Corduba and Qurtuba

Historical documents, as well as the architectural and sculptural pieces that have survived from the Visigoth period, reveal a Christianized city whose classical, although not decadent, appearance was transformed with great basilicas, monasteries, palaces, and artisanal districts. This object, decorated with Christian motifs, comes from one such building. Crosses, trefoils, and rosettes are symbols of the Christian faith's triumph over Arianism and other heresies.

Fragment of a cymatium with a representation of a colonnade or arcade with canopy. It may have occupied a prominent position in a religious or secular building.

The scene depicted in this fragment of a late Roman relief appears to be a procession of senior officials. The aesthetic is Roman in style, emphasizing the lack of secular themes compared with religious ones. It is comparable to a scene in the reliefs of the Arch of Constantine, and could have formed part of a triumphal arch over the road from Corduba to Emerita, or another public monument.

Fluted, grooved column shaft with geometric patterns that may have been reclaimed from a Roman building, given the existence of large quantities of marble imported to Visigoth Córdoba during the time of the High Roman Empire.

Capital with the figures of the 4 Evangelists on each of its faces, represented symbolically as the tetramorph, with the head of an animal and the body of a human. There is Saint Luke with the head of a bull and wings, but no halo; Saint Matthew with completely human features; Saint Mark, whose symbol is a lion; and Saint John, depicted with the head of an eagle. It would have belonged to a church and is an early version of later Romanesque capitals that depict figures in religious scenes.

The old walled Roman city became Medina Azahara. It was here that the Umayyads built the great Aljama Mosque. Suburbs grew up all around it, including one in the southern part of the city that was destroyed during a revolt in the 9th century. This gravestone commemorating the death of one of Muhammad I's concubines comes from there.

In the 10th century, Córdoba o Qurtuba becomes a large metropolis of the western mediterranean area. The Caliph Abd ar-Rahman III drove this first great expansion of the city, based on city planning in a grid (orthogonal) layout. Within this large urban complex were "almunias" or leisure homes, reflecting the aristocratic tastes of the wealthiest people. This fountain basin comes from one such house: Al-Rummaniyya, and its decoration with animal figures is particularly interesting.

Capitals from Al-Andalus were based on classical and Visigothic models. The diversity of forms and decorative designs in the Emirate was refined under the Caliphate. The design of this leaf-patterned capital was directly influenced by the Visigoths, who imitated classical designs, tailoring acanthus leaves into a simple leaf design. The Arabs redesigned this type of capital, adopting shapes derived from the Corinthian order, which they turned into simplified, abstract designs.

During the Caliphate, 2 main types of capital were established: Corinthian and Composite, either carved using a trepan drill or smooth. Later, their proportions were elongated and their decoration became stylized. This double or twin Composite capital demonstrates the decorative style of the Caliphate era. The Islamization of Al-Andalus was apparent in the creation of an artistic style that was common throughout the territory.

Capital bearing the signature of the sculptor (Safar) on the top, and inscriptions in praise of Allah and the Prince of the Believers on the sides. This capital has the features of a Composite capital from the hall of Abd ar-Rahman III. Its composition, decoration, and cubic proportion, as well as the way in which its different parts are joined together and its leaf patterns carved, are exactly like one of these models.

Caliphal base inspired by Islamic examples that were, in turn, influenced by Attic bases. These were common during the Byzantine period, and in Mudejar and Romanesque styles.

Buildings under the Caliphate displayed a rich ornamental style, especially in the Mosque of Córdoba and Medina Azahara. These designs are based on very simple themes and motifs: intertwining and chequered patterns, palmettes, lotus flowers, rosettes, and inscriptions in Kufic. They were combined and repeated to create complex, unique designs.

Buildings under the Caliphate displayed a rich ornamental style, especially in the Mosque of Córdoba and Medina Azahara. These designs are based on very simple themes and motifs: intertwining and chequered patterns, palmettes, lotus flowers, rosettes, and inscriptions in Kufic. They were combined and repeated to create complex, unique designs.

Object decorated with one of the most common designs in Hispano-Islamic art: the tree of life.

Green and manganese ceramics originated in the Caliphate. The white background contrasts with the rich green and black decoration, which identifies the ruling dynasty. Green represents Muhammad, white represents the Ummayyads, and black represents the high status of the Caliphate. The design was therefore used by the Cordoban Umayyads as a propaganda tool to emphasize the legitimacy of their Caliphate.

Lusterware basin with a metallic sheen, partially restored. It is decorated with plant-like motifs and inscriptions. Found next to the sewers of the Caliphal Alcázar or palace, it may have been for the personal use of the sovereign or other members of the Caliphal house. This type of decoration was used by Mesopotamian ceramicists, and much used throughout the eastern world. It is a difficult technique and was used only in large cities, becoming more widespread from the mid-11th century.

Not that many bronze objects existed in Muslim Córdoba. Among them are items produced in official workshops during the Caliphate era, and particularly oil lamps. Some bear the signature of the official who was in charge of the workshops.

There is evidence of workshops in Muslim Córdoba that used bronze and brass (an alloy of copper and tin) to make items such as fountain spouts, braziers, oil lamps, and pitchers, revealing how affluent the population was during the Caliphate.

This brass bowl is decorated with a rich pattern of plants and geometric shapes. It is striped, and has floral and geometric motifs, as well as inscriptions referring to "prosperity." Around the edge, the words "The Empire" are repeated in standardized Kufic Arabic. This is a shorter version of "The Everlasting Empire for Allah," a phrase to which there are numerous references.

Hispanic capital from the Almohad period, based on Corinthian and Composite capitals of the Caliphate period but lacking their originality and elegance. It is quite typical for the decoration on columns and capitals to deteriorate, leaving surfaces almost completely smooth with very little in the way of engraving.

Almohad green and manganese ceramics are very different to those of the Caliphate period, in both shape and decoration. The use of the technique and characteristic colors (white, green, and black) nonetheless has the same propagandistic aim, since the Almohads used the symbols of the Umayyad Caliphate to support the legitimacy of their own.

During the Almohad period, bronze objects continued to be produced and became more diverse, as shown by this brazier, which is part of an extraordinary set from the Plaza Chirinos.

Animal-like figure identified as some sort of feline, which was probably used as a spout in a fountain or basin. Figurative art featured heavily in domestic and everyday objects found in the palaces and private houses of Al-Andalus, but not in sacred or public places.

Bronze weight from the period of the Catholic Monarchs, used as a standard for high local patronage. It bears the shield and emblem of the Catholic Monarchs, showing the stripes of the Crown of Aragon, but without the pomegranate, indicating that it is from the period 1479–91. It also features the minaret of the Great Mosque, transformed into the Cathedral of Santa María.