These earrings are thought to have been made between the 11th and 12th century in either Nasrid Spain or Iran. They are gold crescents with granulation along the bottom edge. One side of the earring has an inscription (no translation available) and the other an abstract design. The diameter is 1.5 cm. The earrings were sold by Christies for $8,395 (£5,250).
These earrings were thought to have been made between the 11th and 14th centuries. These are earrings made of gold in a roundel shape. It is made of gold sheet, worked in the inside section into a palmette shape while the outside decorations were also made of convex gold sheet decorated with gold granules. The earrings are 7cm wide. The earrings were sold by Christies for $10,428 (£6,000).
This earring was thought to have been made in the 12th century. Made of gold, in filigree and granulation. The size is 5.8 cm. It is in a crescent shape with birds and a tree in abstract. The crescent has an inscription which reads “In the name of God, the Merciful, the Compassionate”. It had been made during the Almohad or Almoravid caliphate. More information can be found on the Qantara website.
The belt buckle was thought to have been made between the 14th and 15th century. Made from gold, enameled with an inscription (no translation available) and decorations of very fine filigree and granulations. It is 9.7 cm long. Information available through Google Cultural Institute or the Museum of Islamic Art, Qatar (item JE.210.2008).
This is a collection of five enameled pieces not made from gold but gold gilt. There is also an amulet that had been enameled with the inscription from the Quran CXII. The biggest piece is 3.4 cm and the smallest is 1.8 cm. It was thought that the items came from a horse’s bridle. The items had been sold by Sotheby’s.
This textile was thought to have been made in the 13th century by Mudéjar textile workers. The textile is 57.4 cm by 60.9 cm and made of linen with a silk twill weave. The textile is in the Art Institute of Chicago.
This textile was thought to have been made in the 14th century. It is silk in a lampas weave. The textile is 102 cm by 36.3 cm and features calligraphic inscriptions. The word felicity (الغبطة) is in kufic script and is mirrored in the weave. In the cartouches are the words good luck and prosperity (والیمن والإقبال ) in nakshi script. The textile is in the Metropolitan Museum of Art.
This textile was thought to have been made in the 15th century. It is a silk lampas weave fragment, 34.2 cm by 25.2 cm. It is in the Cleveland Museum of Art.
This textile was thought to have been made around 1470 C.E. It is silk in a lampas weave. The size is 23.5 cm by 52.7 cm. The textile can be found in the Metropolitan Museum of Art. A matching textile can also be found in the Cleveland Museum of Art.
Mudéjar Art by Museum with No Frontiers.
Symbol, Pattern and Symmetry: The Cultural Significance of Structure by Michael Hann. Via Google Books.
Under The Influence: Questioning the Comparative in Medieval Castile edited by Cynthia Robinson and Leyla Rouhi. Via Google Books.
Two Medieval Silks from Spain by Dorothy G. Shepherd. JStor article.
Textiles from Old Spain by Adele Coulin Weibel. JStor article.
This wooden comb was thought to have been made in Spain between 1400-1450 C.E. It is pierced boxwood with inlays of silver done in the style of mosaics. This is typical of Nasrid woodwork and it called taracea in Spanish. It is 24.1 cm long. It is in the V & A Museum.
This comb was thought be be from the 14th century and was found in Egypt. It is stamped and engraved with a zigzag and holes. There is Arabic on the end, but no translation is on the Qantara site.
This comb is thought to have been made between the 13th and 14th century in Egypt. It is carved with zigzags, circles and an Arabic inscription “firm power”. It is 5.2 cm high and 8.3 cm wide. It is currently in the Metropolitan Museum of Art.
This wooden comb is carved, decorated with joined circles and two Arabic inscriptions “Everlasting Glory” and “and Prosperity”. It is 7.7 cm high and 7.6 cm wide. It is currently in the Metropolitan Museum of Art.
Baths and Bathing Culture in the Middle East: The Hammam on the Heilbrunn Timeline of Art History.
This textile comes from Spain, during the reign of the Nasrid dynasty in the 13th century. This textile is 7.6 cm high and 12.1 cm wide. It is silk, in a lampas weave, with gilt silk thread. It came from the vestment robes of the followers of St. Valerius and probably worn on January 22nd, the Feast day of St Valerius. The textile is in the Metropolitan Museum of Art.
This textile is from 13th century Spain, also silk lampas with gilt silk thread. It is 10.3 cm high and 10.8 cm wide. The textile features tambourine players wearing clothes with geometric designs. This textile piece was found with other textile fragments in a 13th century manuscript in the cathedral of Vich. This textile can be found in the Metropolitan Museum of Art.
This textile is a 14th century Nasrid textile, also silk weave lampas with gilt silk thread. It is 11.4 cm high and 8.9 cm wide. The design of a geometric floral/star theme that is common in Nasrid textiles, illuminations, wood work, book binding and stucco work. This textile is in the Metropolitan Museum of Art.
Western Islamic Art by Don Aanavi. JStor article.
Nasrid plasterwork: symbolism, materials & techniques by Victor Borges. V&A Conservation Journal, Autumn 2004 Issue 48.
Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art edited by Maryam Ekhtiar. Via Google Books.
Islamic tilings of the Alhambra Palace: teaching the beauty of mathematics by Raymond F. Tennant. Via Medievalist.net.
Geometric Patterns in Islamic Art by the Heilbrunn Timeline of Art History.
Islamic Art and Geometric Design by the Metropolitan Museum of Art. PDF format.
Plant motifs in Islamic art by the V&A Teachers’ Resource Guide.
Maths and Islamic art & design by the V&A Teachers’ Resource Guide.
These are earring elements, made of filigree gold and enamel. The 14th century elements are 3cm long and made of spiralling gold wire, the central band with cloisonné enamel lettering on a ground of gold spirals above a minor band of zigzags, the lower hemispherical portion with heart shaped gold spirals. The earrings were sold by Christies for £18,800 ($29,779).
This necklace is late 15th-16th century, made of filigreed and granulated gold with cloisonné enamel. While this was made by Nasrid craftsmen, the inscription is Latin- “Hail Mary, full of Grace” meaning it would have been made for a Christian. The medallion is 7.6 x 0.5 cm, the lotus bud is 8.4 x 5.2 x 0.5 cm with the largest of the cylinder beads 4.8 x 1.7 cm and the smallest 2.5 x 1.3 cm. It is currently in the Metropolitan Museum of Art.
This is a locket from a sword belt, made of gilded copper alloy, with granulation and cloisonné enamel. Thought to have been made between 1492-1550, it has a meaningless Arabic inscription. Most likely this was a trophy made from the “Reconquista” of Spain. It has a height of 7.3 cm, width of 14.6 cm and depth of 1.4 cm. The item is currently in the Victoria & Albert Museum.
The Survival of Nasrid Granada during the Reconquest by Marcel Abou-Assaly. Via Medievalists.net.
Moorish Spain by Richard Fletcher. Via Google Books.
The Art of Islamic Spain by Patricia, Countess Jellicoe. Via Saudi Aramco World.
The Muslims of Valencia in the Age of Fernando and Isabel by Mark D. Meyerson. Via Google Books.
Muqarnas edited by Gulru Necipoglu. Via Google Books.