Ivory cylindrical box; 950–75 AD, Cordoba, Spain; Metropolitan Museum of Art. This "pyxis" is carved with intricate detail and densely-packed designs. The symmetry and the interlacing vines create the sense of infinity. The carvings also include typical floral decoration interspersed with animal figures, specifically birds, lions, and gazelles. The main decorative area is bordered on the top and bottom by bands of self-contained repeating designs.

Pixis, ( 950 a 975 ), época Califal, Córdoba. Pieza de Marfil. El pixis podría ser una invitación a recibir o a «recolectar

Andalusian music featuring the Oud. Unlike the other audio art "pin" in this gallery, this recording is solely instrumental. We hear the use of the Oud (lute, in English), a pear-shaped string instrument that is the ancestor of the guitar. The Oud originally had only four strings, but a fifth was added by an Andalusian performer, and then a sixth in the 15th century. This instrument, sometimes called the "guitarra morisca," is an example of the blending of Islamic and Spanish musical…

Andalusian music featuring the Oud. Unlike the other audio art "pin" in this gallery, this recording is solely instrumental. We hear the use of the Oud (lute, in English), a pear-shaped string instrument that is the ancestor of the guitar. The Oud originally had only four strings, but a fifth was added by an Andalusian performer, and then a sixth in the 15th century. This instrument, sometimes called the "guitarra morisca," is an example of the blending of Islamic and Spanish musical…

Silk, lampas fragment; 14th century, Spain; The Metropolitan Museum of Art, Fletcher Fund, 1929. This textile includes various horizontal decorative bands, each with different widths and its own self-contained and intricate geometric design. The designs are symmetrical and seem infinite. They feature common Islamic motifs, such as the eight-pointed star. There is also interlacing calligraphy featuring kufic script and calling for happiness, luck, and prosperity.

Silk, lampas fragment; 14th century, Spain; The Metropolitan Museum of Art, Fletcher Fund, 1929. This textile includes various horizontal decorative bands, each with different widths and its own self-contained and intricate geometric design. The designs are symmetrical and seem infinite. They feature common Islamic motifs, such as the eight-pointed star. There is also interlacing calligraphy featuring kufic script and calling for happiness, luck, and prosperity.

Mosque of Cristo de la Luz, built 999-1000 AD, Toledo, Spain. Originally known as the Mezquita Bab al-Mardum. The mosque was converted into a church in 1085 when Toledo was conquered by the Christians, but still retains many characteristics of Islamic architecture. There is an inscription on the south-west facade written in Kufic calligraphy detailing its origin. Brickwork arches show influence from the much larger Mezquita in Córdoba.

Mezquita del Cristo de la Luz en Toledo, Toledo. La antigua Mezquita de Bib-al-Mardum, o de Valmardón, también conocida como Mezquita o Ermita del Cr...

Calligraphy in the Sala de Dos Hermanas, Alhambra, Granada, Spain; 14th century. This is just one of countless examples of calligraphy that abound throughout the rooms and courtyards of the Alhambra. The calligraphy includes inscriptions that commemorate conquests, lines from the Qur'an, and a great deal of poetry. In this particular example, poetry inscribed in carved stucco is incased in a circle and surrounded by an array of detailed geometrical and vegetal designs.

Calligraphy in the Sala de Dos Hermanas, Alhambra, Granada, Spain; 14th century. This is just one of countless examples of calligraphy that abound throughout the rooms and courtyards of the Alhambra. The calligraphy includes inscriptions that commemorate conquests, lines from the Qur'an, and a great deal of poetry. In this particular example, poetry inscribed in carved stucco is incased in a circle and surrounded by an array of detailed geometrical and vegetal designs.

Leaf from a Qur’an manuscript; 13th–14th century, Spain; The Metropolitan Museum of Art, Rogers Fund, 1942. This elaborately decorated folio includes typical gold illumination of chapter headings and gold medallions for groups of verses. The square format and rounded letter endings are typical of Qur'an manuscripts from Spain. Because of its cost, parchment was often reused after scraping off writing; the earlier text would darken and could be seen underneath, as appears to have happened…

Leaf from a Qur’an manuscript; 13th–14th century, Spain; The Metropolitan Museum of Art, Rogers Fund, 1942. This elaborately decorated folio includes typical gold illumination of chapter headings and gold medallions for groups of verses. The square format and rounded letter endings are typical of Qur'an manuscripts from Spain. Because of its cost, parchment was often reused after scraping off writing; the earlier text would darken and could be seen underneath, as appears to have happened…

Chest found in Palencia Cathedral but made in Cuenca; 11th century; National Archaeological Museum Madrid, Spain. This wooden chest is covered with ivory plates and its edges reinforced with copper. The ivory plates are intricately decorated with arabesques interspersed with gazelles, griffins, and peacocks. The copper edgings contain repeated geometric designs. The chest also includes an inscription in foliated kufic script, which names Cuenca as its place of origin.

Chest found in Palencia Cathedral but made in Cuenca; 11th century; National Archaeological Museum Madrid, Spain. This wooden chest is covered with ivory plates and its edges reinforced with copper. The ivory plates are intricately decorated with arabesques interspersed with gazelles, griffins, and peacocks. The copper edgings contain repeated geometric designs. The chest also includes an inscription in foliated kufic script, which names Cuenca as its place of origin.


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