Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2018 The Capilla Real in Córdoba. Transcultural Exchange in Medieval Iberia Giese, Francine DOI: https://doi.org/10.1515/9783110517347-010 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-159767 Book Section Published Version Originally published at: Giese, Francine (2018). The Capilla Real in Córdoba. Transcultural Exchange in Medieval Iberia. In: Giese, Francine; Thome, Markus; Pawlak, Anna. Tomb, Memory, Space. Concepts of Representation in Premodern Christian and Islamic Art. Berlin: De Gruyter, 143-157. DOI: https://doi.org/10.1515/9783110517347-010 Tomb – Memory – Space Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:36 Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:36 TOMB – MEMORY – SPACE Concepts of Representation in Premodern Christian and Islamic Art Edited by Francine Giese, Anna Pawlak and Markus Thome Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:36 Work of the authors is supported by the Institutional Strategy of the University of Tübingen (Deutsche Forschungsgemeinschaft, ZUK 63). ISBN 978-3-11-051589-3 e-ISBN (PDF) 978-3-11-051734-7 e-ISBN (EPUB) 978-3-11-051610-4 Library of Congress Control Number: 2018934819 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2018 Walter de Gruyter GmbH, Berlin/Boston Cover illustration: Cecilio Pizarro y Librado, Tomb of Don Álvaro de Luna in Toledo cathedral, 1840–1847, gouache, brown ink, pencil, 211 × 308 mm, Madrid, Museo del Prado, Inv.-Nr. Do6404/005 Frontispiece: Theodor Zeerleder, The mosque of Sultan Qaytbay in Cairo, 1848, pencil, watercolour, 387 × 247 mm, Bern, Burgerbibliothek Typesetting: hawemannundmosch, Berlin Printing and Binding: Hubert & Co. GmbH & Co. KG, Göttingen www.degruyter.com Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:36 CONTENTS Acknowledgements Markus Thome, Anna Pawlak and Francine Giese Memorial Space Configurations An Introduction 1 TOPOGRAPHY AND REPRESENTATION | TOPOGRAPHIE UND REPRÄSENTATION Richard Piran McClary On a Holy Mountain? Remote and Elevated Funerary Monuments in Medieval Islam 13 Patricia Blessing Urban Space Beyond the Walls Siting Islamic Funerary Complexes in Konya 25 Markus Hörsch Die Entstehung der Hohenzollern-Grablege im Raumgefüge der Zisterzienserabteikirche Heilsbronn 44 Christina Vossler-Wolf Von Stiftern und Mönchen Grablegen als Erinnerungsorte im Kontext monastischer Raumkonzepte 73 POWER AND IDENTITY | MACHT UND IDENTITÄT Susanna Blaser-Meier Saint-Denis und die Grablegen der Königinnen bis ins 15. Jahrhundert Programm oder Zufall? 97 Doris Behrens-Abouseif The Funerary Complex of Sultan Qalawun (1284–1285) Between Text and Architecture 114 Sami de Giosa The Crosses of the Sultan Sultan Qaytbay and the Mystery of the Two Crosses in his Funerary Complex at Cairo's Northern Cemetery (1472–1474) 134 Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:36 VIII Contents Francine Giese The Capilla Real in Córdoba Transcultural Exchange in Medieval Iberia 143 Claudia Jentzsch Sepoltura al solito? Die Grablegen in Santo Spirito im Kontext von Regulierungen der Florentiner Begräbniskultur und vormodernen Raumordnungen 158 Anna Pawlak The Stadtholder’s Two Bodies and the Visibility of Power The Tomb of William of Orange in the Nieuwe Kerk in Delft 177 RITE AND MEMORY | RITUS UND GEDÄCHTNIS Barbara Franzé Die großen Kreuze in X-Form im mittelalterlichen Bodenmosaik Ausdruck gräflicher Autorität zur Zeit der gregorianischen Reform 207 Markus Thome Das Bischofsgrabmal und die Visualisierung liturgischer Gemeinschaft Die Mainzer Kathedrale als Gedächtnisraum 222 Stefan Bürger Die Grablege Bischof Thilo von Trothas im Merseburger Dom Von einem bautechnischen Kunststück, in einer historischen Spannungssituation mit sakralisierenden, genealogischen und anderen memorialen Mitteln einen Ort machtvoll zu inszenieren und die Raumbedeutungen im Bau- und Ausstattungs- prozess zu steigern 250 Antje Fehrmann Das Grabmal „als Prozess“ Form, Raum, Liturgie und Rezeption am englischen Königs- und Königinnengrabmal und an den königlichen Chantry Chapels 271 Sara Mondini A Widespread ‘Taste for the Macabre’, Apotropaic or Political Marks? Urbanism, Landscapes and Funerary Architecture in the Indian Sultanates 290 Ariane Koller Die letzte Feier der Monarchia Universalis Abdankung, Tod und Begräbnis Kaiser Karls V. 307 Picture Credits | Bildnachweise 325 Plates | Tafeln 327 Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:36 Francine Giese THE CAPILLA REAL IN CÓRDOBA Transcultural Exchange in Medieval Iberia* Introduction This essay presents preliminary results of the research project “Mudejarismo and Moorish Revival in Europe”, funded by the Swiss National Science Foundation and based at the University of Zurich.1 By analyzing the complex and multi-faceted phenomena of cross- cultural appropriation and hybridization during the Iberian Middle Ages and the global 19th century, the project contributes to the current debates on artistic transfer, inclusion or exclusion of diverse cultural legacies, and identity building in multi-ethnical and multi- religious societies. At the same time, art historical concepts such as Mudéjar Art or the problematic demarcation between Islamic, Christian, and Jewish cultural spheres in the Iberian Peninsula are questioned. Within this context, the royal burial chapel in the mosque-cathedral of Córdoba is a major reference to show how complex art historical doc- umentation and systematization can be rendered in contact zones. In this specific case, it is the cultural entanglement between al-Andalus on the one side and the Crown of Castile and León on the other, which complicates the analysis of transcultural phenomena in the Iberian Peninsula. While the Capilla Real in Córdoba follows the tradition of Castile and León’s royal burial chapels, regarding its location and layout, the interior decoration points into a completely different direction and attests artistic exchanges between the Christian and Islamic courts of Seville and Granada. * My thanks go to Christian Schweizer and Ariane Varela Braga for the translation and proofreading of the text. 1 For an overview on the mentioned project and its various sub-projects, see Francine Giese and Ariane Varela Braga (eds.), Resplendence of al-Andalus. Exchange and Transfer Processes in Mudéjar and Neo-Moorish Architecture, in: Asiatische Studien 70.4 (2016), pp. 1307–1353. Bereitgestellt von | De Gruyter / TCS Angemeldet Heruntergeladen am | 17.09.18 15:37 144 Francine Giese The Iberian Peninsula – a Permeable World Even though the artistic exchange between al-Andalus and the Christian territories of the North has been in the center of medieval studies in Spain since the 19th century,2 it only quite recently entered the limelight of global (art) history, which focuses especially on zones of contact and the problems caused by their cultural and artistic entanglement.3 The cultural interaction witnessed within the Iberian Peninsula has been defined by Thomas Glick and Oriol Pi-Sunyer in their much-noticed contribution of 1969 as a process of accul- turation which is founded on the “permeability” of cultures. Further on, the mentioned authors identified the exposure to different cultural spheres as the “prerequisite for bor- r o w i n g ”. 4 Taking into consideration the multiple cultural ties of medieval Iberia, the underlying exchange processes, closely studied by Gerogiorgakis, Scheel and Schorkowitz in their 2011 publication, resulted in a multi-directional flow of knowledge, language, and artistic forms.5 As has been argued by Andreas Speer in his introduction to the 2006 publication Wissen über Grenzen. Arabisches Wissen und lateinisches Mittelalter, knowledge – unlike informa- tion – does not only consist of a mere accumulation of data, but also of their correlation and attribution.6 This observation is also true in the field of artistic production, where the borrowed forms must be understood in their original context, in order to successfully inte- grate and re-contextualise them in their new surroundings. The comprehensive medieval attitude, which finds itself reflected in Wolfgang Welsch’s concept of transculturality,7 sharply differs from the appropriation process witnessed in the 19th century, where the Islamic heritage of al-Andalus has been detached from its original meaning. What Peter Burke described in his 2009 publication Cultural Hybridity as “the fashion for the foreign” 2 Jocelyn Nigel Hillgarth, Spanish Historiography and Iberian Reality, in: History and Theory 24,1 (1985), pp. 23–43; Maya Soifer, Beyond convivencia. Critical reflections on the historiography of interfaith rela- tions in Christian Spain, in: Journal of Medieval Iberian Studies 1,1 (2009), pp. 19–35. For further reading, see El Legado de Al-Andalus. El arte andalusí en los reinos de León y Castilia durante la Edad Media. Sim- posio Internacional, Valladolid: Fundación del Patrimonio Histórico de Castilla y León, 2007; Jerrilynn D. Dodds et al., The Arts of Intimacy. Christians, Jews, and Muslims in