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archaeotravel search primary menu skip to content about bio contact europe asia africa america search for: europe , malta history in the negative america , mexico lugar de los muertos (the underworld) europe , ireland hermitage of the archangel africa , egypt mount sinai trekking cyprus , europe cypriot heart asia , maldives paradise garland of the islands europe , spain oasis of the nomads august 5, 2018 joanna leave a comment in january, 1492, the last of the muslim rulers in spain surrendered in granada to the catholic monarchs, ferdinand of aragon and isabella of castile. to commemorate the great triumph of reconquest, a silver cross and a pennant of saint james were erected at the top of one of the towers of the fortified palace of alhambra. catholic kings placed a pomegranate in their coat of arms, probably without expecting its seeds will sprout and give wonderful fruits of art over time. mudejar style and its creators one of them was the continuation of the mudejar style. it was a style that grew out of the roots of moorish art, but gained a unique character from combining the latter with the christian tradition. despite the victory of the reconquest, this unique style did not disappear from the art of spain converted back to christianity, but it was further continued by more or less christianized moorish artists and craftsmen who remained in the lands of spain to serve catholic rulers. they were called mudajjan , or people who were allowed to stay, and hence the spanish term mudejar , which refers to the products of art and their creators. al-andalus, where christian and jewish cultures that sought to live side by side in peace and symbiosis, complemented each other to some extent. according to the terminological dictionary of fine arts , mudejar is a style in the architecture and decoration of spain, developing from the eighth to the seventeenth century ad. its development is noted especially in the end of the moorish reign, that is from the fourteenth to the fifteenth century. the style was definitely closer to the gothic than to the italian renaissance, with which it quarreled. still the style of mudejar itself and contemporary european style influenced the character of the spanish renaissance and then baroque. the dominant feature of mudejar is the astonishingly rich decoration made in stucco , especially visible in vaults carved in wood and covered with polychrome, horseshoe arches , azulejos and muqarnas (m ocárabe) – a motif that adorns column heads, or the so-called stalactite vaults. a particularly important feature of the mudejar style is a colorful or gilded ornament of oriental origin – arabesque or moresque , arabic inscriptions, and stylized figurative and animalistic motifs, characterized by a much greater freedom of composition in comparison with the art of islam developing outside the iberian peninsula. the projecting of mudejar-style sacral buildings usually is of the western type, while the secular architecture is dominated by rather oriental patterns. in addition to architecture, the style was also mastered by craftsmanship, which played a leading role in the development of the moorish art. in the mudejar style, for example, the rich alcazar decoration in seville was made. muqarnas – a motif that adorns column heads, or the so-called stalactite vaults. due to the strongly established influence of islam in andalusia, the moorish art has found its place and expression in many products of architecture and the craft of christian spain. it was also present in literature and music, and what is more, it became one of the most important stages of the development of art on the iberian peninsula. after the moors retreated, they left behind silent witnesses of their domination in spain, and the splendour of islamic culture and art. those were remains of secular and sacral moorish architecture – castles, palaces and mosques. reflection in the mirror of water, alhambra. a large number of architectural works of this style have grown into a christian structure imposed on the older. more often, however, architectural works were dismantled to become a source of valuable building material for new creations of the christian architecture; moorish columns, capitals and precious marble have become elements of a new, alien to them, construction. islamic defensive castles were taken over by catholic kings. in the process they were gradually destroyed, changing into ruins but preserving their picturesque remains for the landscape of today’s andalusia. royal alcázar of seville among the secular architecture left by the moors the most beautiful is the alhambra, a palace rising from the thirteenth to the fourteenth century on a hilltop, overlooking the majestic city of granada, and challenging the snow-capped mountains of the sierra nevada. the alhambra is today the most exquisite example of the genius of secular architecture and artistry created by the moors. the latter were muslims who invaded the iberian peninsula from north africa at the beginning of the eighth century. under the pressure of the muslim invaders, visigothic spain had failed and surrendered. the green banner fluttered in spain over the following centuries until the reconquista. without a doubt, it was a period when one of the most outstanding chapters of art was written in the background of world art. the uniqueness of the moorish art in andalusia – the arabic al-andalus – became possible because of the relative integration of islamic, christian and jewish cultures that sought to live side by side in peace and symbiosis, complementing each other to some extent. octagonal mocárabe vaulting in the hall of the abencerrajes (alhambra, granada). similar conditions ensured rapid development of human spiritual needs: literature, music, crafts, and architecture. on the other hand, the closeness of monotheistic religions, their values ​​and artistic achievements, as well as the background of the culture of the visigoths, was not without significance for the shape of art sprouting in the areas of andalusia at that time. more oriental palace than the buildings preserved in the very orient the alhambra palace is a kind of labyrinth of shady courtyards, halls, magnificent arcades, marble columns, fountains and ponds. the walls of the majestic building are covered with intricate patterns similar in lightness to intricate laces and shimmering in the colours of the rainbow with glass tiles. after j. pijaon the alhambra is today a more oriental palace than the buildings preserved in the very orient. an extremely important decorative element of moorish art and the palace’s decoration in granada are the so-called azulejos , which are ceramic tiles covered with enamel used for lining the walls both inside and outside, decorating the exterior of the building. an extremely important decorative element of moorish art are the so-called azulejos, which are ceramic tiles covered with enamel used for lining the walls both inside and outside, decorating the exterior of the building. this art was introduced by arabs from the iberian peninsula in the fourteenth century, and after the moors were driven out of spain it was still cultivated by christian artists; in the seventeenth century, mainly in seville, but also in neighboring portugal, from where it reached the new world, and they have decorated the facades of the buildings in the capital of brasilia. at the beginning of its history, azulejos , the term from arabic az-zulayj , which means a small stone, were monochromatic, mainly blue. hence it is not without significance that azul means blue in both spanish and portuguese. over time, however, the tiles began to adorn strongly geometric, multi-colored floral motifs, but also depictions of military or humorous scenes. alhambra granada spain. cupola with decorated vaulted stalactite ceiling in hall of the two sisters or sala de las dos hermanas. apart from azulejos , the most captivating in the islamic art

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Domain: archaeotravel.eu

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Technical:
Organisation: nazwa.pl sp. z o.o.
Language: pl
Email: [email protected]

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DOMAIN

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