Repoblación art and architecture explained

The designation arte (or arquitectura) de (la) repoblación (literally, "art or architecture of [the] repopulation") was first proposed by José Camón Aznar in 1949[1] to replace the term Mozarabic as applied to certain works of architecture from the Christian kingdoms of northern Spain between the end of the 9th and beginning of the 11th centuries. Camón argued that these buildings were related stylistically to the architecture of Asturias and owed little to Andalusian styles. Moreover, since they were built by Christians living under Christian rule, neither were they Mozarabic (the Mozarabs being the Christians of Muslim Spain).[2]

In Spanish historiography, the Repoblación is the expansion of Christian settlement in the Duero basin and the Meseta Central in the 9th–10th centuries.

History

The religious influences were inevitable given the presence of the Islamic state of the Caliph of Córdoba, which was highly developed culturally, artistically and economically. However, it had long been suggested that the monumental buildings in northern Spain from this period were crafted by the modest groups of Mozarabic immigrants that settled in the areas of repopulation when the living conditions in Muslim al-Andalus became difficult to bear. As stated by professor Isidro Bango Torviso, suggesting that these immigrants were responsible for these buildings would be akin to suggesting that:

The art and architecture of the Repoblación is identified as the third subset of the Hispanic Pre-Romanesque period, by the phases that correspond to the Visigothic art and architecture and Asturian architecture. Its architecture is a summary of elements of diverse extraction, irregularly distributed, in such a way that on occasion elements of paleo-Christian, Visigothic or Asturian origin come to predominate, while at other times Muslim characteristics come to the fore.

Characteristics

Some of the identifying characteristics of the Repoblación ecclesiastic architecture are:

Examples

The most representative buildings of the genre are:

See also

References

Notes and References

  1. Although presented in a conference in 1949, it was not published and widely read until 1963. Cf. Utrero Agudo (2006), p. 35.
  2. Canellas López and San Vicente (1996), p. 93.

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