ResumeNDentro del armamento de parada nazarí resultan especialmente relevantes por su originalidad morfológica las espadas jinetas. Varios ejemplares de esta serie están decorados con fragmentos de marfil esculpido dispuestos en la empuñadura. Tres de estos pomos eborarios sorprenden por sus estrechas analogías técnicas, estilísticas e iconográficas. En este trabajo se aborda por primera vez su estudio comparativo, considerándolos -en oposición a la panoplia regia dotada de emblemas dinásticos-parte integrante de una producción seriada salida de los talleres áulicos granadinos con el objeto de satisfacer la demanda cortesana. Se propone asimismo una interpretación novedosa de su iconografía, con antecedentes en el ámbito mardanisí, así como ejemplos coetáneos en la decoración parietal mudéjar.Palabras clave: nazarí, espada jineta, armamento, marfil, eboraria, Granada.
AbstRActWithin Nasrid parade weapons, jinetas swords are particularly relevant for their morphological originality. Several examples of this series are decorated with fragments of carved ivory arranged in the hilt. Three of these ivory pommels are astonishing because of their narrow technical, stylistic, and iconographic analogies. This paper discusses their comparative study for the first time by considering them alongside royal collection of weapons fitted with dynastic emblems as a key component to a mass production issued from Granada courtly workshops in order to meet the courtesan demand. Likewise proposed is a novel interpretation of their iconography with a background in the Mardanisi sphere and contemporary examples in the Mudejar wall decoration.
From the mid-twelfth century to the first half of the thirteenth century, Norman Sicily was one of the main centres of ivory work activity in the Western Mediterranean. Its workshops specialized in the crafting of ivory objects painted in various typologies according to manufacture techniques, and they are a splendid specimen of medieval quantity production. The extensive range of these pieces indicates the development of an almost industrialized manufacture whose products massively expanded and circulated throughout the Mediterranean region during the Late Middle Ages. Early on, al-Andalus received copies bearing these characteristics through the art trade and, once the Norman workshops ceased to exist, kept painted ivory production alive during the Naṣrid period by establishing its own manufacturing techniques that assimilated the techniques from the island while creating a thematic repertoire and some clearly personal aesthetic models.
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