www.YoYoBrain.com - Accelerators for Memory and Learning Questions for Art of Medieval Spain Category: Default - (74 questions) Alabaster sculpture of Tanit/Astarte, nicknamed "Dama de Galera," Madrid, Museo Arqueológico, 7th c BCE -Phinecean object that found home in Iberian religious practices -Phineceans: eastern culture; experts in maritime travel; traded with Iberian locals; began settling in coastal cities around mouth of the mediterranean around 8th cen. BCE Sculpture of Askepios, from Empùries, 2 c BCE -Greek Empuries -from Sanctuary of Askepios (God of Medicine) Dama de Baza, 4th c. CE -reminiscent of ancient Greek Chios Kore -from native culture of Iberia: culturally receptive but politically resistant to invading groups; independent tribes) -rise of votive figure echo to the Phineceans Head of Augustus, early 1st c. CE -sculpture from Merida (sculptures from this area were among the finest on the peninsula) -Merida (aka Augusta Emerita) was a military settlement; founded by Augustus for retired soldiers; not founded on a pre-existing site which is different from ordinary Roman towns in Spain; became a politically important city Mérida, theater, inscr. 15-16 BC -attached to amphitheater; deliberate connection -attributed to Augustus -well preserved -partly reconstructed (scenae frons- elaborate, built later during Hadrian period) Tarragona (Tarraco), Arch of Bará, 2nd c CE -Tarragona was capital of Eastern Roman Spain (being on top of a hill, it was hard to attack and therefore a good place for a capital) -The arch is just outside the city walls -It is closely related to the form of the Arch of Titus -There is no sculpture on the arch because artists were harder to come by Spain (or Hispania as the Romans referred to it) -- Roman art was either imported or artists were imported Tarragona (Tarraco), aqueduct, 2d c CE -significant, large structure -eye toward functionality and aesthetic -from Merida (see sculpture head of Augustus for details) Standing sculpture of Trajan from Itálica, 2d c CE -from bath complex in Nova Urbs (outside Italica) -good sculpture (unlike from Empuries/Ampurias in that it doesn't have a rustic feel) Eagle fibulae, 6th c CE -Visigothic -decorated with enamel and mother of pearl -abstract treatment of natural forms -emphasis on color, pattern, and line (very different from Romans) San Juan de Baños de Cerrato (Palencia), 661 CE -Visigothic (beginning of when adapted Roman traditions with more naturalistic forms, shadow etc. resulting in a strongly hybrid artistic tradition) -elements of Roman tradition= ashlar masonry, similar church design (with apse, nave etc.) -3 apses are particularly Visigothic and different from Roman tradition) -interior: dark because small windows because thick walls can't support large windows; horseshoe arch (subtle), intimate and enclosed (important visual liturgy), use of timber roof (not as confident with masonry like Romans) -particularly Visigothic: small scale, incorporation of Roman elements San Pedro de la Nave, 687-701 CE -Visigothic -small scale -stone masonry San Pedro de la Nave, 687-701 CE Visigothic -colonettes enframe apse (visigothic tradition) -very dark, tiny, mysterious San Pedro de la Nave, Daniel capital, 687-701 CE Visigothic -drawn heavily from early Christina traditions (emulated Byzantines- but has more patterned detail, flatter, less empty space) -stylized -emphasis on line -abstract patterning (saw and studied Roman images and fused with native forms such as Eagle Fibulae) S. María de Quintanilla de las Viñas, late 7th c Visigothic -has rows of sculpted decoration in exterior (forms drawn from Christian tradition, vine scrolls like in Byzantine Ravenna sarcophagus) "Sol" from Quintanilla de las Viñas, late 7th c Visigothic -sculpted archway looks back to triumphal arch form -Sol and Luna represented in figural form on clipeus (clipeus= image of bust held by angels used in Roman architecture esp. on sarcophagi) -this clipeus has Visigothic abstraction and line with same formal elements of Roman clipeus Jeweled votive crown made for Recceswinth, 653-672 Visigothic -incorporates all strong points of visigothic metalwork -shows king's donation to church and authority -similar features to Byzantine crown Great Mosque of Córdoba, 785/786-1002 -oriented to the South (toward Mecca) -continuously enlarged and updated over five phases over ~200 yrs -in beginning used Visigothic capitals and other elements b/c faster and shows power (b/c conquered) -has all classic elements of a mosque -alternating voussoirs in horseshoe arch (horseshoe arch not unique to Islamic architecture) -double arches- don't see in many mosques; could be pragmatic decision because columns took from visigoths too short Great Mosque of Córdoba, Mihrab, completed 966 -marble and mosaic -mosaic colorful yet legible Great Mosque of Córdoba, dome above the mihrab, c. 966 -highly decorated gold mosaic (much like Byzantine art) -foliate, geometric -text= passages from Koran St. Stephen's Gate, c. 787 (On Great Mosque of Cordoba) -basic formula for all portals in mosque -alternating voussiors -door with horseshoe arch enframed by alfiz Great Mosque of Córdoba, maqsura, completed 966 -polylobed arches over basic alternating vousoirs (highly decorated) Bab al-Mardum (San Cristo de la Luz), dome, 999/1000 -outside Toledo -private mosque Bab al-Mardum (San Cristo de la Luz), 999/1000 -outside Toledo -private mosque -Ahmad ibn Hadidi= patron -Musa ibn Ali=architect -brick -multilobed arches with alternating voussiors -simple interior (built on remains of visigothic church, capitals used from visigothic church) -ribbed domes (like Great Mosque of Cordoba) Salón Rico, Madinat al-Zahra', 953-957 -patron= Abd al-Rahman III -after declared al-Andalus independent islamic state in 929 (caliphate) -a palace but virtually a city because so big -a place to leaders to escape during the summer (not just a move of convenience but shows that can measure up to the caliphs of the east) -5 miles outside Cordoba -enormous project to establish within the geography (had to bring water down from noth in moutains through a series of channel and aqueducts- similar to Romans) -showed caliph had power over natural world -served as both residence and seat of government Salon Rico: -reception room -arcade with horseshoe arches -alternating voussiors with carved panels of marble -elaborate decor- lavish with alternating materials Caliphal capital (Kuwait, National Museum), c. 965 (from Madinat al-Zahra?) -sharp highlights contrasted with shade -looks lightweight like lace -same format as Roman Corinthian column (but with lots foliate decor) -use of inscription across top (display of literacy unseen in Christian Spain)- has patron and artist with formulaic invocation of God Pyxis of al -Mughira, 968 -made of ivory -flowering of small objects in Cordoba for aspirations of being cultural -used in art world to hold perfumes etc. (secular) -labeled with inscription of artist, date, patron etc.- very formulaic -extremely high relief- beautiful effect of light and dark -dematerialized- seems light and airy -royal motif, animals, courtly party, paradisical, allude to royalty, prosperity, comfort of owner--all with idealic quality Pamplona (Leyre) Casket, 1004/5 -extensive inscription -moved to Christian context through conquest- responding aesthetically to objects and triumph of conquest -has signatures from 5 artists -feasting scenes, battle/heraldic scenes, paradise/hunt scenes -demonstration of the climax of this tradition -figures in secular context San Julián de los Prados (Santullano), Oviedo, early 9th c. Asturian -best preserved and most impressive of Alfonso's churches -larger in scale than Visigothic church -big boxy space -small stones- rubble masonry (not cut with regular dimensions, randomly made to fit together)-- this shows a break from Visigothic and Roman tradition -semi-circular arch in portal- horseshoe arch almost disappears with Asturian architecture -windows in nave allow light in, big arches -classical prototype (filtered down from France from Charlemagne's goal of recreating and Christianizing the Roman empire) San Julián de los Prados (Santullano), Oviedo, interior, early 9th c. Asturian -no human figures in frescoes (in common with Islamic art)= aniconic- connected instead to Christian theology (rather than usual Islamic) -has depictions of fantastical spaces -cross on throne at top instead actual Christ -concern with idolatry v. veneration Door jamb, San Miguel de Liño, Oviedo, 848 Asturian -iconography- copied design of consular diptych -classical culture filtering through Byzantines to Asturians -flat figures with incised linear shapes -different and local take on classical elements S Cristina de Lena, Oviedo possibly under Ordoño I (850-866) Asturian -looks back most closely/strongly to visigothic tradition (barrel vaulting, stone screen separating priests, reused capitals and columns) Santa Maria de Naranco, Oviedo, interior, 848 Asturian -the only existing example of an Asturian palace, because later converted into a church so saved -central hall, two loges enframed by arcades, one side with monumental set stairs (two stories with bath in basement for king) -columns with twisted fluting (later becomes common) -capitals no longer classical -lower story with barrel vaulting (living quarters for King) Caja de las Agatas, 910 Asturian -produced for Asturian court -extensive inscription (copying Islamic art) -made of wood with gold foil on top (repousse= process of hammering design outward)