Capiteles hispánicos altomedievales. Las contradicciones de la cultura mozárabe y el núcleo bizantino del noroeste

Abstract

RESUMENEl estudio tiene por objeto el fenómeno cultural encerrado en las llamadas «Iglesias mozárabes». La conclusión del análisis correspondiente es que en ellas conviven dos universos culturales distintos: uno, relacionado con un influjo bizantino directo, que es posible situar en el siglo VI; y otro de manifiesto sentido rural . que corresponde a la cultura astur-leonesa. Asimismo se propone una revisión radical del concepto de «mozarabismo arquitectónico», que aquí se sustancia, más que en el uso de ciertos elementos formales, en un criterio «funcionalista» homólogo al de las primeras fases de la mezquita mayor de Córdo-ba, que se manifestaría en la reutilización sistemática de restos arquitectónicos y estructurales de épocas anteriores. SUMMARYThe aim of this study is the cultural feature enclosed in the «iglesias mozárabes». The analysis conclusion is that in these churchs coexist two different cultural worlds. The first, which is relationed with at direct byzantine intluence situate in the VI century. The other, with obvious rural sense belongs to «astur-leonesa» culture. At the same time is propose a radical review about mozarabic architecture, which isbased more than in the use of severa! formal elements, on a functional criterion homologous to the first phases of the great mosque of Córdoba which is shown in the systematic use of architectonic and structural rests of previous ages.

The UAS-Based 3D Image Characterization of Mozarabic Church Ruins in Bobastro (Malaga), Spain

“…The similarities with the Cordovan artistic style are even more evident in constructive and decorative details as the almagra sand paving appeared latter in 2001 in another church in Bobastro, closer to the palatine residential area [27] and the remains (glazed ware, fragments of an epitaph, and a capital cataloged as Bobastro fortress) currently preserved in different museums in Malaga, the National Archaeological Museum, or the archaeological site of Granada. Despite the dating difficulties of these pieces, their presence and variety leads us to rethink that the cloister gallery had more open fronts with gateways with columns of a certain artistic quality [28], similar to that obtained by Cordovan ateliers. The works on traditional materials such as stone, brick, or tile and wood [25] were techniques extended throughout the extensive Andalusian territory, regardless of whether it was attached to a Christian house of worship building or not.…”