By Cynthia Robinson, Simone Pinet
The ceiling work within the corridor of Justice of the Alhambra haven't bought severe scholarly cognizance for the previous thirty years, might be as a result of their tough incorporation right into a discrete application of Christian vs. Islamic artwork, different types that until eventually lately remained unchallenged themselves. The Alhambra itself keeps to elicit the curiosity of many students, and several other fresh interpretations of the functionality of the Palace of the Lions, which homes the work, were positioned forth. This assortment brings jointly paintings historians, literary critics and historians who recommend new methods of drawing close the work via their fast social, old, architectural and literary contexts, presenting a porous and versatile version for the creation of tradition in Iberia.
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Additional info for Courting the Alhambra: Cross-Disciplinary Approaches to the Hall of Justice Ceilings
Similarly, the discussion and debate of proper courtly behavior and ethics between frontier allies just recounted appears appropriate to the Nasrids’ rejection of images documenting Flores’ quest in favor of the ﬁnal, battle image at the moment of the cycle’s conception and planning, for it, rather than images of adventure, encapsulates the matters of greatest importance to the Nasrid court and its allies. Therefore, if one reads the ceiling paintings as visual representations of FBF, the ﬁnal scene sums up the moments and issues of the narrative just evoked, speciﬁcally as recounted in the version recorded in BNM Ms.
Ruiz’ arguments would appear to support observations made by José Miguel Puerta concerning the important funerary connotations of this space as a whole, given its proximity to the rawda, or the burial ground of the Nasrid Sultans. 74 The gardens represented on the ceilings of the so-called “Hall of Justice” are the gardens of worldly and courtly knowledge, and it is not diﬃcult to imagine Nasrid courtiers and princes, in addition to beneﬁting from the treatises on horses, horsemanship, poetics and Suﬁsm composed for 70 See the essay by Ana Echevarria in this issue.
If we read the images as TI, the ﬁrst scene would, as in the case of FBF, be a summing up of parts of the story deemed relevant by Nasrid patrons48 (Illustrations 6 and 8). The two couples above the principal ﬁgures might represent, again as in our earlier reading of FBF, their parents. Likewise, they might represent each of the protagonists in the company of his or her “lawful” spouse—Isolde with King Mark, and Tristán with Iseo de las Blancas Manos (Isolde of the White Hands). Tristán, as observed earlier, here holds the famous twig which he will place into the stream and which, according to the story, ﬂoats round to the back of the palace and into Isolda’s chambers, in order to indicate to her that he will be waiting for her later beside the fountain.