1 00:00:05,980 --> 00:00:14,970 Hello, everyone. Welcome to the sixth and final lecture being given by the slain professor of finance at the 2021. 2 00:00:14,970 --> 00:00:20,280 Some of you will know these lectures are an important tradition at the University of Oxford. 3 00:00:20,280 --> 00:00:28,860 John Ruskin was the first to give a series of public lectures on art in 1870 after being appointed as Initial Slade professor of Fine Art. 4 00:00:28,860 --> 00:00:33,880 Every year, a distinguished scholar is asked to follow in his footsteps. 5 00:00:33,880 --> 00:00:39,760 My name is Geoffrey Bachem, nine, professor of the history of art at the University of Oxford. 6 00:00:39,760 --> 00:00:46,490 It is my great pleasure to introduce this year's Slate Professor Dr. Geralyn Detox. 7 00:00:46,490 --> 00:00:54,860 Jerry Dodds is Harlequin, the Dead Diamond Professor, Faculty of Art History at Sarah Lawrence College in the United States. 8 00:00:54,860 --> 00:01:00,170 Professor Dodd's scholarly work is centred on mediaeval, Spanish art and architecture, 9 00:01:00,170 --> 00:01:05,900 and especially on issues of trans culture, Asian and identity formation. 10 00:01:05,900 --> 00:01:14,030 Amongst her many publications are arts of intimacy, Christians, Jews and Muslims in the making of Castilian culture. 11 00:01:14,030 --> 00:01:20,790 The renowned co-authored textbook. In addition to her other books, catalogues and essays, 12 00:01:20,790 --> 00:01:27,700 Jerry has also curated a number of important exhibitions and made interesting films to accompany them. 13 00:01:27,700 --> 00:01:36,730 In 2018, in recognition of her exceptional contributions to the dissemination of knowledge in Spanish history and culture, Prof. 14 00:01:36,730 --> 00:01:43,450 Dodds was the recipient of the Cross of the Order of Civil Merit from the Government of Spain. 15 00:01:43,450 --> 00:01:49,630 We are honoured that Professor Dodds accepted an invitation to deliver this year's slate professor of fine art lectures, 16 00:01:49,630 --> 00:01:55,580 and I now hand over the microphone to her for the last time. Thank you. 17 00:01:55,580 --> 00:02:00,940 Thank you so much again. Griffith and I have more to say at the end. 18 00:02:00,940 --> 00:02:13,050 But thank you for your very generous words. So the Alhambra in Granada, the great palace of the nascent monarchy, 19 00:02:13,050 --> 00:02:18,270 has been gloriously ornamented over times with scores of our own projected meanings. 20 00:02:18,270 --> 00:02:26,550 WASHINGTON Irving, my countrymen, who wrote from a set of apartments he had procured within the Very Alhambra in the spring of 1829, 21 00:02:26,550 --> 00:02:31,170 called it an oriental pile the royal abode of the Moorish kings, 22 00:02:31,170 --> 00:02:45,700 where surrounded with the splendours and refinements of Asiatic luxury, they made their last stand for empire in Spain. 23 00:02:45,700 --> 00:02:46,960 Looking back, 24 00:02:46,960 --> 00:02:56,260 I believe that despite our ardent intellectual fealty to Edward said we were not so long ago moved to say similar things if more guarded language. 25 00:02:56,260 --> 00:02:59,080 And why not Asiatic and oriental aside? 26 00:02:59,080 --> 00:03:05,350 Of course, this was a building constructed to quicken the hearts of those who beheld it from within and without. 27 00:03:05,350 --> 00:03:16,330 Our mistake is to see this in Irving's terms of only splendours and refinement because the Alhambra was a far deeper game than that. 28 00:03:16,330 --> 00:03:21,910 The first Nazaret Muhammad, the first having defeated Ibn of Murcia in the 13th century, 29 00:03:21,910 --> 00:03:30,490 cobbled together an Islamic polity styling himself as the king of Iberian Muslims under the shelter of a feudal pact with Ferdinand. 30 00:03:30,490 --> 00:03:38,530 The third the now Nazareth's dynasty was born, then as a vassal of Castiel, though not a consistently compliant one. 31 00:03:38,530 --> 00:03:41,290 After first settling on the hill of the ale by scene, 32 00:03:41,290 --> 00:03:50,650 he said to have climbed to the more formidable Sabeco Hill and laid out a stronghold which would become a fortress and a Palatine city. 33 00:03:50,650 --> 00:03:54,880 The palace's relations to its dramatic setting differ. 34 00:03:54,880 --> 00:04:05,080 Child, Ruggles reminds us, would become not only a context, but a metaphor for territory and sovereignty for few future Nasrin monarchs 35 00:04:05,080 --> 00:04:09,970 and Muhammad was already keenly aware of his position governing a condensed, 36 00:04:09,970 --> 00:04:14,380 vestigial territory pushed hard against the Mediterranean. 37 00:04:14,380 --> 00:04:26,350 Here, he clearly declared his intention to imagine this rule as that of Alan Deluce writ large in the most perilous moment of its existence. 38 00:04:26,350 --> 00:04:35,590 It would be continuously expanded and transformed under successive nascent rulers, as Antonio Fernandez purpose has shown us over the years. 39 00:04:35,590 --> 00:04:42,070 The monarch, who is our focus Mohammed the fifth made perhaps the most memorable changes to the Alhambra. 40 00:04:42,070 --> 00:04:50,470 We're going to join him in 13 62, just returned from an exile of three years to a throne that had been lost to his half-brother. 41 00:04:50,470 --> 00:04:55,270 A throne regained with the help of his great ally and feudal lord Peter. 42 00:04:55,270 --> 00:04:59,530 The first also called Peter the cruel king of Castile. 43 00:04:59,530 --> 00:05:03,520 Muhammad would continue to rule for almost 30 years more, 44 00:05:03,520 --> 00:05:14,610 in part because of his friendship with Peter and also his strategic management of that volatile and tortured Castilian King. 45 00:05:14,610 --> 00:05:20,280 Upon his return, Mohammed first renovated the Max War, where Palace business was conducted, 46 00:05:20,280 --> 00:05:30,930 the seller de la Barca and the North Gallery of the Castrol Sultan called today Kumaris Palace, the centre of court life and around 13 70. 47 00:05:30,930 --> 00:05:35,700 He then set out to add an entirely new complex to the palace, 48 00:05:35,700 --> 00:05:42,720 which we often call today to the Palace of the Lions, known in the time of Mohammed the fifth, as Arianna said. 49 00:05:42,720 --> 00:05:51,540 A garden of delights. A court divided into four parts by water channels that flowed to a central fountain circled by lions. 50 00:05:51,540 --> 00:06:05,220 On the East-West axis are pavilions resting on frail columns and to the north south spectacular Cuba's centrally planned rooms crowned with Cardenas. 51 00:06:05,220 --> 00:06:11,730 Interlocking complexes of sections of cones creating intricately complex sculptural surfaces, 52 00:06:11,730 --> 00:06:17,800 complicating but disconnected from the structure of an arch or dome. 53 00:06:17,800 --> 00:06:25,150 These dorms have a kinetic effect established through their changing appearance as light rotated through a crown of pierced windows, 54 00:06:25,150 --> 00:06:35,710 revealing an intricate, continuously rotating vault of heaven as the sun marks its passage through the skies, surfaces of decay, 55 00:06:35,710 --> 00:06:42,040 continuous floral and vine scrolls are complex conceived and often interwoven with a pig. 56 00:06:42,040 --> 00:06:47,980 Repeat over 3000 inscriptions, including the Nazarene motto Prayers, 57 00:06:47,980 --> 00:06:56,500 Maxon's and some 30 poems are poetic fragments written expressly for the palace by Ibn Al hijab. 58 00:06:56,500 --> 00:07:02,290 Even some rock at Ibn al-Khatib poets and elite Nasserist courtiers at the moment of the 59 00:07:02,290 --> 00:07:07,840 palace's construction and study today in profoundly important work by Hossein Megaport, 60 00:07:07,840 --> 00:07:13,330 commuters who calls the Alhambra a literary textual building. 61 00:07:13,330 --> 00:07:13,990 In fact, 62 00:07:13,990 --> 00:07:23,200 once entitlement within its walls was intertwined with one's ability to read the building and interact appropriately with its compact cursive, 63 00:07:23,200 --> 00:07:27,460 a Griffey floating on top of fields of Matariki. 64 00:07:27,460 --> 00:07:38,180 The effect is one of two independent but intertwining abstract discourses in which the epigraph one is certainly dominant. 65 00:07:38,180 --> 00:07:44,090 Work on the home front during the past decades has revealed much about its complex ornamental discourses, 66 00:07:44,090 --> 00:07:50,000 in particular as regards the language with which the building itself admonishes the viewer in 67 00:07:50,000 --> 00:07:57,230 the first person to slow their pace and engage a poem from the colour hurrah of Mohammed. 68 00:07:57,230 --> 00:08:04,040 The seventh declares You who enter stop for God's sake, contemplate. 69 00:08:04,040 --> 00:08:10,010 This occurs for Olga Bush in a framing of aesthetic experience as the arrested movement 70 00:08:10,010 --> 00:08:17,540 of ceremonial ritual or artistic preparation for the veneration of the Sultan. 71 00:08:17,540 --> 00:08:27,650 The building is thus interpretive, fully dense and multivalent. Juan Carlos Ruiz reads a vision dedicated to creativity to creation and eternity, 72 00:08:27,650 --> 00:08:37,520 and he urges us to draw on Yasir Chartwells theory of the McCance dome as an expression of an atomic rather than Aristotelian view of the universe. 73 00:08:37,520 --> 00:08:43,710 One made of intricate fragments that only God can know or govern. 74 00:08:43,710 --> 00:08:51,540 Although Bush has shown a meticulously conceived programme in which Ornament interacts in concert with textiles and furnishings, 75 00:08:51,540 --> 00:08:59,490 which in turn share a dialogic structure with poetry so that those same fine textiles and luxurious objects that Washington Irving 76 00:08:59,490 --> 00:09:09,960 imagined emerge as part of a learnt intellectualised court culture that the charming 19th century enthusiast could not begin to imagine. 77 00:09:09,960 --> 00:09:13,620 Indeed, for Cynthia Robinson, the language of Forms is a dense, 78 00:09:13,620 --> 00:09:22,200 allegorical web profoundly informed by Sufism that consciously plays with the concepts of misuse and representation, 79 00:09:22,200 --> 00:09:28,810 both abstract and literal through ornament poetry and pink Rafi. 80 00:09:28,810 --> 00:09:36,340 So how are we to understand these monumental figural paintings in the Garden of Delights? 81 00:09:36,340 --> 00:09:48,220 A group of gentlemen against the gold ground and images of courtly romances, hunting and valour of arms painted in opaque, saturated temperate. 82 00:09:48,220 --> 00:09:57,040 The Court of the Lions on Rihanna said, has been seen literally for centuries as duplicating the functions of the Palace of Kumaris. 83 00:09:57,040 --> 00:10:07,210 Or perhaps as a summer pleasure palace or as a banquet hall, as some still see it today, it is on one hand a pair of desert goal setting. 84 00:10:07,210 --> 00:10:12,640 But I'd like to talk about it today in terms offered to us by Juan Carlos Rizzo, 85 00:10:12,640 --> 00:10:21,310 who recognised that the court and its dependencies were reflective of a series of madrassas sites of learning constructed 86 00:10:21,310 --> 00:10:29,230 under the patronage of 14th century Maryland Sultans that Mohammed might well have seen during his exile in North Africa. 87 00:10:29,230 --> 00:10:31,240 As scholars, we'd all been for so long, 88 00:10:31,240 --> 00:10:41,210 so focussed on the palatial theory like Irving as good Orientalist that we have not seen this clear form that we knew so well. 89 00:10:41,210 --> 00:10:45,950 The Court of the Lions is interpreted today by some as a Bible Hikma, 90 00:10:45,950 --> 00:10:53,870 a term that arose first in relationship to the Library or House of Wisdom of Baghdad in the late, 8th and 9th centuries. 91 00:10:53,870 --> 00:11:02,180 But later, examples were conceived as libraries as sites for scholarly exchange and the education of princes. 92 00:11:02,180 --> 00:11:11,840 And you see we see here just such a library, you can see little books in the back with a group of a group of wise people or 93 00:11:11,840 --> 00:11:18,860 organising their own discussion in a mock manuscript from around thirteen hundred. 94 00:11:18,860 --> 00:11:26,690 Susanna Codebook opinion has shown how this kind of courtly institution, a library that becomes a place of learning and discussion, 95 00:11:26,690 --> 00:11:31,670 was already part of the dynastic strategies for legitimacy in Ireland to lose in the period of 96 00:11:31,670 --> 00:11:37,310 the caliphate when it appeared in the pillared hall of the umpired palace of Medina al-Sadr. 97 00:11:37,310 --> 00:11:44,150 Here, Roman sarcophagi of the philosopher type became both emblems of the intellectual activity that occurred 98 00:11:44,150 --> 00:11:52,460 there and allegories for the wise eight ancients whose classical texts were translated and studied there. 99 00:11:52,460 --> 00:11:57,260 They embody the process of translation as an arm of instruction, 100 00:11:57,260 --> 00:12:07,600 part of the incorporation of a body of knowledge into my legacy as part of their legitimisation and self-definition. 101 00:12:07,600 --> 00:12:10,720 Abidal Hickman at the Alhambra might be seen then, 102 00:12:10,720 --> 00:12:16,630 not only as a place for the consideration of jurisprudence, but also the cultivation of ancient texts, 103 00:12:16,630 --> 00:12:21,760 philosophy, the sciences and a job that is secular literature, 104 00:12:21,760 --> 00:12:27,760 collective wisdom and virtues and codes of comportment that all princes ought to follow. 105 00:12:27,760 --> 00:12:35,830 The texts supporting this intellectual work at the Alhambra would have been contained in alcoves at the eastern extreme of the Palace of the Lions, 106 00:12:35,830 --> 00:12:42,340 farthest from the entrance. But opening on to a gallery in court as as Medina Asahara. 107 00:12:42,340 --> 00:12:46,330 So the paintings are up here. These are the alcove sets. 108 00:12:46,330 --> 00:12:51,820 One supposes the light the books would have been kept and the paintings are tucked behind them here. 109 00:12:51,820 --> 00:12:59,820 One there, one there and one at the end. So then, 110 00:12:59,820 --> 00:13:05,460 how did these paintings function within the palace and library within the embrace of this highly 111 00:13:05,460 --> 00:13:15,560 intellectualised and esoteric language of ornament that characterises our Riada side as a whole? 112 00:13:15,560 --> 00:13:19,610 These paintings are first provided with an epic graphic context. 113 00:13:19,610 --> 00:13:26,270 The actual poetry composed to celebrate Muhammad, the fifth is concentrated on the North-South axis of the palace, 114 00:13:26,270 --> 00:13:31,040 defined by the two Cubas and likely a throne content complex. 115 00:13:31,040 --> 00:13:39,290 The inscriptions from the other parts of the Palace of the Lion tend to repeat phrases and prayers found throughout the building the Nazareth model. 116 00:13:39,290 --> 00:13:45,830 There is no victor to God and others blessing good fortune and one lasting health glory. 117 00:13:45,830 --> 00:13:53,240 Be to our lord. The Sultan's short models that might have served as Edmund memoir for longer formula within the official protocol, 118 00:13:53,240 --> 00:14:03,300 as Jeremy Jones has suggested for Sicily. But in the east west axis, culminating just in front of the hall, where the paintings are located, 119 00:14:03,300 --> 00:14:10,320 the language of the inscription militates certain formulae are concentrated in front of the paintings. 120 00:14:10,320 --> 00:14:18,150 Muhammad is not just our lord, but just warrior, which does not appear on any of the other faces of the court facade. 121 00:14:18,150 --> 00:14:27,540 Epigraph, he promises not just prosperity, but eternal sovereignty and dominion and clear victory texts that are formulaic, to be sure, 122 00:14:27,540 --> 00:14:36,900 but which congregate here in a more elaborate formula is repeated twice in the monumental cursive inscriptions leading to the central painting. 123 00:14:36,900 --> 00:14:47,050 To wit? Divide a dominion and clear victory belong to our Lord Abdullah, prince of the Muslims. 124 00:14:47,050 --> 00:14:53,830 On the other axis, in the court, this only appears immediately in front of the throne room. 125 00:14:53,830 --> 00:14:58,510 The juxtaposition of expressive languages, one that hinges on intricate, 126 00:14:58,510 --> 00:15:04,690 abstract and epic graphic semantic structures and the monumental figuration of the other is jarring. 127 00:15:04,690 --> 00:15:12,340 The more so because the paintings are took tie into these constricted spaces so they cannot be seen until ones directly below them. 128 00:15:12,340 --> 00:15:21,970 The figural and narrative paintings on leather executed probably between 13 A.D. and 390, seem in comparison, almost primitively literal, 129 00:15:21,970 --> 00:15:30,050 a contrast that Robinson interestingly sees as part of a play basis and representation throughout the palace. 130 00:15:30,050 --> 00:15:38,150 The centre moves most of these paintings likely represents, Echevarria has suggested an assembly of knights surrounding the sultan, 131 00:15:38,150 --> 00:15:43,010 even the compared them to the Ansar companions of the Prophet, 132 00:15:43,010 --> 00:15:51,830 one of a series of metaphors exploited exploited by the Nazareth's in the construction of a fictive identity of pure Arab genealogy, 133 00:15:51,830 --> 00:16:02,300 ancient lineage and unquestioned religious orthodoxy in the pursuit of jihad as a struggle against the enemies of Islam. 134 00:16:02,300 --> 00:16:11,990 Years ago, I compared them to an illustration from a Syrian copy of the book Tal of 5:47, in which seven sages amongst them Homer Aristotle, 135 00:16:11,990 --> 00:16:18,950 Alexander the Great and Solon hold animated discussions from their temporarily divergent worlds. 136 00:16:18,950 --> 00:16:25,190 My concern at the time was to construct a precedence for the representation of an interaction across time. 137 00:16:25,190 --> 00:16:30,890 But the book's early come the choicest maxims and aphorisms make sense now in a 138 00:16:30,890 --> 00:16:36,290 different way if we understand the ceiling as the covering of a library alcove. 139 00:16:36,290 --> 00:16:38,060 The illustration is, after all, 140 00:16:38,060 --> 00:16:46,340 made for a book that's a collection of albeit dubious biographies and aphorisms of great sages whose discourse with one another. 141 00:16:46,340 --> 00:16:57,010 Only such a book makes possible. The illumination is, in one sense, a visualisation of the translation of its compiler, even fatigue, 142 00:16:57,010 --> 00:17:04,060 who brought these stages together from different times and places so that their wisdom could be discussed in compared by readers. 143 00:17:04,060 --> 00:17:11,020 The Majlis, the gathering of elite masters and in the paintings, pardon me, 144 00:17:11,020 --> 00:17:15,730 might evoke a similar conversation based on the books in the library below. 145 00:17:15,730 --> 00:17:22,180 Translation included commentary, interpretation and new information. 146 00:17:22,180 --> 00:17:28,870 It favoured contemporary contingencies over fidelity to a historical novel. 147 00:17:28,870 --> 00:17:36,370 Model, pardon me. The learnt elites in the central dome seem in the time of the nascent Sultan Muhammad, 148 00:17:36,370 --> 00:17:46,080 the fifth or perhaps a few years after his death, to be echoing yet another act of translation through deliberation. 149 00:17:46,080 --> 00:17:52,080 But the discourse of the lateral was to the north and south of this one is quite a different story. 150 00:17:52,080 --> 00:17:58,890 They depict in a shallow space a landscape or garden in which birds populate the trees and skies, 151 00:17:58,890 --> 00:18:10,230 hovering oddly over both compositions with ominous ubiquity, a setting that must represent a said the garden of Delights in which it is found. 152 00:18:10,230 --> 00:18:16,290 Chandler Post, pointing out Gallus isms in costumes called the style Franko Gothic. 153 00:18:16,290 --> 00:18:24,270 By the way, he also reported that Bernard Berenson and assign them to a Florentine master something post actually asked him to confirm in writing. 154 00:18:24,270 --> 00:18:28,270 I probably would, too. Indeed, in terms of galaxies, 155 00:18:28,270 --> 00:18:35,080 CISM shares certain conventions of representation with the artery wall paintings of the chateau of South Florida in November. 156 00:18:35,080 --> 00:18:39,910 But we're most likely looking at an Iberian tradition of secular painting. 157 00:18:39,910 --> 00:18:44,850 The same typologies can be found in the contiguous. 158 00:18:44,850 --> 00:18:54,810 And in 14th century miniatures of Alfonso, the 11, the 11 Cronica Triana Carmen radiographers made this comparison of young knights. 159 00:18:54,810 --> 00:19:03,180 She believes the technique tempera painting of art on a ground prepared with gesso to be common with 14th century Christian altar pieces. 160 00:19:03,180 --> 00:19:08,910 But familiarity with a secular romance tradition of the kind encouraged under Alfonso the 11th Peter, 161 00:19:08,910 --> 00:19:14,850 the first father, seems a more likely place for this type to have been developed, 162 00:19:14,850 --> 00:19:24,720 especially in light of the lively artistic exchanges documented between the Castilian and Nazareth courts in the 14th century. 163 00:19:24,720 --> 00:19:33,840 But I can see graphically things get more complicated in my very first publication now over 40 years ago. 164 00:19:33,840 --> 00:19:40,560 I suggested that the paintings in the Hall of the Kings of the Alhambra used artillery and iconography 165 00:19:40,560 --> 00:19:46,770 as part of a fashionable admiration in the nascent court for Gothic style and the language of chivalry, 166 00:19:46,770 --> 00:20:01,350 one in which that yearning was marked by the defiant, monumental, polarising image of a Muslim killing a Christian knight in mounted combat. 167 00:20:01,350 --> 00:20:09,690 I saw the story of Tristan and Isolde images of Lancelot in the wild, wild men as connected to gothic prototypes, 168 00:20:09,690 --> 00:20:16,110 perhaps from French Gothic ivory caskets known as composite test caskets that combine some of the same 169 00:20:16,110 --> 00:20:24,840 disconnected scene from just disparate stories and legends as a of courtly love and moralised transgression, 170 00:20:24,840 --> 00:20:31,380 it seemed an OK bit of iconography for the time. But the terms in which I spoke feels scurrilous as I read them today. 171 00:20:31,380 --> 00:20:41,490 To wit, the idea of fashionable admiration linked with guileless misunderstanding a patently Orientalist assumption which was 172 00:20:41,490 --> 00:20:48,360 seised upon 30 years later by Cynthia Robinson in a ground changing volume she edited together with Simon Pinney, 173 00:20:48,360 --> 00:20:52,680 one that has very much transformed the way we think about these images. 174 00:20:52,680 --> 00:21:02,010 Robinson had shown that courtly tales could be found in this far more transcultural mix that we had not considered before. 175 00:21:02,010 --> 00:21:11,040 Tristan DiLeo niece a version of Tristan and Isolde and fluorescent block floor both Castilian transcultural narratives, 176 00:21:11,040 --> 00:21:18,670 very likely known by their nascent allies, are also present in the imagery of the paintings. 177 00:21:18,670 --> 00:21:21,310 So these images were not misunderstandings. 178 00:21:21,310 --> 00:21:31,360 They were, as Rodriguez Porto suggested, translations, appropriations inventions and refashioning to serve an already transcultural repertory. 179 00:21:31,360 --> 00:21:40,810 A slightly more complacent lady with Wildmon can be found, for instance, as an isolated image in the castle of Alcanna Teeth and its myriad meanings. 180 00:21:40,810 --> 00:21:50,580 I, a graphical and I chronological and psychological, are all available, Peni tells us in the Dorel Hikma. 181 00:21:50,580 --> 00:21:57,360 The idea of translation becomes particularly interesting if we reconsider a key image from my original study, 182 00:21:57,360 --> 00:22:03,960 Tristan and his love meet in both French and Castilian sections of the story in a set piece called 183 00:22:03,960 --> 00:22:10,500 The Tryst Beneath the Tree here in an iconic graphical type widely disseminated in courtly arts. 184 00:22:10,500 --> 00:22:16,680 But within the fountain are a series of nude figures, and I don't know if you can see them, they're here. 185 00:22:16,680 --> 00:22:26,480 And this is a closer photograph made of them. You can see these nude figures who are within the fountain. 186 00:22:26,480 --> 00:22:35,490 Now the new figures correspond. To a type for nude figures bathing in the fountain of youth, a scene probably from the Alexander cycle, 187 00:22:35,490 --> 00:22:42,810 which also appears separately together with the twist on the composite caskets only usually they get their own fountain. 188 00:22:42,810 --> 00:22:48,990 Actually, always they get their own fountain. I'd originally called this a misunderstanding of the gothic type, 189 00:22:48,990 --> 00:22:55,080 measuring its validity by conformity to an authoritative original and protecting onto the Nazareth's. 190 00:22:55,080 --> 00:23:04,320 And I use here the words of Barry Flood in speaking of Hindu-Muslim encounters projecting onto the Nazareth's, 191 00:23:04,320 --> 00:23:09,480 a backward oriented and ideologically charged source monitoring. 192 00:23:09,480 --> 00:23:13,170 I had to give that quote because I loved the source mongering part. 193 00:23:13,170 --> 00:23:21,030 It's clear here that the kind of graphical type was available to the artists of the Alhambra paintings, but not thematically compelling. 194 00:23:21,030 --> 00:23:24,150 So these pesky nude figures were redeployed. 195 00:23:24,150 --> 00:23:32,100 Robinson saw them as part of a fountain, and I wonder if perhaps the reconceived as a piece of classical spoleto within a fountain, 196 00:23:32,100 --> 00:23:40,320 an image of a kind that was consistently part of the translate of culture of Islamic Iberia for all seven centuries of its existence? 197 00:23:40,320 --> 00:23:46,560 Recall that a Roman sculpture of Venus graced the southern gateway to mid-teen Asakura, 198 00:23:46,560 --> 00:23:54,510 which was translated into an allegory for the planet Venus or the constellation Virgo stores that protected Allan de Luce, 199 00:23:54,510 --> 00:23:59,220 or the classical sarcophagi found in the bites of Hikma of Medina on soccer, 200 00:23:59,220 --> 00:24:07,260 transformed into the common concept of the wise ancients whose work was studied there. 201 00:24:07,260 --> 00:24:17,320 In this Dorel Hikma, the images from Tristan or Flora and Blanca Flor are from romances cycles of courtly love that are often juxtaposed. 202 00:24:17,320 --> 00:24:27,360 Chuck, let's try that again. They're often juxtaposed in a French gothic context as tomboy of courtly love and moralised transgression. 203 00:24:27,360 --> 00:24:31,980 But here they're translated to serve a divergent moral code, 204 00:24:31,980 --> 00:24:36,990 something accomplished as these romances are semantically guarded by a series of dynamic 205 00:24:36,990 --> 00:24:44,460 scenes in a more monumental scale as a guiding moral discourse in the painting cycle. 206 00:24:44,460 --> 00:24:51,180 The most salient image of the cycle is a single joust in which a Muslim kills a Christian knight, 207 00:24:51,180 --> 00:24:56,430 and Robinson has also connected this to one of the romances. 208 00:24:56,430 --> 00:25:05,730 It governs the interpretation of the other vignettes placing ascendancy with Muslim knights in the context of this transcultural cultural narratives. 209 00:25:05,730 --> 00:25:11,910 Beyond the particular romance narrative, it is structurally central to the discourse of the painting. 210 00:25:11,910 --> 00:25:19,500 It really is emblematic not of Nazaret or Castilian or Gothic chivalry, as we often try to nuance things here, 211 00:25:19,500 --> 00:25:26,490 I think it's really an image of a Christian and a Muslim in an uncomplicated bipolar opposition. 212 00:25:26,490 --> 00:25:33,390 The transcultural space of the Garden of Delights is confessional, contested territory. 213 00:25:33,390 --> 00:25:37,980 Such images of hunting and violence beyond the narratives to which they might be attached 214 00:25:37,980 --> 00:25:43,470 constitute a separate discourse of easily readable analogies within the paintings. 215 00:25:43,470 --> 00:25:51,660 The Christian Knight is to the wild man whom he kills as the Muslim knight is to the Christian he defeats at the Alhambra. 216 00:25:51,660 --> 00:26:01,080 These more monumental images corral the romance vignettes, asking acting sort of as moral centuries to their transcultural stories that 217 00:26:01,080 --> 00:26:06,540 claim romance literature in the library below as part of a common culture. 218 00:26:06,540 --> 00:26:16,560 In this way, they proclaim that the textual incorporation of this literature does not extend to confessional ambivalence or to Nazaret identity. 219 00:26:16,560 --> 00:26:25,530 Recent studies by Muhammad Balon have revealed in the work of the Nasser dynasties extraordinary polymath and courtier, even al-Khateeb, 220 00:26:25,530 --> 00:26:33,300 a genealogical obsession with a myth of pure Arab descent and unsullied Muslim confession and lineage that masked 221 00:26:33,300 --> 00:26:40,590 genealogical anxieties about pure identity that stemmed from the very heterogeneous descent of the nascent themselves, 222 00:26:40,590 --> 00:26:48,420 both because of the demographics of their plural polity and because of their own limited lineage and on the simplest level level, 223 00:26:48,420 --> 00:26:56,310 very much like much of his line of Muhammad, the fifth mother, both Sonya was a Christian, 224 00:26:56,310 --> 00:27:04,180 and this also acts in a way to obscure their political interdependence on the Kingdom of Castile for the Nazareth, 225 00:27:04,180 --> 00:27:10,170 Kingdom of Granada still danced a tenuous diplomacy as both the last connexion and connexion 226 00:27:10,170 --> 00:27:16,320 of the marinade states of North Africa to the Iberian Peninsula and his vassals of Castiel, 227 00:27:16,320 --> 00:27:20,400 for whom they acted as a bulk work against the same polity. 228 00:27:20,400 --> 00:27:27,720 Granada and Castiel were interwoven not only through tribute and military obligations, but also through agriculture, 229 00:27:27,720 --> 00:27:36,240 the Nazareth's powerful international trade networks and the lively artistic interaction that saw not only a market in objects and materials, 230 00:27:36,240 --> 00:27:41,910 but the movement of artistic styles from Granada to Seville and then back to Granada again. 231 00:27:41,910 --> 00:27:48,780 After Peter, the first received Muhammad, the fifth during his exile and returned him to his throne. 232 00:27:48,780 --> 00:27:54,660 So there was tension within this transcultural garden of chivalry. 233 00:27:54,660 --> 00:28:00,900 The remaining images of this second more agonistic discourse in the paintings are all hunters, 234 00:28:00,900 --> 00:28:05,790 but they exist in a garden already full of hunting figures, wind hunting horns. 235 00:28:05,790 --> 00:28:09,870 Attendants have spears, dogs, course beneath horses, 236 00:28:09,870 --> 00:28:16,410 hooves and attack the hunters prey in a way everyone hunts so that the very skies are filled with hunters. 237 00:28:16,410 --> 00:28:23,280 Falcons snatch doves in flight, extending their talons and beaks in mid-air. 238 00:28:23,280 --> 00:28:31,320 In the southern seething ceiling, we see established in an unusually clear and graphic compositional juxtaposition. 239 00:28:31,320 --> 00:28:38,700 The metaphoric relationship between hunting and warfare hunting not only as preparation training for the skills of warfare, 240 00:28:38,700 --> 00:28:48,240 by the way hunting, said Castilian King. Up until the 11th, Peter's father is good preparation for war and also quite a bit less expensive. 241 00:28:48,240 --> 00:28:49,950 Not only preparation for war, 242 00:28:49,950 --> 00:29:00,330 but hunting as an aristocratic activity that has the capacity of mirroring the hierarchies inherent in feudal warfare and society amongst Muslims. 243 00:29:00,330 --> 00:29:08,940 Spearing a boar and a Christian who spears a bare faced one another on either side of Tristan and Isolde faced fateful tryst. 244 00:29:08,940 --> 00:29:16,290 Their costumes that relate them to figures in the romance narrative scenes have prompted suggestions of Castilian master. 245 00:29:16,290 --> 00:29:27,090 It's engaging in calm and chivalrous activities, and indeed they point us to a particular culturally determined kind of hunting in Castiel. 246 00:29:27,090 --> 00:29:33,450 Hunting King Alfonso, the 10th once intoned Always belongs to kings. 247 00:29:33,450 --> 00:29:40,920 That was in his liberal de la Santé Molinsky cousin, in turn, a translation of an Arabic text today called Mummy. 248 00:29:40,920 --> 00:29:46,740 This idea, reflecting the contentions on both sides of the confessional divide, 249 00:29:46,740 --> 00:29:52,230 was refined by text of Alfonso's nephew, one Manuel, in his libretto de la Casa, 250 00:29:52,230 --> 00:30:02,590 which favours falconry as the most subtle kind of hunting in which a raptor is trained to pursue game that are not its natural quarry. 251 00:30:02,590 --> 00:30:07,120 Falconio had been a part of the earliest admired traditions in Syria, and in all, 252 00:30:07,120 --> 00:30:12,490 Deluce became emblematic of Mihdhar sovereignty for the first 300 years of its history. 253 00:30:12,490 --> 00:30:19,540 Michael, you noted syncretism between the Falcon and my power in both poetry and art during the entire 254 00:30:19,540 --> 00:30:26,350 caliphate and falconry imagery continued in the Typekit Palace of the Moon in Toledo. 255 00:30:26,350 --> 00:30:34,180 As a more general signifier of terrestrial hegemony, even Hudale, who's not mastered treatise on chivalry, 256 00:30:34,180 --> 00:30:42,220 were dedicated to Muhammad, the fifth and Muhammad the sixth seventh privilege falcon welcoming amongst all those forms of hunt. 257 00:30:42,220 --> 00:30:50,920 It was practised by all the great Nasser rulers and lords, he recounts, who kept teams of falconers falconers with the most prised gift. 258 00:30:50,920 --> 00:30:53,710 Falcons not felt well. Maybe falconers were, too. 259 00:30:53,710 --> 00:31:02,650 Falcons were the most prised gifts exchanged between rulers, and he characterises falconry as the quintessential Arab practise. 260 00:31:02,650 --> 00:31:11,760 One honoured throughout Islam, marking it for particular importance in the formation of nascent identity. 261 00:31:11,760 --> 00:31:15,030 But remarkably, though, there are raptors in the air. 262 00:31:15,030 --> 00:31:24,750 The only person to hunt a bird of prey in the Alhambra is a lady on whose wrist a very diminutive Merlin perches, suggesting predatory credentials. 263 00:31:24,750 --> 00:31:34,360 Her champion seems to lack. So the monumental hunters in the Alhambra paintings do not engage in the kind of hunting that one would imagine 264 00:31:34,360 --> 00:31:41,740 they might in their careful construction of the Nazareth's adherence to a blemish lists Arab and Muslim genealogy. 265 00:31:41,740 --> 00:31:46,270 I think the reason is this what is represented in the paintings was instead the 266 00:31:46,270 --> 00:31:50,710 kind of hunting that was explicitly connected to off until the 11th and his son, 267 00:31:50,710 --> 00:31:57,400 Pedro, the first, the Castilian with whom these nests were culturally and politically entangled. 268 00:31:57,400 --> 00:32:09,580 Jonathan Bergen has shown that a major large hunting, hunting, large game on horseback with dogs the hunt, as it is shown in the Alhambra paintings, 269 00:32:09,580 --> 00:32:15,310 articulated an ideological position for Alfonso the 11th in his lb. de la Montrealer, 270 00:32:15,310 --> 00:32:23,200 the book of mounted hunting, a position opposed to falconry falconry in a ritual opposition to his enemy. 271 00:32:23,200 --> 00:32:27,490 One man well who promoted falconry in the Liberal Democrats. 272 00:32:27,490 --> 00:32:37,670 The. Even some rock, so many of whose poems are composed, the Alhambra is epic graphic discourse, 273 00:32:37,670 --> 00:32:43,550 wrote a hunting poem describing Muhammad the this particular passion for the hunt. 274 00:32:43,550 --> 00:32:50,840 These images were then not completely emblematic for the falconry was the most esteemed of practises. 275 00:32:50,840 --> 00:32:55,160 The Nazareth's also practised cut them where the animals hunted in the Alhambra. 276 00:32:55,160 --> 00:33:01,550 Paintings are not only the large games reserved for nobility and royalty and Castilian practise, 277 00:33:01,550 --> 00:33:07,910 they are also the actual quarry of the mountains surrounding Granada bears, wild boar and deer. 278 00:33:07,910 --> 00:33:09,320 So here in the Alhambra, 279 00:33:09,320 --> 00:33:19,730 the nurseries are laying aside their concern with their iconic Arab past and are choosing in stead to take on the Castilian in their own ideological. 280 00:33:19,730 --> 00:33:29,120 And as it turns out, topographical terrain for Alfonso, the 11th libro de la Montrealer conveys Senate positive, 281 00:33:29,120 --> 00:33:36,200 a clearly defined ideology of the authority of the monarch and nobility in the thirteen, thirties and forties. 282 00:33:36,200 --> 00:33:42,620 In part, he says, because it includes a charting of all the hunting lands in the kingdom of Castile, 283 00:33:42,620 --> 00:33:50,660 1500 areas can, encompassing 9000 locations for customizer mounted hunting. 284 00:33:50,660 --> 00:33:59,900 It is, in fact, the first comprehensive top anaemic survey survey produced in Castile because hunting large game on horseback with 285 00:33:59,900 --> 00:34:08,660 dogs was a privilege of the king when performed his possession of the land a privilege he could bestow or withhold. 286 00:34:08,660 --> 00:34:15,530 The survey of hunting lands became one means of defining the topography of his sovereignty. 287 00:34:15,530 --> 00:34:22,070 And so one level of the tension hovering, like so many hawks over the garden of our Ariadna said, 288 00:34:22,070 --> 00:34:29,000 is to be explained by the simple fact that the hunting lands of the King of Castile included not only Burgos, 289 00:34:29,000 --> 00:34:37,600 Soria, Toledo and Murcia, but also the hills of the Nazareth Kingdom of Granada. 290 00:34:37,600 --> 00:34:47,890 So we might see the hunters like the jousting parents as sentinels, perhaps vigilantes meant to patrol the semantic frontiers of the ceiling. 291 00:34:47,890 --> 00:34:58,390 This is expressed without the subtle nuance of the graphic programme, as the same hunters prepare a prepared to present their quarry to ladies. 292 00:34:58,390 --> 00:35:02,590 And I'm going to show you the drawings, which are a little clearer. 293 00:35:02,590 --> 00:35:10,900 Well, Muslim presents his quarry in an erect posture, while the Castilian offers his in a kneeling position, 294 00:35:10,900 --> 00:35:14,980 marking him as a supplicant in the tradition of courtly love. 295 00:35:14,980 --> 00:35:26,220 And while the Muslims lady leans forward and points to the glory quarry in approbation, the Christian lady recoils slightly in ambivalence. 296 00:35:26,220 --> 00:35:29,670 The Christian is a rather overt foil to the erect Muslim, 297 00:35:29,670 --> 00:35:35,250 comparatively impotent and lacking in dignity as the conventions of Courtney Love or turned against 298 00:35:35,250 --> 00:35:41,550 him in an image meant to ridicule an aspect of courtly culture that mimics feudal practise, 299 00:35:41,550 --> 00:35:48,590 the aristocratic lady in the rule of the feudal master of her effective vassal. 300 00:35:48,590 --> 00:35:53,450 This position is echoed in an image of a page who kneels before kicking off on to 301 00:35:53,450 --> 00:35:58,400 the 11th in an illustrated copy of his own hunting book The Liberal della Materia, 302 00:35:58,400 --> 00:36:09,270 completed by his son. Here, the page offers the King Quarry from the hunt for his meal in a less metaphorical image of Vacillate. 303 00:36:09,270 --> 00:36:19,170 This type then? Is used to invert the political dilemma of the narrow streets in the Alhambra painting. 304 00:36:19,170 --> 00:36:28,470 And it was a type these surely new images of the feudal subjugation of Muslims were not unusual in Castilian courts. 305 00:36:28,470 --> 00:36:37,230 They're repeatedly depicted in the pages of the country gusty Santa Maria, which might well have been in that library below. 306 00:36:37,230 --> 00:36:46,080 So the paintings of the Palace of the Lions, on one hand, must constitute a response by the Nazareth's to their own political and psychic vassal. 307 00:36:46,080 --> 00:36:52,500 The contingency of their possession of their own lands, their own reluctance to play the subaltern. 308 00:36:52,500 --> 00:37:00,630 I'm wondering if the whole complex, multilayered composition is not only an image of a shared romance and activities, 309 00:37:00,630 --> 00:37:05,370 but also a figural translation of the militant models that are now announced. 310 00:37:05,370 --> 00:37:12,420 The paintings just warrior. Eternal sovereignty, dominion victory and Divide. 311 00:37:12,420 --> 00:37:19,530 Divine Aid, Dominion and Clear Victory belong to our lord in a composition that presented 312 00:37:19,530 --> 00:37:27,420 both a dominant and a background discourse just as the after graphic panels do. 313 00:37:27,420 --> 00:37:36,720 Even Holden, who came to Grenada on an embassy to Pedro, the first of Castiel, had remarked disapprovingly that the Nasrat made figural art, 314 00:37:36,720 --> 00:37:41,010 although it's unlikely that he saw the paintings that we're talking about today. 315 00:37:41,010 --> 00:37:45,780 He might have been thinking of wall paintings like these earlier ones from the park tall when 316 00:37:45,780 --> 00:37:52,350 he said the now streets even draw pictures on the walls and have them in buildings and houses. 317 00:37:52,350 --> 00:38:02,180 The intelligent observer will draw from this the conclusion that it is a sign of being dominated by others. 318 00:38:02,180 --> 00:38:06,770 Perhaps we might see these paintings as a defiant response in the midst of a building 319 00:38:06,770 --> 00:38:13,180 that otherwise musters all the possibilities of erudite and iconic expression. 320 00:38:13,180 --> 00:38:18,460 To the kind of attitude voiced by even the not so much whose disapproval of their 321 00:38:18,460 --> 00:38:24,760 figure lurks as to his contention that cultural reception is a mark of weakness. 322 00:38:24,760 --> 00:38:25,990 The paintings might be, in fact, 323 00:38:25,990 --> 00:38:33,820 the Nazareth's declaration of their capacity to master and manipulate figurative styles to translate ideas like dominion 324 00:38:33,820 --> 00:38:41,710 victory and jihad from Arabic and purify into the Castilian own figural language of expression to possess that language, 325 00:38:41,710 --> 00:38:51,070 as well to serve a different concept of of chivalry than that present presented in Castilian texts. 326 00:38:51,070 --> 00:38:57,730 Alphonso, the 11th had established his new secular chivalrous order, the order of the band, 327 00:38:57,730 --> 00:39:04,450 which supplanted monastic military orders, in particular that of the Templars, much to the anguish of the Pope. 328 00:39:04,450 --> 00:39:12,640 The objectives of the New Order were limited to promoting chivalry and loyalty to the king with few religious obligations. 329 00:39:12,640 --> 00:39:20,200 There was a very lamented Peter Linehan remarked more of the round table than the Last Supper in Alfonso's new order. 330 00:39:20,200 --> 00:39:28,510 Rodriguez Porto sees Alfonso the 11th as promoting courtly literature with a special interest in the secular side of these narratives. 331 00:39:28,510 --> 00:39:30,850 Both French and Iberian, in her words, 332 00:39:30,850 --> 00:39:40,930 elevating chivalry to a regulating code of courtly life and making the court a place of pleasure and refinement that escaped the church's control. 333 00:39:40,930 --> 00:39:49,660 And this image that you see here on the right is actually in the paintings of the the paintings that we're looking at. 334 00:39:49,660 --> 00:39:58,290 But the contention now is that it was that it was painted there much later. 335 00:39:58,290 --> 00:40:08,150 And certainly there were Muslims in Nazareth Times who lived to this, who lived the idea of the order of the band. 336 00:40:08,150 --> 00:40:09,380 And that's been pointed out, 337 00:40:09,380 --> 00:40:17,870 that's been pointed out before hundreds of Muslim knights who fought for Pedro of Castile in Teruel were awarded the order of the band, 338 00:40:17,870 --> 00:40:22,970 as it has been suggested that it was present in the Alhambra as well. 339 00:40:22,970 --> 00:40:29,180 However, the El Hombre paintings are governed by a different series of ideas about what chivalry is. 340 00:40:29,180 --> 00:40:31,100 The works works by Ibn Hudale. 341 00:40:31,100 --> 00:40:41,750 How does their subjects a Nasseri view of chivalry combining not only horsemanship but military skills and hunting with a pronounced ideological bent? 342 00:40:41,750 --> 00:40:47,870 His work ornament of the souls and arms of the inhabitants of Alanda Loose, written under Mohammed, 343 00:40:47,870 --> 00:40:55,550 the fifth was seen by Alejandro Garcia San Juan as a genre of jihad literature to reinvigorate jihad, 344 00:40:55,550 --> 00:41:04,700 the author declares God has given the sultan for teaching the war against the infidel and significantly assisted by God. 345 00:41:04,700 --> 00:41:08,060 He will liberate this country from the bonds that keep it in. 346 00:41:08,060 --> 00:41:12,320 Inferiority will bring abundance after sterility. 347 00:41:12,320 --> 00:41:17,320 Three. These lands from the feast of consumption. 348 00:41:17,320 --> 00:41:30,220 Jihad Abigail Bubble has shown was a uniquely lab vital tool for simultaneously legitimating authority and undermining enemies of any religion. 349 00:41:30,220 --> 00:41:34,030 Indeed, the fissure between ideal and execution was wide. 350 00:41:34,030 --> 00:41:40,690 Hussein fancy has shown Christian and Muslim rulers regularly deploying multi confessional armies 351 00:41:40,690 --> 00:41:47,290 and mercenaries to achieve political goals in the name of holy war of both crusade and jihad. 352 00:41:47,290 --> 00:41:54,820 For Ibn Hudale, scars to a fragile nascent identity might well have been inflicted by the contingencies 353 00:41:54,820 --> 00:42:01,060 of a Mohammed the 5th subtle Castilian diplomacy until the death of Peter the first. 354 00:42:01,060 --> 00:42:09,280 His text hovers like the hawks in fountains over the dignified hunters and submitted questions of the Hall of Justice ceilings. 355 00:42:09,280 --> 00:42:13,900 His raw exhaustion to liberate his country from the bonds that keep it in 356 00:42:13,900 --> 00:42:20,260 inferiority is a call to erase an apparent shame voiced coldly by even hold doom. 357 00:42:20,260 --> 00:42:28,990 Quote the Spaniards, assimilate themselves to the Christian nation in their dress, their emblems and most of their customs and traditions, 358 00:42:28,990 --> 00:42:38,610 an indication, he says, that the vanquished can always be observed to assimilate themselves to the victor. 359 00:42:38,610 --> 00:42:46,650 Garcia said one sees an oblique reference in ornament to the Nazareth's one great 14th century victory against 360 00:42:46,650 --> 00:42:53,430 the Christians Muhammad the 5thS victory at Algeciras conquered only months after the death of Peter, 361 00:42:53,430 --> 00:42:59,050 the first with its consequent dissolution of those feudal obligations. 362 00:42:59,050 --> 00:43:02,620 And this confluence of ideas is, of course, central to the Alhambra, 363 00:43:02,620 --> 00:43:12,560 which only grew bar so long ago as a victory monument to that single battle celebrated a poem by Ibn SAMRC in the solid de la Barca. 364 00:43:12,560 --> 00:43:18,950 How many infidels did you reach in the morning, only to become the arbiter of their lives in the evening? 365 00:43:18,950 --> 00:43:26,360 You put on them the yoke of captives so that they appear at your doorstep to build palaces in servitude. 366 00:43:26,360 --> 00:43:35,990 You conquered Algeciras by the sword and opened the gate, which had until then been denied to our victory. 367 00:43:35,990 --> 00:43:48,500 Or on the fountain of the of the lions on a direct access with the paintings, its lions are identified as Austal Jihad, the lions of war. 368 00:43:48,500 --> 00:43:59,570 These paintings. Our dedicated as one of their meanings to the sultan's renewal of jihad in an age of ambivalent alliances, 369 00:43:59,570 --> 00:44:05,210 defying a perception that Iberian Muslims were too entangled and complacent. 370 00:44:05,210 --> 00:44:10,430 One of the titles conferred on Muhammad, the fifth was a Mujahid, the holy warrior. 371 00:44:10,430 --> 00:44:22,690 Perhaps these paintings fashion nascent chivalry as an expression of the exaltation of jihad in the face of tangled cultures and alliances. 372 00:44:22,690 --> 00:44:25,990 Writing at a time before the paintings, 373 00:44:25,990 --> 00:44:33,970 even holding presented the Nazareth's penchant for figuration as a state of weakness, as a tradition to be conquered. 374 00:44:33,970 --> 00:44:39,820 But at the Alhambra, resistance was useless. So it must need to be conquered from within. 375 00:44:39,820 --> 00:44:48,190 The excision of the Christian from within, in Simon Pinners words far from misunderstanding their models, 376 00:44:48,190 --> 00:44:54,400 the nasty words met the Castilian on their own formal grounds in the paintings of the Darle Hikma, 377 00:44:54,400 --> 00:45:01,420 showing mastery of both artistic languages, both concepts of chivalry and both languages of the hunt. 378 00:45:01,420 --> 00:45:11,590 Marking out the territory of the garden at the library and the realm with a dream of jihad of a separateness they could not achieve. 379 00:45:11,590 --> 00:45:16,730 It is a sacred language of expression at the intersection of profound treads, 380 00:45:16,730 --> 00:45:26,080 acculturation and the deep desire to individuate the paintings decode in some mere Merritt's words regarding translation, 381 00:45:26,080 --> 00:45:30,370 a referential world in which more than one language is involved, 382 00:45:30,370 --> 00:45:38,910 one in which images are suspended in the complexities of multilayered cultural content. 383 00:45:38,910 --> 00:45:42,450 But then was he been was was he been [INAUDIBLE] do. Correct? 384 00:45:42,450 --> 00:45:49,320 Is Trent's cultivation the domain of the vanquished by now, there ought to be received, I hope, as a rhetorical question. 385 00:45:49,320 --> 00:45:55,140 Consider these two images of hunters. Both depict courtly aristocrats. 386 00:45:55,140 --> 00:45:57,030 Both are hunting bears, 387 00:45:57,030 --> 00:46:08,430 one painted in saturated tempera over a level revolt against a backdrop of woods and the other static and emblematic inserted into a web of a pig, 388 00:46:08,430 --> 00:46:11,430 Raffi Canos and a Tony King. 389 00:46:11,430 --> 00:46:22,550 They present us with the identical subject seriously conceived in divergent artistic languages, almost contemporary to one another. 390 00:46:22,550 --> 00:46:26,960 The painted hunter against the verdant ground, well, you know it well enough by now. 391 00:46:26,960 --> 00:46:33,030 And as you probably guessed, the stucco cartouche is from the Palace of Peter the first. 392 00:46:33,030 --> 00:46:45,900 In Seville, the Alcazar inserted into the precincts of a of an appropriated Alamo residence by his father, Alfonso, the 11th and himself. 393 00:46:45,900 --> 00:46:51,600 These hunting images from a Castilian palace in Seville are announced with an Arabic inscription 394 00:46:51,600 --> 00:46:58,920 that describes Pedro of Castile as sultan and in the same kind of cosmic terms that evoke Muhammad, 395 00:46:58,920 --> 00:47:04,670 the fifth in the Cubas of the Palace of the Lions of the Alhambra. 396 00:47:04,670 --> 00:47:13,880 They are embraced by as an Arabic and pseudo Arabic Griffey in a tangle of exchanges and sharing this language of expression, 397 00:47:13,880 --> 00:47:21,470 as Juan Carlos Ruiz Sosa has told us, had become something like an official Castilian style absorbing forms. 398 00:47:21,470 --> 00:47:28,310 But only those that marked, but only those meanings that marked his own interests and needs the nascent pedigree of 399 00:47:28,310 --> 00:47:36,370 cosmic kingship as a stepping stone towards the formation of a centralised Castilian state. 400 00:47:36,370 --> 00:47:40,930 The unquestioned kingship performed by Nasrallah rulers in the planning and 401 00:47:40,930 --> 00:47:45,040 epigraphs of the Alhambra was a very useful image for a monarch like Peter, 402 00:47:45,040 --> 00:47:52,800 whose power was dangerously contingent with shared contentiously and in the end fatally with the lords of his realm. 403 00:47:52,800 --> 00:47:57,630 But trance cultivation is always multidirectional. 404 00:47:57,630 --> 00:48:06,930 The difference here is that unlike the paintings of the Alhambra, the imagery is not coded for defiance or religious difference. 405 00:48:06,930 --> 00:48:09,180 This is because in this translation, 406 00:48:09,180 --> 00:48:20,740 the ultimate model the Nazareth stucco styles of the Alhambra is already deemed to be a part of the crown of Castile. 407 00:48:20,740 --> 00:48:28,450 By the end of the 15th century, the vestiges of the natural kingdom presented to the Knesset Castilian and Eric Goodness Alliance, 408 00:48:28,450 --> 00:48:38,270 an arena where a battle could be joined for the purpose of uniting a still divided Christian idea Iberia into a Catholic kingdom of Spain. 409 00:48:38,270 --> 00:48:49,190 If we see Alan Deluce as a cultural content conduit of translated texts and of the arts and science to Spain. 410 00:48:49,190 --> 00:48:57,140 Or too effective, lest we miss the point entirely. The struggle was not about how to exchange or appropriate. 411 00:48:57,140 --> 00:49:07,460 It was at this point how to disentangle. About the time I wrote my first article regarding the Alhambra paintings. 412 00:49:07,460 --> 00:49:13,150 George Steiner wrote of translation in his after Babel in this way. 413 00:49:13,150 --> 00:49:18,700 To experience difference, to feel the characteristic resistance and materiality of that, 414 00:49:18,700 --> 00:49:26,560 which differs, is to re-experience identity one's own spaces mapped by what lies outside. 415 00:49:26,560 --> 00:49:34,670 It derives coherent texto tactile configuration from the presence of the external. 416 00:49:34,670 --> 00:49:40,370 But now many of the struggles I've tried to highlight here have been about something else, 417 00:49:40,370 --> 00:49:46,490 they've been about what happens when you can no longer clearly map the external is being outside 418 00:49:46,490 --> 00:49:53,660 no longer feels sufficiently the characteristic resistance and materiality of that which differs. 419 00:49:53,660 --> 00:50:06,680 That question so much at the heart of the dilemma of the Nassau, it's also, for me, fuels the thrilling practise of the study of mediaeval Iberia. 420 00:50:06,680 --> 00:50:15,660 Look. I'm not going gonna. Thank you so much for these weeks together. 421 00:50:15,660 --> 00:50:23,580 My thanks once again to the Slate Committee for the enormous honour conferred upon me in entrusting me with these lectures. 422 00:50:23,580 --> 00:50:28,140 I wish in particular to offer my thanks to Professor Jeffrey Batson for his patience, 423 00:50:28,140 --> 00:50:33,660 care and humour throughout the constantly changing terrain of this lecture series. 424 00:50:33,660 --> 00:50:39,420 To thank Professor Chavez are also for his sage guidance and abiding support and Holy Knights. 425 00:50:39,420 --> 00:50:46,170 Liz Green and the entire torch team for their incredible professionalism and endless patience. 426 00:50:46,170 --> 00:50:52,920 It has been such a gift that I have, though I have not been able to come to Oxford. 427 00:50:52,920 --> 00:51:00,990 Oxford has met me in a sort of virtual daal hikma some place over the Atlantic, together with all of the generous, 428 00:51:00,990 --> 00:51:10,170 brilliant international community of his finest mediaevalist and Islamists who have been my correspondence and in so many ways, 429 00:51:10,170 --> 00:52:00,019 my teachers during the past year, my deepest thanks to you all.