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Tudmir Nº 2 (2011) Pp ARTÍCULOS La fabricación de la cerámica islámica en Almería; la loza dorada Isabel Flores Escobosa Estudio sobre un fragmento de peine islámico Angel Galán y Galindo La alcazaba de Lorca en época almohade Andrés Martínez Rodríguez Un diner de Jaime I en el Mar Menor y su relación con la presencia aragonesa en el Campo de Cartagena durante la Baja Edad Media Alfredo Porrúa Martínez La Alquería de Machar Palmet. (Alcalá de La Alameda, Checena, Huelva) Juan Aurelio Pérez Macías R TUDMiR i TUDMiR REVISTA DEL MUSEO MUSEO DEL REVISTA CLARA SANTA MURCIA 2011 REVISTA DEL MUSEO SANTA CLARA SANTA CLARA 2 MURCIA MURCIA N N2 2011 TUDM N2 2011 TUDMIR, 2 Revista del Museo Santa Clara. Murcia, 2011 Región de Murcia Consejería de Cultura y Turismo Edita: Museo Santa Clara de Murcia Avenida Alfonso X, el Sabio, 30.008, Murcia Teléfonos: 968 27 97 21, 968 27 23 98 Servicio de Museos y Exposiciones Dirección General de Bellas Artes y Bienes Culturales Consejería de Cultura y Turismo Consejo de redacción: Rafael Azuar Ruiz (Museo Arqueológico de Alicante) Carmen Martínez Salvador (Ayuntamiento de Murcia) Jorge A. Eiroa Rodríguez (Universidad de Murcia) Virgilio Martínez Enamorado (Escuela de Estudios árabes, CSIC) Luis E. de Miguel Santed (Museo Arqueológico de Murcia) José Baños Serrano (Museo Arqueológico de Alhama de Murcia) José Miguel Noguera Celdrán (Universidad de Murcia) Coordinación: Mariángeles Gómez Ródenas Gestión editorial: Ediciones Tres Fronteras www.tresfronteras.es ISSN: 1697-2708 Depósito legal: MU 1628-2009 Cubiertas: dibujo de Manuel López Reche Imprime: O. A. BORM. Camino Viejo de Monteagudo s/n Murcia ÍNDICE ARTÍCULOS LA FABRICACIÓN DE CERÁMICA ISLÁMICA EN ALMERÍA: LA LOZA DORADA Isabel Flores Escobosa ........................................................................................................................... 9 ESTUDIO SOBRE UN FRAGMENTO DE PEINE ISLÁMICO Ángel Galán y Galindo ......................................................................................................................... 29 TRES ÚTILES AGRÍCOLAS ANDALUSÍES CONSERVADOS EN EL MUSEO SANTA CLARA (MURCIA) Jorge A. Eiroa Rodríguez ...................................................................................................................... 61 LOS CANECILLOS DEL MUSEO SANTA CLARA DE MURCIA. PRIMERA APROXIMACIÓN A SUS ASPECTOS MATERIALES, DECORATIVOS Y CRONOLÓGICOS M. Carmen López Pertíñez • Mariángeles Gómez Ródenas .................................................................. 69 LA ALCAZABA DE LORCA EN ÉPOCA ALMOHADE Andrés Martínez Rodríguez ................................................................................................................. 105 UN DINER DE JAIME I EN EL MAR MENOR Y SU RELACIÓN CON LA PRESENCIA ARAGONESA EN EL CAMPO DE CARTAGENA DURANTE LA BAJA EDAD MEDIA Alfredo Porrúa Martínez ...................................................................................................................... 123 LA ALQUERÍA DE MACHAR PALMET (ALCALÁ DE LA ALAMEDA, CHUCENA, HUELVA) Juan Aurelio Pérez Macías ................................................................................................................... 141 RECENSIONES INSCRIPCIONES ÁRABES DE LA REGIÓN DE MURCIA Jorge A. Eiroa Rodríguez ..................................................................................................................... 153 ARTÍCULOS TUDMIR LA FABRICACIÓN DE CERÁMICA ISLÁMICA EN ALMERÍA: LA LOZA DORADA Isabel Flores Escobosa* RESUMEN RÉSUMÉ Almería desempeñó un papel importante en el cir- Almería a joué un rôle important dans le ciurcuit cuito comercial mediterráneo, fundamentalmente comercial méditerranéen principalement au XIIe en el siglo XII. Además de sus tejidos, ensalzados siècle. Outre ses tissus, élogieusement décrits par de por numerosos autores, fabricó cerámicas doradas nombreux auteurs, elle a fabriqué de la céramique en relieve y dorado-esgrafiadas, constatándose dorée sur moule, ou dorée avec sgraffite. On en a la tanto por la aparición de moldes como por dese- preuve grâce á l´apparition de moules ainsi que de chos de alfar y análisis de laboratorio. déchets de poterie, et par des analises en laboratoire. PALABRAS CLAVE MOTS CLEF Almería, circuito comercial mediterráneo, cerá- Almería, circuit comercial méditerranée, céra- mica dorada en relieve, molde, cerámica dorado- mique dorée sur moule, céramique dorée avec esgrafiada. sgrafite. * Mi agradecimiento a Ana D. Navarro Ortega, directora del Museo de Almería, así como a Lourdes Páez Morales y a Ma- nuel López-Gay Salmerón, ayudante de Museos y Área de Difusión respectivamente, por las facilidades dadas en la con- sulta de los materiales. [email protected] Tudmir nº 2 (2011) pp. 9-28 9 ISABEL FLORES ESCOBOSA ALGUNOS DATOS SOBRE LA FABRICA- de la conocida como verde-manganeso o verde- CIÓN DE CERÁMICA ISLÁMICA EN AL- morado califal, considerada heredera de Madinat MERÍA Y SU DISTRIBUCIÓN al-Zahrá o Madinat Elvira, con formas y elemen- tos decorativos similares en todos los centros fa- Las numerosas intervenciones urbanas llevadas briles como se muestra en el ataifor de la lámina a cabo desde los años ochenta en Almería han IId donde alternan palmas muy esquemáticas y ido aportando valiosas informaciones acerca de florones en una composición central cuadrada la medina islámica, sobre todo en lo referido muy diáfana (García y otros, 1992). Por el con- a su urbanismo, no así en lo que respecta a la trario, otros elementos decorativos presentan cultura material ya que, desgraciadamente, no identidad propia. Así, se han individualizado sus se publican todos los resultados obtenidos; la producciones, incluida Almería donde aparece cerámica es el vestigio arqueológico que más en el nivel fundacional de la madina que reali- abunda y de su estudio podemos concluir múl- za Abd-el Rahman III en 955, prolongándose a tiples datos, entre ellos las fábricas autóctonas, lo largo del siglo XI, y conviviendo con otras aspecto que abordamos en este artículo. producciones vidriadas (meladas), y decoradas en manganeso, así como con cuerda seca par- A través de los abundantes estudios sobre cerá- cial. En este sentido, la lámina 2c muestra una mica islámica se ha ido llegando a la conclusión decoración pseudoepigráfica muy reiterativa en lógica de producciones propias en todo el ámbito la producción almeriense que se prodiga abun- andalusí para autoabastecimiento. Tal es el caso dantemente en la variedad melado-manganeso. Lámina 1: La línea transversal señala la muralla islámica del siglo XI separando el barrio de la Muralla de la zona industrial y necrópolis (al Noreste de ésta). La señalización en rectángulo, indica la ubicación de la Bab Bayyana. Fuente: Las Huellas de la Memoria. Itinerarios por el Patrimonio Histórico de Almería, p. 53. 10 LA FABRICACIÓN DE CERÁMICA ISLÁMICA EN ALMERÍA: LA LOZA DORADA a. Bayyana b. Alcazaba c. Alcazaba d. Almedina e. Bayyana f. Calle Gerona g. Calle Real Lámina 2. Cerámicas verde-manganeso; 1.- Sobre fondo blanco, estannifero (a, b, c, d). 2.-Sobre fondo melado (e, f, g). En apoyo de una elaboración autóctona de esta 2. Verde-manganeso sobre fondo melado (amari- técnica cerámica destacamos la excavación ur- llento) (lám. 2 e, f, g), siempre con vedrío bien bana de los restos de un testar ubicado en un conservado, brillante y uniforme. espacio extramuros del núcleo primitivo de la ciudad, próximo al camino de Bayyana y a la En ambas modalidades, los reversos se vi- necrópolis. En él se identificaron 116 unidades drian en melado; desde un amarillo claro a cerámicas, casi todas pasadas de cocción, re- una tonalidad miel y en algún caso, oscuro. presentando la cerámica verde-manganeso un Otras veces este vedrío externo es una capa 31, 62% del conjunto que se fechó en los siglos muy fina que deja vislumbrar el color del ba- X-XI (Cantero y Egea, 1993, pp. 807-815). rro y en ocasiones se trata de un esmalte que ocupa ambas superficies, indicando en el últi- Esta variedad cerámica califal-taifa se fabricó mo caso que se ha hecho mediante inmersión también en los alfares de Pechina –Bayyana–, de la pieza, como en la lámina 2a (Flores y en pleno siglo X (Acien, Castillo y Martínez, Muñoz, e. p.). 1990). En ambos espacios geográficos– Almería y Bayyana–, se constatan dos variedades: Por otro lado, se han ido considerando otras producciones susceptibles de ser exportadas 1. Verde-manganeso sobre fondo blanco que como sucede con la cuerda seca, de abundante generalmente se conserva mal, aunque en algu- y temprana elaboración en Almería como con- nos casos permite ver una capa brillante, blan- tinuidad de su producción en los citados alfa- co-lechosa, tratándose de esmalte estannífero res de Bayyana (Muñoz y Flores, 2007, pp. (lám. 2 a, b, c, d). 1063-1069). 11 ISABEL FLORES ESCOBOSA a. Fragmento redoma b. Cuello redoma c. Ataifor con pestaña vertical d. Fragmento tapadera e. Galbo redoma f. Fragmento tapadera-ataifor g. Tapadera-ataifor h. Cuello jarro i. Redoma Lámina 3. Cuerda seca total alfar Avda. Pablo Iglesias 51 (a,b,c,d,e, f). Cuerda seca total alfar contiguo, destruido (g,h,i). La cerámica de cuerda seca parcial y total alme- refrendado con la excavación del solar conti- riense es una producción relativamente común guo1, en el nº 51 de la citada Avenida (lám. 3 si tenemos en cuenta su aparición constante en los registros arqueológicos almerienses y espe- 1 Mi agradecimiento a los responsables de ARQ 13, Estudio cialmente en alfares de la Avenida Pablo Igle- de Arqueología S.L, especialmente a Herminia Rodríguez Pé- sias,
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