The Medieval Iberian Peninsula
The Alhambra
In 1834 two architects, M. Jules Goury from France and Owen Jones from Britain traveled to the south of Spain. They were interested in a place in Granada which is called the Alhambra. During their stay they created true to life drawings of the Alhambra both inside and out. They observed the history and architecture of the magnificent palace unknown to many European people. Unfortunately, Goury died during the trip to Cholera. In 1844 Owen Jones returned to London and compiled the work for publication, it was titled, “Plans, elevations, sections, and details of the Alhambra, from drawings taken on the spot in 1834 by Jules Goury, and in 1834 and 1837 by Owen Jones. With a complete translation of the Arabic inscriptions, and an historical notice of the kings of Granada from the conquest of that city by the Arabs to the expulsion of the Moors, by Pasqual de Gayangos”. The two took great interest in accurately recording the remarkable and colorful intricate geometric patterns throughout the Alhambra. The style was commonplace in Muslim architecutre during the palacaes construction in the 13th and 14th century under the rule of Al Ahmar. The authors also took great interest in displaying some of the history of the palace throughout the ages as well as translating the Arabic phrases found throughout the palace woven between the intricate geometric patterns. After its publication the work became wildly popular and displayed the little know Muslim achitectual exceleence which had comme to fruition in Spain several centeruies before. As the first example of color lithography to be published in England the work became well known and created excitement among British and American architects who later sought to copy the beauty of the Alhambra in their own work.
This book is significant for several reasons. It shows the elaborate work, time, and effort which went into the construction and design of Muslim palaces in Spain. In turn, this shows that places like the Alhombra were not just qucikly cobbled together locations of government, but rather intricate displays the Muslim foothold that existed on the Iberian Peninsula. This strong foothold shows a lasting legacy through architecture which stands to this day. The architecture of the Alhambra is grandiose which can be seen through its high arches, ceilings and large murals, this shows luxury and prestige of the Moorish governments during the time of its construction. In addition the source also shows that the Alhambra was a place of constant change as the site was constantly undergoing renovations. These renovations are significant as through the ages new additions and modifications were made in order to reflect the intentions of the people who ruled over it, this explains the interesting variations in the designs of the palace from its Moorish beginnings to later occupation by Christian people. This is significant as it shows the Alhambra as a canvas which reflected the ideals and intentions of those who walked its open spaces and hallways. At the same time many of the aspects of the Alhambra from its past were left intact despite their Muslim, even in times of Christian rule.
If only examining the Alhambra from the perspective of the Muslims who originally created it, several things are clear and deductions can be made about the values of those people. The geometric patterns and colors are a uniquely Muslim characteristic which is tied to religion. In addition, the religious phrases which complement these patterns signify that the religion was something of high value to the people who ruled Granada. From this we can deduce that it is likely these strong religious beleifs were also held by the Muslim people who lived outside the walls of the Alhambra. Next, there is the architecture itself which is grand, elaborate, and aesthetically pleasing. From this it can be inferred that the people who constructed had an affinity for fine engineering and beauty. The arts and fine craftsmanship were also something that were likely of value to the people due to the aforementioned factors. Many skilled craftsmen and artists would have been required to create the intricate details found within the Alhambra. Finally, we can deduce that those who created the Alhambra wanted it to signify the greatness of Muslim rulers at the time and cement a lasting leagacy. It is clear that the source shows the Alhambra and the people who created it are sophisticated people who were highly religious, appreciated the arts, elaborate architecture, and skilled craftsmanship.
In summary the visitation by architects to the Alhambra in the 19th century brought light to the fascinating history of the site and its elaborate architecture. The Alhambra tells a story of not only its creators and their values, but also of those who succeeded them. The work inspired many to emulate the architecture of the Alhambra in many other place throughout the world, and served as an example of the rich culture of the Muslim people who once ruled the Iberian Peninsula.
- Brendan Meyler
I really enjoyed having the opportunity to look through the special collections at the CU library. I found it very informative to look at examples of art and other cultural books from the times we have studied in class. Seeing art and other cultural items from the times we study helps us make real world connection to the people we are studying. In this way, it is easier to imagine the life’s these people lived, and the motivations for their actions. Art is the most true and honest way to see what a person is really thinking, and who they really are. These can also be said for the culture the artist came from.
I was attracted to a large format book with prints of geometric collages that look as if they could be stained glass windows. The example I have chosen can best be described as a rectangle with its length going up, and a half circle on top. The shape is like the shape of gravestones we are used to seeing in the U.S. The pattern is outlined in gold. The gold framing is complex and looks like it could have been shaped out of a metal to frame the pieces of glass. The space between the framing is divided into two colors, blue and red. These two colors may have been chosen due to their relative contrast with one another. These two colors look extremely good next to one another. With the addition of the gold frame, the piece pops in a way that can’t be described. I chose this piece because it literally jumped off the page. Finding this piece also connected to much of this class for me. This piece is very reminiscent of the type of art made in Spain during the times of Muslim rule. The same types of geometric patterns can be found in many of the mosques that were made in Spain. By connecting the art with what we learned in class, it makes it easier to understand what life must have been like in this time. We have heard stories and other facts about many of these places, but it isn’t until we experience the art that we can truly understand a culture. I believe this because I think art is the most unique and personal expression of one’s culture. For this reason, art is often unique from culture to culture. Therefore, exploring art in a more in-depth manner, can be helpful for understanding who the people were who made up this blink in history. This is the very reason why I chose a work of art as my primary source. I saw art as the most efficient way to see what values are most important to this society.
From the piece I have chosen, we can learn a few things about the society it came from. First, they were very organized. This can be deduced by simply looking at the picture, because you can see how organized this work is. It is extremely complex, and none of it looks like it was rushed or sloppy. We can also tell this from the clean boarder perfectly framing the piece. Second, we can tell that the people who made this value the presence of color in their culture. We can tell this because there is color used throughout. This fact is also evident by the striking contrast of the colors chosen. These colors were chosen because, together, they make a statement. The third thing we can learn about this culture simply by looking at this work of art, is the importance of symbolism in their culture. I can assume this due to the large amount of symbolism present in the work of art I chose from the CU art museum. I believe the shapes of the two circles represent the two worlds, living and dead, and the blue makes an infinity around them. I view this as to mean that once a person dies, their soul continues to live. I know this is a major belief of Christian based religions, but I’m unsure of the Muslim religion. It is important to understand both religions because they both had a powerful influence in this area at this period. I also interpret the gold outline to be symbolic of a chain holding these two worlds together. I think this piece has an overall happy and upbeat vibe meaning that the people who made it must value their happiness and sense of community. By looking at this piece, you can conclude that the group that made it values community and happiness over most other things. Due to this being the only source I used to make these assumptions the purpose of the piece is very important. I think the specific care taken in this piece is to be shown. This was originally made as a work of art that was meant to be shown off. Because of its well understood role, art is the most honest form of art. The person who made the art knew it would be shown off from the first time they made it.
I am very glad I chose this piece due to the large presence it demands. This piece demands a large presence not only because of the physical size, but also due to the striking contrast of the colors. I think the presence is much larger than its physical size. This piece is a large statement about the person who made it, and the culture they came from. Therefore, I think art is one of the most important primary sources that can be used for historical research. Many other primary sources have a purposeful bias. Art is the artist’s true expression of self, free of any influence of the artists will. I really enjoyed this project, and I feel I have a better understanding of the people we study in this class now that I have experienced the art they make.
- Alex Kaiser
The page you’re looking at is from Plans, Elevations, Sections And Details Of The Alhambra, a book written by M. Jules Goury and Owen Jones. The two were British architects, and while Goury had a very untimely death, dying of cholera at only 33 years old, Jones would work to finish the drawings and descriptions of the Alhabra. The book was written in two volumes, and was 2.2 feet tall and 1.7 feet wide, weighing around 62 lbs. It was full of both black and white and color prints, as well as descriptions of the majority of key features in the Alhambra.
This page is depicting La Sala De La Barca, or the Hall of the Boat. This hall inside of the Alhambra, has ornately decorated walls and ceiling in which the ceiling is in the shape of an upside down boat hull. Joury and Jones depict both the geometric pattern that decorates the inside of the hall as well as the detailed carvings that make up the ceiling and columns on the walls.
On the page prior, Jules goes into detail about the Hall of Boats, describing the math that went into describing both the pattern on the tiles, as well as the triangles that make up the arched ceiling. Through this depiction of the Hall of Boats, as well as the page describing it, Goury and Jones pay homage to Muslim architecture, as well as demonstrating the richness of the Muslim courts of old.
- Ryon Crandall-de Mar
For this project, I chose the book Plans, Elevations, Sections, and Details of The Alhambra / From Drawings Taken on The Spot in 1834 by Jules Goury, And In 1834 And 1837 By Owen Jones ; with a Complete Translation of The Arabic Inscriptions, and an Historical Notice of The Kings of Granada from The Conquest of That City By The (Muslims) to The Expulsion of The Moors, By Pasqual De Gayangos.
From the title of the book, three points stood out for me, being drawn on the spot, the full translation of Arabic texts that were found in the mosque, and the historical notices of the kings of Granada throughout the Islamic rule of the city. Although most drawing were made on the spot by that time as there weren’t cameras back then, I still find these drawings eloquent and unique for being technically accurate and high in details. The eloquent and visually pleasing details shown in the drawings are evidence of the architects’ (who built Alhambra) finesse, skillfulness, professionalism, and perfectionism.
What I also liked about that book is that it’s not only about architecture, but rather an attempt to show all the details and the culture carried by the mosque. For the viewer of the book, it feels like a tour inside the mosque. Some examples of these details are the water containers that were found there and were originally used for ablution yet are beautifully curated. Another example is the transcription and translation of all the Arabic text that was part of the Alhambra’s architecture and cannot be disregarded or overlooked when viewing the complex. Translation to both English and Spanish were found making sure that the book communicates to most possible audience. The Arabic texts found varied from simple phrases distributed over walls or windows, to full pages of poems that were found on walls or manuscripts. The authors did not only provide a literal translation of the texts, but also an explanation to the inner meanings of it and putting them into historical context and commenting on it.
The book shows all of the ground plans of the mosque/palace along with its wall elevations. Some of the drawings had colors but the majority was in black and white. It also provides drawings of the ceilings which was one of the elements that stood out for me as well. For instance, the book has three drawings (with commentary) of the ceiling of the Hall of Justice which consists of three alcoves with three distinct paintings. Those three paintings had a Christian/roman/Vatican style as they include people and animals, which wasn’t common among Islamic art that was mainly made of geometric shapes and floral patterns. Goury and Jones were not able to track the artists of those paintings, but they assumed for two of them that they were drawn by Moorish (Mohammedan) artists stating that it’s “unlikely that it would have been so represented by a Spaniard after the conquest of Granada,” yet no context was given for when those paintings were made. If those paintings were drawn by Moorish artist during the Islamic rule of Spain, it’s pretty interesting to see the interconnectivity of Muslim and European art as a reflection of the Convivencia that took place at the time as well.
Goury and Jones made their drawings on the years 1834 and 1837 which was a significant period in the history of the Alhambra. During the time of the catholic Monarchs, Charles V ordered the demolition of a part of the complex to build a palace carrying his name, and from the 18th century, the Alhambra was abandoned. It wasn’t until the 19th century that the process of repairing, restoring, and preserving the complex started, providing a good chance for both architects to work on this book as a method of restoration as well.
The most significant aspect of this book, though, is the choice of Alhambra Mosque as a representative of the Andalusian era, and as a cultural and architectural case study. The Alhambra Mosque has a great historical significance as the only remaining mosque from the Andalusian era and has gone through many reconstructions and was affected by political conflicts and tensions. The most significant tension took place over the complex of Alhambra for having a unique (the highest) viewpoint for the city of Albaicin. This view of the city made the complex fit most for a military fortress and later for a royal residence of the Nasrid Dynasty, the last Muslim dynasty ruling Granada, in the 13th century. It was seen that the complex has seen its most glorious adaptations starting that time and until the 14th century when it was dealt with as a royal palace and given a more special attention and treatment.
- Kawther Lokma
The Muley Zaidan Quran
The piece I chose is a facsimile of Muley Zaidan Quran that was originally written in the year 1599. I found this book particularly special as it’s a beautiful handwritten copy of the holy Quran commissioned by the Moroccan Sultan Ahmad Al-Mansur (1549–1603). However, this copy of the Quran earned its name from his son and successor, Sultan Muley Zaidan. This manuscript is not only special for its impressive, splendid design and rich decoration from start to finish, but also for its exciting and eventful history as we find it today in the El Escorial Library in Spain.
This gorgeous copy of the Quran originally came from Morocco, specifically from the mosque of the Al-Badi Palace. It originated at the behest of Sultan Ahmad Al-Mansur, who ruled as Sultan of Morocco from 1578 to 1603. What I found particularly interesting about the piece is that the exact date for the formation of the manuscript is recorded on page 264 mentioning that “work on
the Koran of Muley Zaidan was completed on the 13th of the month of Rabi II of the year 1008 according to the Hijri calendar year”, which is November 2nd, 1599. By recording the exact date, this piece and its history were saved for centuries.
After the death of Sultan Ahmad Al-Mansur, this magnificent piece came into the possession of his son, Sultan Muley Zaidan, who ruled Morocco from 1603 to 1627. Muley Zaidan lent his name to this copy of the Quran and significantly shaped the rest of the manuscript’s history. When the Sultan wanted to have his library shipped, the ships were seized by the Spanish under the leadership of Pedro de Lara in the Barbary Sea. Thus, the entire library of the Sultan of Morocco came to Spain in the year 1611 as plunder, first to Lisbon and finally to El Escorial. There has been a significant collection of Islamic books there ever since, of which the Koran of Muley Zaidan is assuredly the pinnacle being one of the most outstanding treasures in the famous library of the royal monastery.
Regarding the piece itself, we notice that Arab and Moorish forms characterize the artistic adornment of the manuscript. It has rich embellishment presented all over the 532 handwritten pages. The Mabsut writing type, which was common in Spain and Morocco at that time, is exquisitely maintained. The words are written in black with exceptional quality and are decorated with red for vocal utterances, blue for shaddah and sukun, and a mix of gold and blue for titles and marks between chapters and parts. The pages are also colored in gold as well as the cover, so when the book is closed, we see it colored in gold from all sides, giving it a very elegant look, as shown in the figure below. A few pages are even more elaborately adorned with amazing ornamentation.
As known about Islamic art, figural depictions were restricted in religious Islamic manuscripts. Therefore, Muslim artists had to find other ways to express their talent, such as this page that resembles the kind of carpet pages common to Insular Illumination but is distinctly Islamic in design. This page artfully demonstrates the intricate geometric patterns common to Islamic art that we find in most mosques in Spain from the Islamic era. Practically glowing with gold leaf, the carpet is painted orange, yellow, blue, and red. The inner circle is a combination of complex and interplaying patterns culminating in a blue flower in the center and the rest of the composition is strongly influenced by floral motifs as well.
Page 264 of the manuscript appears to be an elaborate carpet page with a gorgeous floral frame, but as we look closer, we find a text written in gold ink against a dark blue background that is adorned with colorful flowers. As mentioned earlier, this page states the history of the book, such as when and where it was written and under which reign. Therefore, they were able to preserve its history through this artistic page that attracts anyone who looks at it.
Why is this book Special?
This book is not just a normal copy of the Quran, it’s a reflection of Moorish and Moroccan cultures that blended after the fall of Islamic rule and created this piece of art. Each page is skillfully written and decorated with complex patterns that were most common in Andalusi art and architecture.
Therefore, this book gives a strong message that this beautiful art and culture remained even after the exile of the Moors from Spain. They brought this culture with them and integrated it with Moroccan culture to preserve it and make it prosper. In addition, this book reflects the importance of Islam and Arabic culture in Spain, even after the end of the Islamic era, when the whole library was seized in the sea. Although at that time Spain was cleansing its territories from Moriscos, the rulers were aware of the importance of Islamic and Arabic cultural, religious, and scientific books for the prosperity and development of the newly created state. Therefore, they were keen to seize these books and establish one of the largest collections of Arabic manuscripts in Spain. Lastly, this piece reflects the values of the Moorish and Moroccan societies at that time. For example, it reflects religiosity and love for Allah and Islam, even though most Moorish people were brutally tortured in the inquisition to convert. It also reflects intercultural diversity and tolerance as Spanish moors live with Moroccans and exchange each other’s culture and art to create this beautiful piece that is a mix of both cultures. And finally, it reflects perfectionism, as usual in all Islamic art and architecture in Spain, to create this stunning piece that standstill today.