Al-Andalus : the art of islamic Spain ; [in conjunction with by Jerrilynn D. Dodds.

By Jerrilynn D. Dodds.

In 711 a military of Arabs and Berbers from North Africa, united by means of their religion in Islam, crossed the Strait of Gibraltar and arrived at the Iberian Peninsula. In under a decade the Muslims introduced many of the peninsula less than their domination they known as the Iberian lands they managed al-Andalus. even supposing the borders of al-Andalus shifted over the centuries, the Muslims remained a strong strength at the peninsula for nearly 8 hundred years, until eventually 1492, once they have been expelled through Ferdinand and Isabella. This quantity, which accompanies a tremendous exhibition provided on the Alhambra in Granada and The Metropolitan Museum of paintings in manhattan, is dedicated to the little-known inventive legacy of Islamic Spain. From 711 to 1492 al-Andalus was once the occidental frontier of Islam. Floating at the western fringe of the Mediterranean, bring to a halt from the ecu continent via jagged mountains, it used to be geographically remoted from either North Africa and Europe, from Islamic in addition to Christian lands. actual remoteness gave al-Andalus a privileged position in medieval myths but additionally separated it from the groups of the east and the west, in order that it got basically sporadic recognition from either worlds. even supposing a small workforce of students pursued the intense research of the humanities of Islamic Spain, those arts have for the main half been seen as really good and unique vestiges of a misplaced tradition, as items and monuments that left no mark on ecu culture.

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Additional info for Al-Andalus : the art of islamic Spain ; [in conjunction with the Exhibition Al-Andalus: the Art of Islamic Spain, held at the Alhambra, Granada (March 18 - June 7, 1992), and the Metropolitan Museum of Art, N

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Marble, height: 44 cm. National Archaeological Museum, Athens. This fragment is a rare early example of the “kouros”, or standing male statue. , statues were sometimes used as grave markers, as they are today. While female statues were modestly dressed, the male versions were nude, perhaps indicating a god or a hero. The eyes and eyebrows are deeply-set, the contours of the face are flat, and the shape of the ear is indicated with concentric, curved lines. The hair is patterned in an Egyptian manner and held back with a band.

The eyes and eyebrows are deeply-set, the contours of the face are flat, and the shape of the ear is indicated with concentric, curved lines. The hair is patterned in an Egyptian manner and held back with a band. Over the course of the sixth century, Greek sculpture would lose this patterned, decorative quality and become increasingly realistic and lifelike. Marble, height: 218 cm. Delphi Archaeological Museum, Delphi. Marble, height: 218 cm. Delphi Archaeological Museum, Delphi. E. Hymettus marble, traces of paint, height: 165 cm.

The eyes and eyebrows are deeply-set, the contours of the face are flat, and the shape of the ear is indicated with concentric, curved lines. The hair is patterned in an Egyptian manner and held back with a band. Over the course of the sixth century, Greek sculpture would lose this patterned, decorative quality and become increasingly realistic and lifelike. Marble, height: 218 cm. Delphi Archaeological Museum, Delphi. Marble, height: 218 cm. Delphi Archaeological Museum, Delphi. E. Hymettus marble, traces of paint, height: 165 cm.

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