Mudejar
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Mudéjar adalah nama yang diberikan untuk orang Moor, dan Andalusians asli mengamalkan agama Islam, yang tinggal di Semenanjung Iberia selepas Reconquista Kristian tetapi tidak menyerah ke Agama Kristian. Ia juga menandakan gaya vernakular pada gaya seni bina dan hiasan Iberia , terutamanya Aragon dan Castile, pada abad ke-12 dan ke-16, dipengaruh kuat oleh kemahiran dan cita rasa Moor.
Perkataan Mudéjar ialah pencemaran Bahasa Sepanyol Zaman Pertengahan untuk perkataan Mudajjan مدجن Bahasa Arab, bermakna "mereka yang menerima penyerahan", dengan sebuah implikasi double, pada serahan kepada Islam dan ke pemerintahan temporal raja-raja Kristian.
Selepas jatuhnya Granada pada January tahun 1492, Mudéjar menyimpan kedudukan mereka untuk some time. Walaubagaimanapun, mereka dipaksa untuk memeluk Agama Kristian pada pertengahan abad ke-16, dan digelar sebagai Morisco dari waktu itu semapi mereka yang enggan untuk memeluk Agama Kristian dibuang negara pada 1610. Gaya berbeza mereka masih wujud pada gaya seni bina juga pada muzik, kesenian, dan keahlian kawasan itu.
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[Sunting] Gaya Mudéjar
Dengan pembinaan bangunan Romanesque, Gothic, dan Zaman pembaharuan, unsur-unsur kesenian Islam telah digunakan, mencapai hasil-hasil yang hebat. Pengaruhnya masih wujud ke dalam abad ke-17.
Gaya Mudéjar, sebuah simbiosis teknik-teknik dan cara-cara untuk memahami gaya seni bina disebabkan oleh budaya Yahudi, Muslim dan Kristian tinggal dengan tenteram bersebelahan, emerged as an architectural style in the abad ke-12 di semenanjung Iberia. It is characterised by the use of brick as the main material. Mudéjar did not involve the creation of new shapes or structures (unlike Gothic or Romanesque), but reinterpreting Western cultural styles through Islamic influences. The dominant geometrical character, distinctly Islamic, emerged conspicuously in the accessory crafts using cheap materials elaborately worked—tilework, brickwork, wood carving, plaster carving, and ornamental metals. To enliven planar surfaces of wall and floor, Mudéjar style developed complicated tiling patterns that have never been surpassed in sophistication.Even after the Muslims were no longer employed, many of their contributions remained as an integral part of Spanish architecture. The term Mudejar style was first coined by José Amador de los Ríos, an Andalusian historian and archeologist, in 1859.
It is accepted that the Mudéjar style was born in Sahagún [1], as an adaptation of architectural and ornamental motifs (especially through decoration with plasterwork and brick). Mudéjar extended to the rest of the Kingdom of León, Toledo, Ávila, Segovia, etc. giving rise to what has been called brick Romanesque. Centers of Mudéjar art are found in other cities, like Toro, Cuéllar, Arévalo and Madrigal de las Altas Torres. It became most highly developed mainly in Aragon, especially in Teruel (although also in Zaragoza, Utebo, Tauste, Daroca, Calatayud, etc.). During the 13th, 14th and 15th centuries, many imposing Mudéjar-style towers were built in the city of Teruel, changing the aspect of the city right down to the present day. Mudéjar brought in a new characteristic by leading to a fusion between the incipient Gothic style and the Muslim influences that had previously been superimposed on late Romanesque. A particularly fine Mudéjar example is the Casa de Pilatos, of the early 16th century at Seville.
Seville includes many other examples of Mudéjar style. The Alcázar of Seville is considered one of the greatest surviving examples of the style. The Alcázar contains Gothic and Renaissance styles as well as Mudéjar. The Palace originally began as a Moorish fort. Pedro of Castile continued the Islamic architectural style when he had the palace expanded. The Parish of Santa Catalina (pictured) was built on the 14th century over an old mosque.
In Portugal there are also examples of Mudéjar art and architecture, although less common and much more simple in decoration than in neighbouring Spain. Mudéjar brick architecture is only found in the apse of the Church of Castro de Avelãs [2], near Braganza, very similar to the prototypic Church of Sahagún in León. A hybrid gothic-mudéjar style developed also in the Alentejo province in southern Portugal during the 15th-16th centuries, overlapping with the manueline style. The windows of the Royal Palace and the Palace of the Counts of Basto in Évora are good examples of this style. Decorative arts of mudéjar inspiration are also found in the tile patterns of churches and palaces, like the 16th-century tiles - imported from Seville - that decorate the Royal Palace of Sintra. Mudéjar wooden roofs are found in churches in Sintra, Caminha, Funchal and some other places.
Neo Mudéjar is a perpetuation or revival of features of the style in the 16th to 19th centuries in Spain and Latin America. When Emilio Rodriguez Ayuso designed Madrid's now-demolished Plaza de Toros in a neo-mudejar style in the late 19th century, it became a popular style in bullfight rings all around Spain. Seville's Plaza de España from the 1929 World's Fair uses neo-Mudéjar style. The Gran Teatro Falla in Cádiz also uses this style.
In Madrid there are several good examples of neo-mudejar architecture which still remain, including the bullfight ring Las Ventas (pictured), La Iglesia Virgen de la Paloma, Escuelas Aguirre, and the water-tower turned art exhibition space Torre de Canal Isabel II.
[Sunting] Galleri
[Sunting] Rujukan
- Boswell, John (1978). Royal Treasure: Muslim Communities Under the Crown of Aragon in the Fourteenth Century. Yale University Press. ISBN 0300020902
[Sunting] Lihat juga
- Mozarab
- Mudéjar Architecture of Aragon, a World Heritage Site