Al-Andalus Splendor

Arabic-Hispanic Art and Culture

Al-Andalus Splendor
Arabic-Hispanic Art and Culture
Al-Andalus Splendor
Arabic-Hispanic Art and Culture

“Its beauty and elegance defy any description.

Neither Greek nor Muslims ever carved such an exquisite work. “

Description of the Mihrab of the Great Mosque of Cordoba.

Al-Idrisi
Al-Andalus Splendor
Arabic-Hispanic Art and Culture

The “Al-Andalus Splendor” project aims to present a global approach to the best artistic and architectural creations
of Hispanic-Arabic culture from the age of Al-Andalus. It also seeks to track all the influences (literary, architectural, urban
or of lifestyle) that have survived for centuries in Spain and are still recognizable nowadays.

The term “Al-Andalus” was not only the name of the territory of the Iberian Peninsula under Muslim rule during the eight
centuries that passed between the conquest which began in early 711 (89 year from the Egida) and ended with the Nasrid
Kingdom of Granada in 1492. During that period of time, there was an extraordinary crossroad of civilizations, which
lived for centuries sharing the same lands and promoted the birth of a culture full of fusions, the seed of the Hispanic-
Arabic culture. In this way various components of Arab culture permeated so much into the Hispanic society along the
eigth centuries of coexistance, that centuries after the departure into exile of the last Hispanic-Arabic king, Muhammad XII
(known as “Boabdil Al-Zugabi”), the influence of the culture of Al-Andalus continues to be palpable.

One example of this influence is the Spanish language itself. Not fewer than 4,000 Spanish words have Arabic roots and very
often, words and quotes of common daily use are literal translations of Arabic expressions. Therefore, the Arabic language
made by far the second largest contribution to the Spanish language, just behind classical Latin. Even the capital of Spain,
Madrid (Mayrit), takes its name from an Arabic toponym.

Through the blooming culture of Al-Andalus some of the best creations from classical Antiquity and major scientific and
technical advances of the time, spread far beyond the borders of the Iberian Peninsula deep into Europe. In the 10th century,
during the era of the Caliphate the capital of Al-Andalus, Cordoba, was considered the main city in Europe with a library that
could have reached 400,000 volumes, a great university and the meeting-point for scholars, erudites and scientists of the time.
Al-Andalus Splendor
Arabic-Hispanic Art and Culture

Project Proposal:
The Building: Museum of Al- Andalus Splendour

The idea could be adaptable to be inserted in different spaces, buildings or monuments maintaining the complete structure
of a modern museum and cultural centre of international relevance.

The preliminary programme of the exhibition discourse include the spheres:

• Caliphate Period. With recreations of Medina Azahara Palace or Cordoba Mosque.

• Taifa Kingdoms Period. The proposed recreations are the Aljaferia of Zaragoza and the Alcazabas or fortresses of Málaga
or Almeria.
• Almorávide-Almohade Period. To recreate, The Gold Tower, Alcazar and Giralda from Sevilla.
• Nasrid Period. Recreation of the main sites in the Alhambra.

And it be compatible with the spheres devoted to the essential themes of:

• Religion
• Science
• Culture
• Art
Al-Andalus Splendor
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Al-Andalus Splendor
Arabic-Hispanic Art and Culture
Al-Andalus Splendor
Arabic-Hispanic Art and Culture
Al-Andalus Splendor
Arabic-Hispanic Art and Culture
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Arabic-Hispanic Art and Culture

Shape concept.
The eight-pointed star is the main symbol of identity of the oldest Andalusia.

The Andalusians also chose the eight-pointed star as a political symbol and put it on the first coins minted. The independent
Caliphate of Al-Andalus extensively used the star and even nowadays Spain is still used as a decorative symbol in architecture
and decoration.

The eight-pointed star was the symbol since ancient times representing the eight sun rays. Abderramán I, first Caliph of Al-
Andalus, was who popularized this symbol throughout the Mediterranean, Africa and Europe

Rub al-hizb is the name of the eight-popinted star, used in the Koran as a representation of paradise surrounded by eight
mountains.

The main container of this collection, could be articulated from the geometry of the eight-pointed star

Two 200 meters by side squares overlap and one rotated 45 degrees to the other, causing the eight-pointed star. Both prisms
would be interlaced but one significantly higher than the other.

In the first prism, one of the vertices serves as an access ramp to the building, while beneath this ramp it will be located an
auditorium. The opposite corner houses the Service Area. The other two vertices contain the Exhibition Area and impressive
skylights will be incorporated to maintain connection with the surroundings.
The second prism, which is taller than the first one, generates in his meeting four zones that house the thematic spheres
mentioned. The building would count with large glass walls surfaces that allow viewing the reproductions surrounded by the
natural outside landscape.

The central hall which gives access to the exhibition galleries, it will be also a meeting point for visitors. The idea is creating
a fresh and relaxing space, like an oasis, where the visitors can chill. This purpose could be achieved by the use of fountains,
plants and a confortable temperature.
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Structural and finishing materials

The suggested materials for this building need to be integrated with the natural environment, since the aim of the project is
to highlight the works of art on display whitin the premises. They are the real protagonists of the project and the reason to
carry it out.

The structural strength will be provide by the reinforced concrete, finishing seen in some cases, with textures and shades like
natural stone and native desert sand.

Glass plays a key role. To evocate outdoor environments in the interior of the building large glass walls would be required.
Therefore, the choice of glass that separates the outside and inside is a key factor in the sustainability of the building. It will
have filtering properties that reduce heat gains due to direct sunlight.

Wood, metals, synthetic, and a wide range of materials combined will gives us the feeling of warmth and comfort needed
for furniture and equipments.
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Architectural Collections
Many Hispanic-Muslim buildings are still preserved and can be admired in Spain. Mosques are the most important example
of religious architecture that we can find. The most famous and biggest mosque built in al-Andalus was the Great Mosque
of Cordoba but the Mosque of Almonaster la Real must be highlighted among the most humble, yet not less beautiful ones.

Regarding the madrassas, where religion and law were taught, there are very little examples left in Spain. In Granada we can
still find a a portion of want remains of the old madrassa.

In military architectural field, we should highlight the walls of such cities as Seville. Fortresses are also typically defensive
constructions, like those still in existance in Malada and Almeria.

Residential al-Andalus architecture includes palaces and fortresses, offering the best examples of perfection, with sumptuous
buildings like the Alhambra and the Madinat al-Zahra, a real city-palace in the outskirts of Cordoba. The Aljaferia in Zaragoza
is also a remarcable building.

Finally, the alcaicerias or qisarias, are outstanding examples of urbanisms, like the beautiful Alcaiceria in Granada.

The “Al-Andalus Splendor” project intends to show the most beautiful treasures of Hispanic-Muslim architecture
in Spain, presenting examples of urbanism and gardening through virtual reconstructions, life-size architectural replicas,
models, prints and a wide range of items (columns and capitels, cielings, tile panels, etc.) from collections in the main Spanish
museums. To achieve this purpose the project has selected some of the most representative buildings of each historical
period in which Hispanic-Arabic art is traditionally divided:

- The Great Mosque of Cordoba

- Medina al-Zahra
- The Aljaferia of Zaragoza
- The Gold Tower of Seville
- The Giralda of Seville
- The Alcazar of Seville
- The Alhambra of Granada
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Technology for replicas in real size

With the agree of Spanish Institutions we use a 3D laser scanning which consists of a set of vertices in a three dimensional
system, normally defined by coordinates X, Y and Z. Such information is considered to extract subsequently starting another
as elevations, sections, 3D models, visualization, animation, rendering, etc…

Processed as solid models (NURBS), we get a mathematical representation of 3D geometry able to accurately describe any
shape from simple 2D lines, circles, arcs, or curves, to complex organic solids or free-form surfaces in 3D.

This files can be used as virtual replicas when are introduced into virtual reality programs or 3D Design. In this way, it is
possible to prepare them for robotics machines to create physical replicas of elements or even entire buildings.

SIT Digitalization Services, has developed a series of algorithms that allow us to create high spatial detail from point clouds.
The scales of these virtual images are variable depending on the needs. The pixel sizes may vary from 2-3 mm in high detail,
until 2-3 cm when low resolution.

A pixel size of 2-3 mm in this images, is fine enough to be used as a base document in restoration process, allows drawing
sections and details from any angle without require more re-capture field data.
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Court of the Lions

in the Royal Palaces of the Alhambra,
Granada
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“Jardin de Las Gazelas” vase reproduction by SIT

2004
Granada
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3D Wireframe Models
Point Clouds
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Public Programs
A didactic collection, as the one base in real size historical sites reproductions, should contain a complete public program to
connect the people with the contents of the exhibitions.

Not only focus in the young students but also directed to the adult public and even the professional and specialized visitors.

The base methodology to create the reproductions, as mention before, is a detailed digitalized 3D scanning process of the real
sites, this files, after be used as precise digital information to process the mechanised of the reproductions, is a very valuable
information to produce sophisticated interactive audio-visual programs to explain at different levels the utility, technology,
history, etc… of individual objects or complete recreations.

New technologies could be set around the exhibitions, from fix touch screens to personal Ipads or any Android mobile
phone, interactive virtual reality effects or traditional audio guides could be improve with the original digital files capture in
the real sites of the Arabic influence in Spain.

Through our wide experience in archaeological and historic documentation:

• Can enrich the pedagogical experience.
• Makes the visit dynamic and easy to access.
• Design of interesting educational workshops
• Support with activities directed to groups (schools, families and professionals)

An Educational Centre would support teachers and parents, with specific didactic guides to enrich and improve the experience
of the visit.

This experience should be not only a learning objective, but would provide delightful sensations to fix in the memory the
essence of this antique majestic presence of the Arabic culture in Europe.
Al-Andalus Splendor
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Culture
Introduction:

Culture, understood in the broadest sense of scientific, philosophical and literary reflection, is perhaps one of the main pillars
of Hispanic-Arabic civilization, having an extraordinary influence not only in Spain, but also in the rest of Europe. Through
museum pieces such as scientific instruments, manuscripts, codices or treaties, the “Al-Andalus Splendor” project
will approach the creations of the greatest Hispanic- Arabic thinkers, and it will also highlight the diffusion of these works
in Europe through the many translations which reached their maximum diffusion whith the invention of the printing press.

We will contemplate the works and impact of philosophers such as Ibn Rush (Averroes), Ibn Tufail or Ibn Arabi, surgeons
such as Al-Zahrawi, botanists such as Ibn al- Baitar, geographers such as Al-Idrisi and Al Bakri, astronomers such as Al-
Zarqali, and writers such as Ibn Al-Khatib and the scholar Ibn Khaldun.
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Science and Technology

Arabic science was characterized mainly by its ability to integrate knowledge from a wide range of different cultures, such
as the Hellenistic, Syriac, Sanskrit and Persian, among others. But Arab scientists not only collected and transmitted all this
knowledge. They also developed and improve it. Within this context, science developed in al-Andalus was also strongly
influenced by the scientific knowledge of the Eastern Islamic Empire.

Andalusian scientists also filter the knowledge from the locals (mainly Latin traditions and procedures) in the Iberian peninsula,
soon generating their own science. Al-Andalus was the cradle of great and important scientists who excelled in all subjects:
Al-Zahrawi, Ibn Zuhr (Avenzoar), Ibn Rushd (Averroes) in Medicine, Azarquiel in Astronomy, Al-Muradi in Mechanics, Ibn
Wafid Ibn Bassal, Ibn Al-Baytar in Agronomy, to mention only a few.

Creations and inventions in Al-Andalus were outstanding, but their aim to transmit this knowledge in space and time is also
extremely important.

The knowledge of antique science reaches Europe mainly through Al-Andalus. The translation schools, such as the one in
Toledo, were essential to the transfer of science from classical antiquity, as classical works that had been translated into Arabic
in the past, were translated to Latin and Romance languages when they reached Al-Andalus.
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Philosophy
Since the beginning of the Islam, Philosophy and Logic were cultivated within a context of religious and intellectual tolerance.
When the first translations of the Greek philosophers, especially Aristotle, arrived to Al-Andalus, a great interest in the
subject developed, despite the fact that it was not very well regarded by religious authorities. However, philosophers held that
intellect and reason were not against revelation at all, and they stated that philosophy was the most appropriate tool to reach
truth. Ibn Rushd or Averroes himself claimed that “Philosophy is a friend and foster sister of religion. Therefore, it does not contradict the
Revelation (Shariah), but confirms it”.

Ibn Rushd (1126-1198) is considered the most influential philosopher in the Muslim world and throughout Europe, and a
large number of his works have been preserved.
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Literature
Prose and poetry were two disciplines that andalusians valued highly as lovers of beauty, aesthetics and nature. In Al-Andalus,
the division of the Caliphate into several Taifa kingdoms brought instability and political chaos to the territories under the
Caliphate’s rule. This also meant a spreading of knowledge, that until then had almost exclusively concentrated in Cordoba.
The different kings competed to have the wisest court, and therefore promoted literature, especially poetry.

One of the poets who achieved great fame was Ibn Zaydun (1003-1071) and also his beloved princess, the beautiful Wallada.
Other celebrated poets were Al-Ramadi (d. 1015) and later in the time, Ibn Zamrak, who lived in the 15th century and who
captured his verses on the walls of the Alhambra.
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Arts
To understand Muslim art, it is important to understand the term “art” as the union of procedures, norms and techniques which
define a style. The main problem to define the concept of “Muslim Art” is the enormous territory it involves. Furthermore,
this territory is not limited to a specific ethnic group but covers areas as diverse as the black Africa, the Maghreb, Indonesia,
the Persian Gulf, Europe, China or India. Therefore, under the sign of a genuine supranational state, there are cultural
diversities taking local or regional forms, and these differences will also be manifested in the arts.

Ornamentation is certainly one of the aspects that contributed to the unification of Muslim art. The same decorative themes
appear in both architecture and arts, no matter what materials or techniques were used. There are four basic elements of
decoration: caligraphy, plant motifs, geometric forms and figurative motifs. They define a profuse decoration characterized
by the lack of empty spaces.

In Al-Andalus, the different arts reached a great level of improvement. This applies in particular to the applied arts, such
as ceramics, (which reached its peak in the Nasrid period, with pieces like the “Gazelles Vase”), ivory works (with excellent
Caliphate style works, as the “Leyre Casket” or the “Zamora Pyx”), bronze sculpture (mainly representing zoomorphic
figures, such as “The Stag” at the Archeological Museum of Cordoba), and the rich variety of textile pieces that cover a wide
chronology, from the Caliphate Age to the Nasrid Kindoms, through the Almohad Period, well represented in items such as
the “Banner of Al-Nasir Muhammad” or the “Banner of Las Navas de Tolosa”.
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Moorish Art and the Survival of the Hispanic-Arabic

Culture in Contemporary Spain.
Finally, Moorish Art, developed by Muslims in what today is Spain, largely symbolizes the permanence of the Hispanic-
Arabic culture in Spanish traditions and folklore, even after the fading of the Kingdom of Granada. It was a popular style
since the 12th century, that continued to provide extraordinary creations as far as the 16th century.
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Possible Organizations that would provide scientific or

institutional support to the Project:
• Acción Cultural Española (Spanish Cultural Action, Government of Spain)
• Fundación Pública Andaluza “El Legado Andalusí” (Andalusian Public Foundation “The Andalusian Legacy”, Government
of Andalucía)
• Escuela de Estudios Árabes de Granada – Centro Superior de Investigaciones Científicas (CSIC) (School of Arab Studies
of Granada – High Center of Scientific Investigations)
• Fundación Euroárabe de Altos Estudios de Granada (Euroarab High Study Foundation of Granada, Ministry of Culture,
Government of Andalucia, University of Granada)

Suggested Scientific Committee:

• Mr Basilio Pavon Maldonado ( Formerly CSIC)
• Mr Julio Samsó, Universidad de Barcelona (Specialist in Science in Al-Andalus)
• Mr Eduardo Manzano Moreno, Institute of History, CSIC.
• Mr Alfonso Carmona González, University of Murcia (Filology Specialist)
• Mr Antonio E. Momplet Míguez, Complutense University (Specialist in Al-Andalus art)
• Mr Julio Navarro Palazón, School of Arab Studies, Granada, CSIC / City Laboratory of Archeology and Architecture
(Specialist in Architecture and Urbanism)

Worth mentioning is the fact that SIT, in case of interest will contact with the institutions and
agencies who are responsible for the management and conservation of these monuments, in order
to obtain the necessary permits to reproduce them.
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Selection of objects to reproduce and display

“Al- Andalus Splendor” Project:

Leyre Casket
Museo de Navarra
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Gazelles Vase
Museo de la Alhambra
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Caliphal Bowl with Deer

Museo Arqueológico de Jerez
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Portion of a zoomorphic water vessel.

Nasrid period, 14th-15th century.
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Garrucha “Small” Treasure.

Caliphal period.
Instituto Valencia de Don Juan, Madrid.
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Las Navas de Tolosa Banner.

Monasterio de las Huelgas, Burgos.
Almohad period, ca. 1212-50
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Bowl of Fatima and Keys of Paradise.

15th century.
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Pluvial.
Nasrid period, 15th century.
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Malaga Pyx.
Nasrid period, 15th century.
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Andalusian Astrolabe.
Toledo, 1607.
Museo Arqueologico Nacional, Madrid
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Andalusian Astrolabe.
Toledo, 1607.
Museo Arqueologico Nacional, Madrid.
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Casket.
Almohad period, 12th century.
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Moorish armoire
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Court of the Lions

in the Royal Palaces of the Alhambra,
Granada
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Wine door,
Granada
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Facade of the Mosque,

in the Royal Palaces of the Alhambra,
Granada
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Pavilion Section of Court of the Lions

in the Royal Palaces of the Alhambra,
Granada
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Lindaraja Cabinet Interior

in the Royal Palaces of the Alhambra,
Granada
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Vault and Dome of Mihrab

Mosque of Cordoba
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Interior
Mosque of Cordoba
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Alhaquena door II
Córdoba