Hispano-Muslim Art: Arches, Vaults, and Mosques
Hispano-Muslim Art: Arches and Vaults
A wide variety of arches take their model portfolio from Hispano-Muslim art, including the horseshoe arch, horseshoe túmido, and sometimes lobed mixtilinear arches. The lambrequin arch features lobes arranged in different directions. This arch is a product that arises and develops in the Almohad period, which marks its heyday.
The arches spring from imposts in the form of that, which is very characteristic of this time.
Flat wooden roofs are prevalent, but vaulting is used in spaces intended to convey importance. Caliphate vaults persist, but a new modality emerges: Caliphate vaults with puff fillings. Earlier examples may exist, but the preserved examples are too perfect. These vaults will have a greater impact in Christian art (particularly in Burgos).
Stalactite vaults arise for the first time in the West. Originating in the East, stalactites become popular in Persian Seljuk art and spread to Fatimid Egypt, eventually reaching the Maghreb.
The first great period is between 1061 and 1106, initiated by the Almoravid movement, which presents a simple and functional art. The last period is that of Ali Ibn Yusuf, who ruled between 1106 and 1143. During this time, habits relaxed, and some artists began to embrace Andalusian decorativism.
Military and religious architecture are the two areas that most enhance the art of the moment.
Religious Architecture: Mosques in North Africa
In Spain, no examples remain, so we must cross the Strait to find mosques in Algiers, Fez, and Tlemcen in Algeria.
Mosques in North Africa
The Almoravids developed architecture in North Africa that was likely similar to that in Spain, but no examples remain.
Mosque of Algiers
The mosque is modeled with pillared aisles perpendicular to the qibla wall (western type). A novel element is the use of pillars for support instead of columns. The arches are supported by square pillars in the normal vessels, with cruciform pillars reinforcing some areas. Another notable feature is that the side ships are more extreme or prolonged around the yard, creating the riwaqs themselves (arcaded galleries surrounding the courtyard), resulting in deep courtyard galleries. This is extremely characteristic of Almoravid art and will be passed on to Almohad art.
Another characteristic element is the axial vessel, which is wider and creates sections each covered independently. Some are covered with flat wooden roofs, but in the area of the mihrab, sublimating space, a vault is used. The mihrab, following the model of Cordoba, is housed.
Inside the mosque in Algiers, the large túmidos arches point to rest on a new element: the pillars. This creates a much more closed and compact interior, giving a feeling of solidity and heaviness. Transverse reinforcement arcades are present in the lobed arches that are killed with an edge. The architecture is naked, with whitewashed walls and simple white. Built between 1080-1086, it lacks complete decoration, reflecting a stringent interpretation of the Quranic message.
Mosque of al-Qarawiyyin in Fez
This mosque, like the following, belongs to the period of Ali Ibn Yusuf. In both, we see an evolution towards a more decorative style and luxury. It is quite complex inside and originally dates back to the 9th century. The only ships that belong to the Almoravid age are the three ships closest to the qibla wall. In the 9th century, the wall of the qibla was demolished, and the ship was extended by three more, plus the entire area of the yard was renewed and the interior of the mosque redecorated. When the Almohad, following Berber people, arrived, they destroyed completely with the décor Almoravids (back to the purity of the Quranic message, nudity