Medieval Spain Final

The project's goal is to exhibit Medieval Spain's history and artifacts as they are represented in paintings, murals, and other historical relics. The work provides five answers to questions about the history of medieval Spain, including those regarding the courtly culture that existed in Christian and Al-Andalusia, the history of John measuring the New Jerusalem, the Grand Mosque in Cordoba, and the Tolebo Cathedral in the context of medieval Spanish urban environments. Five questions, numbered two through six, are the main topics of the essay.
By conquering and governing the Spanish peninsula, Al-Andalus and Christian Spain had overlapping historical eras. The two monolithic groups had different but unique iconography, style, and materiality that was depicted in in their cultures and architecture. For instance, the iconography (symbols and visual images embraced in work like in religion) for both religions is different with rich history of their ancestral artifacts and drawings (Hoffman 25). Image A shows the Christian side of the iconography where pyxis indicates a couple sitting, and probably an angel standing between them holding some item resembling a child. The two present a family scenario, especially the case of Jesus and His parents, Mary and Joseph who form the foundation of Christianity. The mural shows the Christian believe that creates an identity and sense of belonging to the faith believers. Below the three people in the pyxis are two lions facing different directions, reminiscent of the Lion of Judah believe among the Spanish Christians. The iconography further shows animals, shepherds, and other animals, a culture embraced by the Jewish people, and the history behind the Jewish ancestors and the pioneers of Christianity.

Image two shows two people, probably a couple that indicates the affluent art of the Muslims. The arches are presented in flowery arrangements with white minarets appearing on the two ends. The walls of the painting are also decorated with mini minarets that shows the aspect of worship among the Muslims.

The materiality shown by both image are clear and somehow distinct between the two monolithic. The animal wealth in the Medieval Spanish Christian community is evident in the pyxis where animals, hunters, and possibly shepherds are shown. The design of the image also points to the ability of the community to make their styles in designs that resemble their worshiping structures. For instance, image A is reminiscent of a chapel for worshiping. On the other hand, image B shows the Islamic culture where affluence of culture is shown by beautiful mosaic colors of red, kingly and also of dedicated worship (Hoffman 32). Image B further shows the minarets common in mosques and other Islamic places of worship.

The styles in both images are different and point to the social culture of the people t represents. Horseshoe arches are present to show the effects of the Islam architecture common among the Muslims and present across the mosques. The styles are also unique as shown by the sitting arrangements and the attire. The type of clothing was almost similar in those medieval Spanish times with characteristic long robes donning the respected members of the society. Other objects that distinct the culture of the Al-Andalus and the Christian Spain include the cultural orientations, the architecture of their objects, and the style of doing things, for example, worship. Paintings are a great treasure that depicts materiality and style between the two monolithic. For instance, painting of the Muslims would paint worshiping faithful in robes while kneeling and all facing one direction, as opposed to the Al-Andulus Christian culture that depicts both men and women gathered in places of worship (chapels).



3. John measuring New Jerusalem (the city) in Revelation 21:16-20

In art use of images with written text has a lengthy history not only in Europe but across the globe. In Christian Europe medieval manuscripts are entwined with images that occur in linguistic association with written text to build visual puns and layered meaning. Interlacing pictures with words by late 1970s and early 1980s had advanced into field of art photography with extensive and mixed practice. Putting images and texts on the same perceptual object is not an easy task. Consequently, the artist has to observe certain aspects to come up with a clear and appealing combination. Designers utilize images to linguistically illustrate texts or the other way round. Text and image are usually used in artistic work either singly or in combination to mainly invoke thoughts, memories and associations of audience. The interplay of images and text in artistic context is an amazing venture. Generally, words and pictures are fundamental forms of communication and when used together they enhance the manner in which particular information is conveyed. Use of texts and images in art has varied implications depending on context of application and targeted audience.

Historically, images and written words have been interwoven in various forms ranging from either explanatory or iconic or constructive to enigmatic or irreverent or contradictory. However, it is evident that several forms of text/image combinations cannot actually be put in chronological, sequential or linear development structure. Nevertheless, forms of text and image combinations which were created long time ago contain remarkable similarities in comparison to contemporary forms.

There different ways in which images demonstrate words. First, images help audience or viewer to increase the level of expansive information in regards to text used. There are scenarios in which images and texts are deliberately created to provide informative as well as mutually elucidating materials. Actually, images help viewer to comprehensively identify text. Image accompaniments to works of art are not created to be problematic but instead to provide viewers with a greater comprehension of the entire artwork.

Second, images bring out the implicit meaning of text in artwork. Many artists employ images to help viewers to understand the actual meaning implied by the words. For instance, in religious buildings such as churches, synagogues and mosques various images accompany the texts to relay the meaning. Images like people praying or religious doctrines or images of Christ can easily help the viewers to conceptualize the phenomenon in focus. In nutshell, images simplify the work of text in artwork. However, it is necessary to point out that in certain situations the pictures can distort the exact implication of the words. In such cases, the images may mislead viewers thus becoming irrelevant. Last but not least, images enhance the retention of text. Images have more appealing power than words. As a result, the viewers are able to associate and memorize the texts of artwork better when such texts are accompanied by images.

Although there are similar aspects portrayed by both images and words, there exist various distinctions between the two. There are various things contained or implied by images and not in words (Ray 7). For example, through viewing images, one can easily identify the culture of a given society. In fact, pictures can help the viewers in recognizing cultural aspects including religious believes, ethnicity, language, dressing codes and many others. Nonetheless, there many aspects that are displayed by images as opposed to words. Images are capable of revealing timelines, spatial distance, stage and level of development and many other aspects.



4. Science in Medieval Spain

Thomas Glick offers the explanations that science flourished during the Medieval Spain through his work where he provides examples of both sacred and secular architecture and decorations. Thomas Glick work points to the increased scientific activity during the Medieval Spain where architecture, drawings, the use of drugs and medicine to manage health conditions rose expeditiously. The first organized scientific activity occurred during the Al-Andalus period (mid-tenth century) and the increasing transmission of the existent Islamic science into Christian Spain (Glick 92). The article further exposes the way the Islamic culture was a pre-eminently a culture of the book reading. During the reign of Umayyads of Cordoba, scholars arose who studied in medicine, mathematics and astronomy. The article shows how scientific inventions helped shape the Medieval Spain including the present studies of astronomy and medicine.

In religion, Islamic Qibla was instrumental in guiding the study of the planet. The religion prompted the study of earth and earth movements to guide on the prayer items. For instance, the Tusi Couple was a mathematical device invented by Nasir al-Din Tusi that was used to determine the circular motion of the planet and at the end guide on prayer times. The art was also supported by al-Biruni who described the phases of the moon in relation to Islamic worship. Al-Battani also contributed to the solar study where he helped determine the length of solar years. He produced astronomical tables that were of use to the Islamic religion.

The medieval Spanish cultures interacted to help produce an integrated new medieval culture where science, knowledge and practices were exchanged. The Christians had cathedrals, for instance, the Tarragona Cathedral which had artifacts and designs reminiscent of the Medieval Spain. The cathedral has the exterior with sculptures that shows the apostles standing on the main gate. The oval arches on the main gate were done by architect Bartolomeu in 1250s where the arches appear in decreasing size. The scenes presented in the medieval church show events described in Genesis including the creation of Adam and Eve as well as the events necessitating the original sin. The image shown below is of the apostles at the main entrance at the Tarragona Cathedral.



The Jewish Spain is also depicted through its architecture where they advanced the Talmudic tradition. The medieval synagogue architecture was common among the Jews where it adopted Christian decorations, nearly the same as those of Christian Medieval Spanish decorations (Campos 32). Common were pointed arches, rose windows, and carved capitals that explicitly present in Gothic church (An example can be deduced from the Regensburg synagogue). The resemblance of the Christian and Jewish decorations relates to their co-existence, and Christianity being born out of Judaism. The eleventh century was characterized by Maimonides and Averroes that tried to explain the culture of the New Spain. For instance, the pyxis of Prince al-Mughira shows the Jewish culture of sheep keeping and dealing with lions. The piece of architecture indicates the extent to which the Jews had influence to the Medieval Spain.





5. The Grand Mosque in Cordoba and the Tolebo Cathedral

The interactions that happened at the Cordoba in the Medieval Spain structured the culture and religion in the area. Ruggles (22) argues that the Great Mosque Cathedral was constructed as a mosque by Muslims from Syria (786) who had arrived in the Iberian Peninsula due to the Mediterranean unrest. When the arrival of Christians and consequent conquest in 1236, there was the conversion of the mosque to a cathedral. The cathedral thus was designed to feature the two religions, the initial Islamic architecture and later the additions by the Christian conquerors. The history of the Great Mosque-Cathedral presents a prestigious moment in the convivencia where the architecture of the mosque depicts the existence of the two religions in the same building. The two monotheistic groups have established their control over the building thus making it one of the master architectural features in Cordobo. In addition to the two monolithic groups, there are other features that present other cultural groups apart from the Syrian Muslims and the Spanish Christians. Ruggles (30) reasons that the beautiful history of Cordoba, as shown in some of its master pieces like the Great Mosque of Cordoba, show the different interactions of people in forming what the Cordoba culture is today. Jewish, Muslim and Christian cultures were prominent in Cordoba thus shaping its present name and architecture. The history of Cordoba was shaped by the West Roman Empire until 711, when the Visigoths took its control. The Christian Visigoths were also overtaken by the Muslims under the Umayyad. The pressures from the Fatamids and the Leon kingdoms, also Muslim rulings, led to weakening of the Umayyad before they were attacked and conquered by Christian kings.

The architecture if the Great Mosque-Cathedral of Cordoba has a minaret that shows the coalescence of the Visigothic and Abbasid architecture. The monumental building has also horseshoe arches that are formed of red bricks as well as white stones. The red bricks and the white stones are also common in the prayer hall showing the merging of both monolithic groups’ cultures. The minarets were replica of the other minarets built by the Abbasids in Iraq, representing the Sunni Muslims. To further show the interests of the Muslims, the qibla wall has mosaic miharab that describes the history of the Muslims in Cordoba area. The Christian side has the royal chapel that is presented in mudejar architectural design.

The Toledo Cathedral presents an ancient high Gothic era monument. It is designed in the Gothilic styles that imposed during the Ferdinand III rule. The area was established under the Christian Visigolithic rulers, then there were series conquests by the Muslims but did not completely erode the bishopric presence (Campos 18). The history of the church resembles that of the Great Mosque of Cordoba in its changes by Muslims and Christians. The main mosque was erected after the Visigolithic church was torn down. The changes were on the architectural designs where, for instance, the present cloister and the Saint Peter chapel coincide with the sahn in the former mosque. The minaret also coincides with the present bell tower showing how the religion changed the place of worship. The religious and kingdoms attacks led to the present of the rich church.

In Texas, Houston represents a conglomeration of religions and cultures. The interactions of the early visitors has led to creation of super culture areas. For instance, the A.D Bruce Religion Center serves as a mosque, a synagogue and a church for both the university community and the outsiders. Houston has also the Sacred Heart Co-Cathedral present in downtown Houston. The city has also the Congregation Beth Israel as a Jewish center, the Al-Noor Mosque and the Texas Guandi Temple that make the center a conglomeration of civilizations. The issues associated with Houston city include globalization, trade, search for education and other social interactions platforms that pull people to the city.



6. Three Major Themes and “covivencia”

In Medieval Spain cultural processes lumped together under a common term, ‘’convencia’’, which occurred in social vacuum (Ray17). Furthermore, these cultural processes were fairly autonomous of social forces. Several themes such as sacred architecture, courtly culture, sacred text, science and learning, and Toledo over time facilitated co-existence of three religious groups living in Spain. These groups were Christians, Jews and Muslims.

Sacred architecture: After Arabs (Muslims) occupied much of Iberian Peninsula in 711 A.D, they introduced traditions of artistic achievement and craftsmanship of greatest order in Medieval Spain (Ray 8). Consequently their textiles, architecture, calligraphy and architectural decoration were accepted by other religious groups as excellent models. In fact, this perception continued to exist even after most parts of Peninsula were conquered by Christians. Christians and Jews held Islamic art through adoption of Muslim types and forms for their own benefit. For instance, the beautiful stucco work of Cordoba Synagogue is a replica of other stucco works or designs such as Convent of Las Duenas and Alhambra Palace (Mann,Thomas and Jerrilynn 67). The art of lusterware as well as ceramics introduced to Spain by Muslims was equally imitated by Christians and Jews. Christians embraced Islamic textiles through using Mudejar clothing to bury their Queens or Kings. In addition, Christian Clergy used to wear garments woven using Islamic silk.

Sacred text: The main sacred text uniting Muslims, Christians and Jews during convencia is the Old Testament. On one end Genesis formed the ground of cosmological theories for the three groups whereas Psalms offered poetic adoration to each group on the other hand (Ray 12). Since the Old Testament cut across all religions it advocated for peaceful coexistence though its doctrines. Actually reading from the same script is beneficial for human coexistence because all members are subjected to same teachings and norms. Another common sacred text associated with Medieval Spain is similar inheritance of ordinary philosophies of Aristotle and Plato. According to scholars, early Christians acknowledged that ideas of Plato and Aristotle never contradicted their religion and thus served as unifying factor (Mann,Thomas and Jerrilynn 80). Common sacred text implied that all three groups had common origin regardless of their religious loyalties and believes

Courtly culture: Politics played key role in facilitating convencia. Abd al-Rahman III who announced himself as the ‘’Prince of all believers’’ and Caliph was key in unifying Christians, Jews and Muslims. Abd al-Rahman III worked in direct association with Mozarabs and even granted them authority (Ray 11). This allowed all three religious groups to participate in their religious activities without persecution or harassment. There was established common law or maliki figh which served as an effective lawful instrument governing and regulating all groups. Positions within the bureaucracy were rotated among all three groups to enhance peaceful co-existence. All religious groups were governed by certain principles or laws that encouraged co-existence. Sharia law guided Muslim leaders whereas Jews and Christian had their own rules that regulated their cultural practices.



















Works Cited

Campos, Michelle. Ottoman Brothers: Muslims, Christians, and Jews in Early Twentieth Century Palestine. Stanford University Press, 2010.

Glick, Thomas. "Science in Medieval Spain: The Jewish Contribution in the Context of Convivencia." Convivencia: Jews, Muslims, and Christians in Medieval Spain (1992): 83-112.

Hoffman, Eva R. "Pathways of Portability: Islamic and Christian interchange from the tenth to the twelfth century." Art History 24.1 (2001): 17-50.

Mann, Vivian B., Thomas F. Glick, and Jerrilynn Denise Dodds, eds. Convivencia: Jews, Muslims, and Christians in Medieval Spain. G. Braziller, 1992.

Ray, Jonathan. "Beyond tolerance and persecution: reassessing our approach to Medieval Convivencia." Jewish Social Studies 11.2 (2005): 1-18

Ruggles, D. Fairchild. "The Stratigraphy of Forgetting: The Great Mosque of Cordoba and Its Contested Legacy." Antipoda. Revista de Antropología y Arqueología 12 (2011): 19-37.