Almohad Dynasty Art & Architecture (1147-1269)
Almohad Art and Architecture (1147-1269)
Historical Context
Almohad art maintains close similarities with that of the preceding Almoravids but reflects the influence of a fundamentalist religious movement. This iteration of Islam sought a return to religious purity, which its proponents believed had been lost. The leader of this movement was Ibn Tumart, from a Berber tribe, who became the political and religious head of the Almohads (meaning “those who proclaim the unity of God”).
The movement originated in Tinmel (their headquarters in the Atlas Mountains), from where they expanded, conquering Marrakech from the Almoravids in 1147 and establishing it as their capital. The progressive conquest of Al-Andalus followed, with the entire domain falling under Almohad control by 1170.
Seville rose to prominence as the major city in Al-Andalus under Abu Yaqub Yusuf (r. 1163–1184). In 1172, Yaqub Yusuf designated Seville as the Almohad capital in Al-Andalus, replacing Marrakech as the primary seat of power for ruling the Iberian territories. During this later phase, the austere Almohads began to succumb to the refinement of Andalusian artistic traditions.
A significant challenge is the preservation of Almohad works, particularly in Spain, due to the historical impact of the Reconquista.
Almohad art excels in religious architecture and military fortifications, showcasing artistic variety within these domains.
Almohad Art Characteristics
- Initially characterized by a sober and austere style, Almohad art gradually relaxed, yielding to local customs and incorporating more decoration.
- Buildings often display grandeur and monumentality.
- There is a tendency towards greater slenderness and elevation compared to earlier periods.
- The most common building material is brick, although other materials like masonry, rammed earth (tapial), and ashlar masonry were used, especially in fortifications.
- The primary support element is the pillar, often square or cruciform, though other solutions exist.
- Arches typical of the Umayyad tradition persist, such as the horseshoe arch and the polylobed arch. These arches, sometimes with intricate profiles (like the lambrequin arch), serve both structural and decorative purposes.
- Wooden ceilings become increasingly complex and elaborate, featuring early examples of interlocking joinery systems (par y nudillo) that would later be developed in Nasrid and Mudéjar art.
- To emphasize important spaces, muqarnas vaults (stalactite-like decorative vaulting) were employed. Ceramic tilework (zellige) was also incorporated into architectural decoration, giving preference to certain areas.
- A widely used decorative motif is the sebka, an interlocking network of rhombuses or lozenges.
- Geometric patterns, epigraphic (calligraphic) inscriptions, and vegetal motifs are integrated into unified compositional elements, a feature that gained enormous significance in later Nasrid art.
Key Architectural Examples
Religious Architecture in North Africa and Al-Andalus
Very important constructions were undertaken in North Africa and Al-Andalus, with colossal projects involving significant expenditure.
Tinmal Mosque (Atlas Mountains)
Originally conceived as a funerary mosque for the Almohad movement’s founder, Ibn Tumart, the initial modest structure was rebuilt with greater grandeur in 1153 by Abd al-Mu’min, the first Almohad caliph.
Features of the Tinmal Mosque
- It serves as a model for Almohad mosque design, collecting and developing features from Almoravid mosques.
- It features a hypostyle hall with nine naves perpendicular to the qibla wall, typical of Maghrebi mosques.
- Supports include square pillars, with cruciform pillars reinforcing certain arcades.
- The central (axial) nave and the nave running parallel to the qibla wall (qibla nave) are wider than the others, forming a T-shape common in North African mosques.
- The qibla nave emphasizes the direction of prayer.
- Domes mark intersections, notably an enclosed, domed space in front of the mihrab, and domes at the ends of the qibla nave.
- The outer aisles extend along the courtyard (sahn), creating porticoes (riwaqs).
- The qibla nave and the axial nave are taller than the surrounding structure.
- The minaret is typically positioned opposite the mihrab, often integrated into the facade overlooking the courtyard (though placement can vary).
The Tinmal Mosque is currently in a state of ruin.