By Jerrilynn D. Dodds.
In 711 a military of Arabs and Berbers from North Africa, united by way of their religion in Islam, crossed the Strait of Gibraltar and arrived at the Iberian Peninsula. In lower than a decade the Muslims introduced lots of the peninsula less than their domination they referred to as the Iberian lands they managed al-Andalus. even though the borders of al-Andalus shifted over the centuries, the Muslims remained a robust strength at the peninsula for nearly 8 hundred years, until eventually 1492, once they have been expelled by way of Ferdinand and Isabella. This quantity, which accompanies an incredible exhibition awarded on the Alhambra in Granada and The Metropolitan Museum of artwork in long island, is dedicated to the little-known inventive legacy of Islamic Spain. From 711 to 1492 al-Andalus used to be the occidental frontier of Islam. Floating at the western fringe of the Mediterranean, bring to a halt from the eu continent through jagged mountains, it was once 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 obtained in basic terms sporadic cognizance from either worlds. even if a small team of students pursued the intense learn of the humanities of Islamic Spain, those arts have for the main half been seen as tremendous and unique vestiges of a misplaced tradition, as items and monuments that left no mark on ecu culture.
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Extra 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
Stone heads from the Yoruba provinces’. From Iskusstvo Negrov (1919), fig. 6. Drawn from photos in Frobenius 1912–13, vol. 1, facing p. 400. 6 Vladimir Markov (or Varvara Bubnova). ‘Bronze head: “Olokun”’. From Iskusstvo Negrov (1919), fig. 7. Drawn from a photograph in Frobenius 1912–13, vol. 1, facing p. 340. 7 Vladimir Markov (or Varvara Bubnova). Sketch of terracotta head of ‘Mia’, found at Ifè. From Iskusstvo Negrov (1919), fig. 8. Adapted from photo in Frobenius 1912–13, vol. 1, after p.
Fruit Picking (c. 1912). As reproduced in Jānis Siliņš, ‘Voldemārs Matvejs’. Ilustrēts žurnāls 1925 (5): 144. 10 Natalia Goncharova. 5 cm. State Tretyakov Gallery, Moscow. 11 Pavel Filonov. Perunu/To Perun. From Velimir Khlebnikov, Izbornik stikhov s poslesloviem rechyarya 1907–1914 gg. p. Petr Druzhinin and Aleksandr Sobolev book collection, Moscow. 12 Pavel Filonov. Perunu/To Perun. From Velimir Khlebnikov, Izbornik stikhov s poslesloviem rechyarya 1907–1914 gg. p. Petr Druzhinin and Aleksandr Sobolev book collection, Moscow.
Nikolay Konstantinovich Rerikh (1916), 23. 6 Wassily Kandinsky. Der Blaue Reiter, cover. Munich: R. Piper & Co. (1914). © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais. 7 Natalia Goncharova. Vintage (1911–12), pencil on paper, 29 × 37 cm. Musée National d’Art Moderne, Paris. As reproduced in Der Blaue Reiter. Munich: R. Piper & Co. (1912): 107. © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais. 8 Niko Pirosmani. Feast at the Time of the Vintage (1906), oil on oilcloth, 105 × 349 cm. National Museum of Fine Arts, Tbilisi, Georgia.