Al-Andalus Art: Pyxes, Chests, and Almoravid Influence
Early Al-Andalus art, while homogeneous, features three overlapping registers. Similar to the world caliphate, there are depictions of animal fights, faucets, unicorns, and hunting scenes. The novelty lies in the smaller scale, the arrangement of records, and the repetition of motifs, making them less original than the Caliphate workshop.
The Kufic inscription is prominent, with a new enamel added on top, relating the date to Prince Ismail.
Pyx of Narbonne (1030)
This pyx follows the Caliphate pyxes model, featuring only decorated plasterwork. While derived from the Caliphate style, it is more rigid and less naturalistic, exhibiting a more linear and less original design. This piece is linked to Prince Ismail, the dynasty’s founder, and was crafted by Mohamed. Another pyx, made 20 years later by Abd Al-Rahman for another Ismail (the grandson of the first), was initially mistaken for the same piece. This second Ismail was intended as a successor but died before taking power, making this piece a memorial.
Chest from Palencia (1050)
This is the last dated piece, made for Ismail, the grandson. It was later reused as a shrine. Originally carved with ivory plaques, it was enhanced in the twelfth century with ironwork in gilded bronze and enamel, adding consistency and Christianizing the piece. The casket has a wooden core, visible where the plates are deployed. The wood is covered with gold leather before the plate is placed.
Recurring motifs include birds facing each other and deer. The inscription states it was made by Abd Al-Rahman in Cuenca. The motifs are arranged as if placed before a mirror.
Art in the Age of the African Dynasties (I): The Art of the Almoravids (1061-1163)
Almoravid Period
The political weakness of the Taifa kingdoms against the Christian kingdoms in the late eleventh century led them to seek help from the Almoravids of North Africa. The Almoravid army, led by Yusuf Ibn Tasufin, initially aided the Taifa kingdoms, defeating Alfonso VI in 1086 at the Battle of Sagrajas. However, by 1090, the Almoravids returned to the mainland and began an invasion of Al-Andalus, taking control of the entire region. This resulted in Al-Andalus and the Maghreb becoming part of the same empire, with Hispanic-Muslim culture becoming dominant in North Africa. Thus, Hispano-Muslim art spread through North Africa, even though the Maghreb was politically dominant.
The Almoravid period lasted until the first half of the twelfth century when they were defeated by the Almohad. The Almoravids were part of a fundamentalist religious movement seeking to restore the purity of the Koran. Their power was centered in Marrache. Due to mass destruction after the reconquest, few Almoravid constructions remain in Spain, with most surviving examples found in North Africa (mosques).
General Characteristics of Almoravid Art
Almoravid art is characterized by its austerity, reflecting the religious movement’s focus on the essence of the Koran. However, it gradually yielded to the temptations of luxury decorative arts. The main building material was brick. The structural support shifted from the spine to the pillar, which could be square, cruciform (the most common), or L-shaped.