What the Mosque of Bab Mardum in Spain Reflects

 By Daniela Reyes and Chelsey Olivarria 

(Figure 1: The Great Mosque of Isfahan)

When you hear the word mosque, what comes to mind? You might think of its literal definition, a place of Muslim worship. Or maybe do you imagine buildings like you see on the right? Or perhaps a certain area? Although your assumptions may not be wrong they definitely can be a confining space for a what mosque can be. 

    In its literal form, of course, a mosque will remain a place of Islamic worship. However, in a broader context, a mosque can become a signifier of the mixtures of history, culture, and art. But before we can dive into the intricate context of mosques we must acknowledge Islam and its history.

Islam said to be founded in Mecca which is now considered modern-day Saudi Arabia, has a long-standing history not only in its place of origin but globally. Despite being considered one of the youngest major religions, Islam throughout history has been adopted in various regions. Its adoption in various regions has allowed Islam not only to have influence in these regions religiously but culturally as well. This major impact has allowed markers of Islam, like mosques to become reflections of the mixture of cultures in regions not considered Islamic. This can be even applied to the predominantly Catholic country of Spain. 

The History of Islamic Spain

Despite its heavily Christian upbringing, Spain has a strong connecting history to Islamic rule. However, it must be noted when referring to Islamic rule this does not mean the large adoption of the Islamic faith but rulers of the area had Islamic ties. According to The Met Museum, during 711-1492, Spain was under Umayyad rule. The Umayyad's are considered one of the first Islamic dynasties, however, in 750 the Abbasids (another Islamic group of power) overthrew the Umayyad's in their capital thus leading to their rule in Spain. Under Umayyad rule, the city of Cordoba in Spain became their capital. Thus transforming Cordoba into a hub of culture, with not only Islamic influence but Christain and Juedo influence as well. This lead to the production of schools, libraries, and mosques. 

However, these productions did not only remain in Cordoba but all throughout Spain, like the city of Toledo. The city of Toledo is home to one of the oldest Islamic landmarks of Spain, the Mosque of Bab Mardum, now more commonly referred to as the Mosque of Cristo de la Luz. This mosque is the embodiment of the mixtures of history, culture, and art.

What is the Mosque of Bab Mardum?

(Figure 2: The Mosque of Bab Mardum) 

The Bab al-Mardum Mosque or Mosque of Cristo de la Luz (Mosque of Christ of the Light) is said to be built in 999 during the Ummayed dynasty. This is 40 years after the famously know Great Mosque of Cordoba, which this mosque mirrors in some elements. This mosque was commissioned by Ahmad Ibn Hadidi, with his name inscribed on the facade of the mosque. The inscriptions translated state that Ahmad Ibn Hadidi commissioned its construction with his own money in the name of Allah hoping to see paradise.

The Bab al-Mardum Mosque harbors not only traditional Islamic designs like inscriptions but is also influenced heavily by local Spanish traditions. The mosque is even considered to be of Moorish design. 

What is Moorish? 

The Moorish design is said to stem from the word Moors, which is a term used to refer to the Muslim residents of Spain. Thus making the Moorish art style an Islamic architecture design that is heavily influenced by Spain and other western regions like Portugal. Elements of Moorish style include inscriptions, interlacing motifs like Sebka, and geometric patterns. These elements can all be seen in the Bab al-Mardum Mosque.

(Figure 3: The Bab al Mardum Mosque's Sebka) 

To the right, you can see the interlacing motifs of sebka that are all along with the building. The sebka are meant to create an ambiance in the interior of the building as they play with the sunlight emphasizing God's presence. However, geometric patterns of the bundling also emphasized its grandness. According to Professors Paula Fuentes and Santiago Huerta at Polytechnic University Marid, the Bab Mardum Mosque follows a heavily geometric ceiling plan. In their research they state:

    “

(The ceiling of the Bab Mardum Mosque) 

The floor plan of the Chapel is rectangular and no drum is used to implement the change from rectangle to octagon at the base of the dome. Four arches parallel to the sides of the rectangle cross, forming a central square. A further four arches describe a rhombus inscribed in the floor plan and cross the previous ones at the vertices of the square, thus generating an intersection of three arches. A pumpkin dome stands on this central square, supported by the arches and four triangular pendentives. The webs between the arches are decorated with shells, with the exception of the four corners. Three corners feature a small crossed-arch dome, while the fourth features a pumpkin dome. Each of the four sides has four windows. At present, the windows on two of the sides are blocked up.” (p.3)

Professors Fuentes and Huerta go on to highlight that this intricate geometric design is a mathematical wonder and there is little information on how these grand ceilings were mathematically made. This truly highlights one of many great aspects of the technique and design of the Bab Mardum Mosque.

Mosque of Bab Mardum Techniques and Design

The interior design of the building has nine openings also referred to as bays, and they are covered by ribbed vaults (a vault that has diagonal ribs) which

(Figure 5: Ceiling of Bab Mardum Mosque)

can be seen in the picture to the right. The central ribbed vault is at a higher elevation in comparison to the neighboring eight vaults. This is purposely done in order to capture the gaze of those entering the mosque, despite its condensed exterior appearance, its interior plays with space and light. This was a technique that transported the visitors into a space of ambiances thus making the building grand and appealing in sensation. Something unique about the interior structure between each bay is that there is no repeating vault design; each ribbed vault has a different design. Despite the monotone colors of the exterior, there are still distinctive elements to its design. On its exterior, there is some use of alternating patterns of white and red stones which is also seen in the Mosque of Cordoba. In addition, most

(Figure 6: Horseshoe Arch of Bab Mardum Mosque) 

arches on the outside are composed of two arches. In Figure 6, we see that there is a common style of arches used under the Umayyad dynasty. The arches resemble the ones inside the Mosque of Cordoba through the use of pillars with horseshoe arches, which is also considered Moorish design. The horseshoe arch creates another atmosphere in the building. Their presence was not solely for structural integrity but to create the illusion of closeness to the ceiling, the sky, the heavens. The arch allowed for light to fill the room creating an elevating sensation.

The Mosque of Bab-al-Mardum during 1185

In 1185 in Toledo, the city where the mosque is located, there was a period of Christian conquest. This conquest led to various changes to the mosque. Most of its original plan remained the same except that it was reoriented and had a new addition to it. According to Professor of Islamic and Asian Art Johnthan M. Bloom during the conquest by the Christians, the mosque lost its Mihrab which is a niche in the wall of the mosque that indicates the qibla wall and faces in the direction of Mecca. Christians during the conquest also added an apse (a vaulted extension to a chapel) to the mosque and sealed the windows of the building with stones. Thus altering the openness of the mosque which was a staple to Umayyad art. People could easily access the building as it had three entrances and which was an important feature to the Umayyads as they could go there for congregations and facilitate passageways. Although they attempted the Christians were not able to remove the inscriptions on the face because they were built into the façade. This failed attempt has allowed us to know the name of the patron, the people who built it, and the date it was completed. Then it wasn’t until 1186, the mosque was no longer called Bab-al-Mardum, and converted to a chapel. Under the order of King Alfonso VIII, the mosque was renamed the Chapel of the Holy Cross and is now referred to as the Mosque of Cristo de la Luz.

Conclusion

(Figure 7: Street view of Bab Mardum Mosque)

The Mosque of Bab Mardum is an example of the use of spolia, as it has not only been taken out of its original context but also a fragment of multiple-use. Despite the changes that the mosque underwent during the Christian conquest, most of the natural state remains. The mosque harbors the Umayyad techniques and skills while also reflecting the elements of its location. This mosque is not simply a building taking space but a marker of history and culture. It will remain a testament to the influence of Islam in Spain under the Umayyad dynasty.  

                                    Be An Art Detective: What do YOU see?

Daniela Reyes: Art Detective
This building is from UCLA. While I visited the campus, I became an art detective. As I walked through the building I realized it has a corridor that’s similar to a hypostyle hall. The windows at the top of the tallest structures are similar to that of the ones in Alhambra, Granda. Those windows give access to a larger view of the campus. This building also has a lot of use of red and the white one stands out more. It seems to have some Spanish influence because it has some alternating red and white stones on the arches/windows found on the tallest structures. In addition to that, they have what is known as the true arch which distributes barring weight. According to Royce Hall.org which highlights the history of UCLA's Royce Hall, this building was inspired by an Italian building, Basilica di Sant’Ambrogio, built between the 10th and 11th century.

Chelsey Olivarria: Art Detective
This building is called the Great Mausoleum of Forest Lawn. It is located in Forest Lawn cemetery which I happen to visit frequently. Although I usually never paid attention to the Mosulem before, one day I decided to be an art detective. For the first time after many visits, I actually studied this budling. The tower of the building reminded me of a minaret, specifically the Umayyad minaret of the Damascus mosque. They both have a square base but then begin to become rounded in an octagonal shape then reach a point. The windows of the building also reminded of the power of vision with the windows in the Alhambra of Granda. Another interesting thing I learned during my visit was that Michael Jackson was interred inside the mausoleum, who knew?

                                                                                       Work Cited

D’Alleva, Anne. “The Fundamentals of Interpretation: Formal and Contextual Analysis.” Look! Art History Fundamentals (3rd Edition), 3rd ed., Pearson, 2010, pp. 23–61.

Dodds, Jerrilyn D., et al. “The Arts of Intimacy: Christians, Jews, and Muslims in the Making of Castilian Culture.” JSTOR, Sept. 2009, www.jstor.org/stable/40645513.

Bloom, Jonathan M.. “Architecture of the Islamic West: North Africa and the

Iberian Peninsula,” 700-1800. United Kingdom, Yale University Press, 2020.

Fuentes, Paula, and Santiago Huerta. “Geometry, Construction and Structural Analysis of the Crossed-Arch Vault of the Chapel of Villaviciosa, in the Mosque of CÃ3rdoba.” Taylor & Francis, International Journal of Architectural Heritage, July 2017, www.tandfonline.com/doi/full/10.1080/15583058.2015.1025456.

“History » Royce Hall.” Royce Hall.Org, 2008, roycehall.org/about/history.

Ruggles, D. F. “The Literature of Al-Andalus.” Google Books, Cambridge University Press, Nov. 2006, books.google.nl/books?hl=en&lr=&id=W5JxUjfwInoC&oi=fnd&pg=PA159&dq=The+Mosque+of+Bab+al-Mardum+&ots=NZPcQqkBxm&sig=-SNTjt4qowW_GjNfpSY5UiWtF6c&redir_esc=y#v=onepage&q&f=false.

“Spain - The David Collection.” The David Collection Museum, 2010, www.davidmus.dk/en/collections/islamic/dynasties/spain/architecture.

“The Art of the Umayyad Period in Spain (711–1031).” The Met Museum, 2001, www.metmuseum.org/toah/hd/sumay/hd_sumay.htm.

Group 15: 

Chelsey Olivarria and Daniela Reyes 

Word Count: 1861