The Architectural Christian Spolia in Early Medieval Iberia: Reflections between Material Reuse and Cultural Appropriation
The reuse of construction materials has been a consistent practice throughout the history of architecture, especially prevalent during periods of transition when it was preferred for its ability to simplify installation and reduce construction costs. This practice was particularly common in late Rom...
| Authors: | ; |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2024
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| In: |
Religions
Year: 2024, Volume: 15, Issue: 6 |
| Further subjects: | B
mosque
B Church B Cross B niche plaque B Relief map B gate B minaret B Visigoth |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a The reuse of construction materials has been a consistent practice throughout the history of architecture, especially prevalent during periods of transition when it was preferred for its ability to simplify installation and reduce construction costs. This practice was particularly common in late Roman urban contexts, where construction materials, especially ashlar and sculptural elements, were abundant following the abandonment of temples and public buildings. However, there are occasions when the use of spolia, or reused materials, goes beyond simple material recycling. The reuse and display of certain pieces carry complex implications involving symbology, cultural appropriation, or collective memory exercises that convey messages through new buildings. In this paper, we focus on the unique case of Hispanic Christian architectural sculptures that were “recycled” in new buildings during the first centuries of Islamic domination of the Iberian Peninsula, specifically within places of worship. Through a general analysis and review of some examples, we aim to reflect on the motivations and intentionality behind the use of certain sculptural pieces and their placement in new buildings, which is not arbitrary. | ||
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