to imitate cut around Cordoba settle there, instructing in the cultural field and commissioning works like this Toledo workshops. Despite the simplicity of use of the object, which was used to contain perfume should outline its material qualities because it is made of silver, gold plated and niello, and its ornamental qualities. Has circled the many vine leaves, intertwined with each other, and colored, some black and others taking advantage of the shade of silver background, creating an unprecedented tonal contrast.
It is curious figuration in the center of the lily, and even a Western Christian symbol par excellence, to be adopted in this scent bottle.
Also appear near the neck two gazelles as well as an inscription around the set, where it is explained that the esenciero was commissioned as a gift for the wife of Muayyid, which also is blessed.
Finally, just as it should be noted zoomorphic figures that crown the handles of the object, and which they resemble rams horns because chains that go directly to esenciero are enshrined. The fact that the object is so expensive in both its material and its manufacture allows to make clear the wealth of the Taifa of Albarracín despite the difficult political situation.
It is curious figuration in the center of the lily, and even a Western Christian symbol par excellence, to be adopted in this scent bottle.
Also appear near the neck two gazelles as well as an inscription around the set, where it is explained that the esenciero was commissioned as a gift for the wife of Muayyid, which also is blessed.
Finally, just as it should be noted zoomorphic figures that crown the handles of the object, and which they resemble rams horns because chains that go directly to esenciero are enshrined. The fact that the object is so expensive in both its material and its manufacture allows to make clear the wealth of the Taifa of Albarracín despite the difficult political situation.
TIME OF NASRID KINGDOM OF GRANADA:
-Holy water vessel (XIV century).
This holy water vessel is gilded bronze and niello. He is currently in the National Archaeological Museum in Madrid. Trunk-shaped vertical elliptical. Flat base, open walls and slightly thickened edge where two handles riveted starts where the handle is located. The handle shows its typical upturned ends and, at its center, a narrowing forms a loop where the pin is located. The entire outer surface of acetre is decorated with niello technique and coated with gold funds.
The central motif occupies almost the entire body, framed by two narrow bands with very stylized plant motifs, garlands made up of leaves on the gold background. In the central belt two brackets with epigraphic decoration, separated by two filled circles with the reason for the six-pointed star develop. The main brackets develop the same sentence halved, as follows: happiness and prosperity, blessing; and fulfillment of desires. Tops acetre decoration close epigraphic strip on the edge with the familiar emblem of the Nazari Dynasty continued prosperity. The outside of the handle has the decorative motif of the two entwined serpents heads. His form has no bearing on their Andalusian precedents, which were characterized by a more cylindrical Vats and sprinklers and broad-based. Finally, although the decorative treatment shows a clear influence salyuqi especially for the plant motif, it plays the famous Moorish emblem, and therefore is thought to be an object at the royal workshops.
The central motif occupies almost the entire body, framed by two narrow bands with very stylized plant motifs, garlands made up of leaves on the gold background. In the central belt two brackets with epigraphic decoration, separated by two filled circles with the reason for the six-pointed star develop. The main brackets develop the same sentence halved, as follows: happiness and prosperity, blessing; and fulfillment of desires. Tops acetre decoration close epigraphic strip on the edge with the familiar emblem of the Nazari Dynasty continued prosperity. The outside of the handle has the decorative motif of the two entwined serpents heads. His form has no bearing on their Andalusian precedents, which were characterized by a more cylindrical Vats and sprinklers and broad-based. Finally, although the decorative treatment shows a clear influence salyuqi especially for the plant motif, it plays the famous Moorish emblem, and therefore is thought to be an object at the royal workshops.
-Sword of Boabdil (XV century).
This sword, whose owner was the king of Granada, Muhammad XII (better known as Boabdil), was this king seized as war booty by the Christians during the Battle of Lucena (1483). Genets had a military use swords linked to the cavalry, but finally cleaved from this world to be part of representative objects bearing the Moorish king.
These swords, for this reason, they were very rich ornamented and with expensive materials. This is evidenced by the sword of Boabdil, made in gilded silver hilt, with ivory handle.
These swords, for this reason, they were very rich ornamented and with expensive materials. This is evidenced by the sword of Boabdil, made in gilded silver hilt, with ivory handle.
It is also beautifully decorated with cloisonne enamel of different colors and gold filigree. Among his decorations include spreaders and stars of Solomon.
Solomon star or eight points is very important in Islam, being always displayed at the end of each chapter of the Koran, and is associated to the numerical division is made in this book to recite properly. As the eight-pointed star was already known and used since tartésica time Nazari dynasty assimilated as a symbol of their own court in Al-Andalus.
And on the other hand, it is also interesting to note in the ornamentation the two serpentine heads with gaping jaws placed in the custody of the hilt, which is bifurcated.
Oriental area.
Two works that belong to the eastern area, a rather crude way of defining those productions that will be reflected the richness and variety of Islamic art in separate geographical areas Alandalus be treated, but to finish the work, which, without But it does not delve too much. Take as an example a territory, namely Egypt, Palestine and the east coast of Arabia, which was ruled by two different dynasties followed by the Ayyubid (1171-1260) and the Mamluk (1260-1517), which is characterized for a stunning production of refined metalwork. In it, two particular examples will be.
AYYUBID PERIOD:
-Pyxis (XIII century).
The pyxis shown is made of brass and inlaid with silver it possesses, with the decor symbolized by the technique of embossing. The containers were pyxes serving to contain multiple substances, and in this case house the ashes obtained from the plant known as soda, alkaline floor and were therefore used for washing. This píxide in particular is interesting because it is representing Christian scenes, something that had already considered in some of the above mentioned works of metalwork, as the censer and the Baptistery of San Luis.
Thus, by placing multiple plant motifs, it is evident horror vacui typical of Islamic art. And also through various scenes such grounds belonging to the life of Christ, framed on lobed medallions represent. They are very schematic features, so that only what is necessary to recognize shown, without his best in the details. However, if there is more concern about these details in the Umayyad incense burner previously presented, the result of the evolution of style.
Thus, by placing multiple plant motifs, it is evident horror vacui typical of Islamic art. And also through various scenes such grounds belonging to the life of Christ, framed on lobed medallions represent. They are very schematic features, so that only what is necessary to recognize shown, without his best in the details. However, if there is more concern about these details in the Umayyad incense burner previously presented, the result of the evolution of style.
In one of the medallions Christ's entry into Jerusalem on a donkey symbolizes.
MAMLUK PERIOD:
-Baptistery of San Luis (1330-40).
It is a brass bowl, made at the time of the Mamluk Sultanate were a people formed by former slaves of Turkish origin. It is doubtful if any of Syria or Egypt; It has been dating from the fourteenth century and was made by the workshop of metallurgical Arabic Muhammad ibn al-Zayn. The bowl is divided into three registers containing floral arabesque inscriptions.
Mainly in the central register and kings fighting horsemen are represented on his throne, while the upper and lower register all land animals like gazelles, rabbits, elephants will be represented etc. and aquatic animals such as snakes, turtles, crabs, eels etc. Fantastic animals like the unicorn also appear. It is encrusted with precious metals. It is not known who commissioned the piece. However, six found inscriptions with the name of the author. First he belonged to the treasury of the Sainte-Chapelle of Vincennes. Later, it was used as a baptismal font for the children of Louis XIII (thirteenth Fair) of France and eventually became part of the collection of the Louvre, after the French Revolution in 1793.
No hay comentarios:
Publicar un comentario