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Courtly Splendor in the Islamic World - The Metropolitan Museum of ...

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22<br />

textile fragment<br />

14th century<br />

Spa<strong>in</strong><br />

Silk, lampas; 403⁄16 x 145⁄16 <strong>in</strong>. (102 x 36.3 cm)<br />

Fletcher Fund, 1929 (29.22)<br />

LInK to <strong>the</strong> <strong>the</strong>me <strong>of</strong> thIs Chapter<br />

This silk fragment is an example <strong>of</strong> <strong>the</strong> Nasrid court’s<br />

production <strong>of</strong> luxurious textiles. <strong>The</strong> similarity between<br />

<strong>the</strong> woven decorative elements <strong>in</strong> this textile and <strong>the</strong><br />

tile patterns adorn<strong>in</strong>g <strong>the</strong> walls <strong>in</strong> Nasrid palaces like<br />

<strong>the</strong> Alhambra reflect a unified aes<strong>the</strong>tic language that<br />

transcends media and <strong>in</strong> many cases geographic boundaries.<br />

<strong>The</strong> geometric motifs on this panel—especially <strong>the</strong><br />

eight-po<strong>in</strong>ted star—also emerged as favored decorative<br />

elements <strong>in</strong> nearby North Africa, which attests to <strong>the</strong><br />

transmission <strong>of</strong> decorative motifs to surround<strong>in</strong>g areas<br />

and <strong>the</strong> <strong>in</strong>delible impr<strong>in</strong>t <strong>of</strong> Nasrid visual culture <strong>in</strong><br />

<strong>the</strong> region.<br />

funCtIon<br />

Silk textiles like this one were expensive luxury objects<br />

<strong>of</strong>ten commissioned by <strong>the</strong> court or o<strong>the</strong>r wealthy<br />

patrons. Its large size, <strong>the</strong> orig<strong>in</strong>al edge preserved on<br />

one side, and <strong>the</strong> presence <strong>of</strong> fr<strong>in</strong>ge on <strong>the</strong> o<strong>the</strong>r suggest<br />

it likely served as a furnish<strong>in</strong>g or space divider <strong>in</strong><br />

<strong>the</strong> home <strong>of</strong> a court <strong>of</strong>ficial or elite member <strong>of</strong> <strong>the</strong><br />

community. Works such as this were also used <strong>in</strong> court<br />

ceremonies and presented as gifts to <strong>in</strong>dividuals or<br />

religious <strong>in</strong>stitutions.<br />

desCrIptIon/VIsuaL anaLysIs<br />

<strong>The</strong> composition consists <strong>of</strong> colorful geometric<br />

<strong>in</strong>terlac<strong>in</strong>g based on a radiat<strong>in</strong>g eight-po<strong>in</strong>ted star<br />

motif organized <strong>in</strong> wide horizontal bands. A decorative<br />

calligraphic band written <strong>in</strong> Arabic is skillfully<br />

<strong>in</strong>corporated <strong>in</strong>to <strong>the</strong> design. <strong>The</strong> word “beatitude,”<br />

which means blessedness or happ<strong>in</strong>ess, is repeated<br />

across one <strong>of</strong> <strong>the</strong> rows <strong>in</strong> mirrored pairs <strong>of</strong> plaited kufic<br />

script on a red ground. <strong>The</strong> phrase “good luck and<br />

prosperity” woven <strong>in</strong> naskh script fills <strong>the</strong> narrow borders<br />

on both sides <strong>of</strong> <strong>the</strong> larger kufic band.<br />

Key Words and Ideas<br />

118<br />

Context<br />

Spa<strong>in</strong>, Nasrid dynasty, architecture, North Africa, Christian reliquaries,<br />

geometric ornament, calligraphy (kufic script), textile, silk<br />

unit 5: chapter 1. court arts <strong>of</strong> islamic spa<strong>in</strong><br />

<strong>The</strong> royal textile workshops <strong>in</strong> al-Andalus were famous<br />

for <strong>the</strong>ir luxurious woven creations. Silk panels, used to<br />

adorn <strong>the</strong> <strong>in</strong>teriors <strong>of</strong> affluent homes and palaces, were<br />

among <strong>the</strong> most precious objects produced <strong>in</strong> royal<br />

workshops. <strong>The</strong> star-shaped motifs and crenellations<br />

featured <strong>in</strong> this example resemble <strong>the</strong> ceramic tile mosaic<br />

dadoes (panels on <strong>the</strong> lower register <strong>of</strong> a wall <strong>of</strong> a room)<br />

<strong>in</strong> Nasrid palaces such as <strong>the</strong> Alhambra (fig. 23). This<br />

visual connection has aided scholars <strong>in</strong> dat<strong>in</strong>g and<br />

attribut<strong>in</strong>g <strong>the</strong>se textiles to Nasrid Spa<strong>in</strong>. In addition<br />

to <strong>the</strong>ir popularity <strong>in</strong> Muslim Spa<strong>in</strong>, such textiles were<br />

prized by neighbor<strong>in</strong>g Christian communities, who<br />

<strong>of</strong>ten used fragments <strong>of</strong> <strong>the</strong>m as l<strong>in</strong><strong>in</strong>gs for reliquaries<br />

(conta<strong>in</strong>ers for sa<strong>in</strong>ts’ rema<strong>in</strong>s).<br />

(See also image 13.)<br />

Fig. 23. Detail <strong>of</strong> a tile panel from <strong>the</strong><br />

<strong>in</strong>terior <strong>of</strong> <strong>the</strong> Nasrid palace, <strong>the</strong> Alhambra,<br />

Granada, 1354–91

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