Short description of the monument
The “Reyes” Hall (the Kings hall) occupies the east side of the Lion’s courtyard, and it gets its name from the paintings on the vault covering the central room. This is the largest hall of the Harem, and it is divided in three identical rooms and two small rooms used as closets due to their location and the lack of light. The “Reyes” Hall was probably used for family parties.
History of the monument
The “Reyes” Hall gets its name from the paintings of the central vault; it was also called the “Justicia” hall (justice) and “Tribunal” hall from the 18th century. The entrance to this hall is from the front of the Lion’s courtyard through three porticoes with triple arches ornamented with “mocarabes” or “muqarbas” and pierced diamonds or rhombs supported by thin columns. For its disposition, the hall is divided in seven parts: three square rooms, separated by two rectangular sections, and alcoves at both ends of the hall. The square rooms are closed by cupolas with “muqarbas” and the access to the rectangular sections that separate them is through double arches. These sections also have vaults embellished with “muqarbas” as the alcoves. All the distribution and decoration enhances the light that penetrates in the hall. The solid aspect of the arches makes a contrast with the delicate ornamentation of the walls, which consists of inscriptions and a tiled socle surrounding the hall, of which only two fragments remain.
The paintings at this hall are located on three wooden cupolas with elliptical shape and covered or lined with leather. The central painting shows the ten first kings of the Nazarie dynasty (except the usurpers Ismail I and Mohamed VI). The paintings on the lateral vaults show tournaments (specially hunting scenes) and romantic scenes of Moorish kings. In spite of this, the paintings are Christian made, clearly seen on the paintings that represent Moslem matters, which are less precise than the Christian ones. According to the clues that these paintings give us, they might correspond to the reign of Mohamed VII (1395-1410) or to the reign of Yusuf III (1410-1424).
The vault at the Kings Hall. The atelier of Toledo, in its projection towards Andalusia, offers one of the most singular examples of the Gothic paintings of the 15th century: the paintings done on leather which cover the three false vaults of the Kings Hall at the Alhambra in Granada. The iconography of profane character of these paintings is very rich and very difficult to understand, of chivalrous inspiration according to the literature of the period, not forgetting certain ties with the decorative arts, where they combine themes of love, hunting and games with fantastic and symbolic elements, where the Moslem and Christian aesthetics coincide.
The style, that reminds us of the lineal Gothic style, using lines and gold, responds to the characteristics of the “Trecento” (Italian literary and artistic movement of the 14th century): in the features of the figures, the concern for the volume as well as in some costumes that make evident the Florentine style. This was the work of Christian artists who knew the Moslem world, where they mixed the Italian and the Islamic aesthetics, making evident the influence of the atelier of Toledo as the base of the existing friendship, at that time, between “Pedro I” of Castilla and “Muhamed V” of Granada.
Nevertheless, the work offers serious doubts, not only about the identity of the artist and the client, but also about the iconographic interpretation. At the central vault, displayed symmetrically around its oval shape, there are ten Moslem figures talking among themselves, sat on cushions, richly dressed, standing out amongst a golden background, decorated with stars on its axes. At its extremes there are two shields of the “Banda” Order with heads of snakes and guarded by lions.
The identification of the ten men offers different interpretations: for some, it is the representation of the Kings of Granada (Gómez Moreno), others think it is an Arab council (Contreras) and a third point of view thinks they are personages from the aristocracy of Granada or even great soldiers, surprised when they were being invested with the “Banda” Order. The thematic of the lateral vaults, very difficult to interpret so far, describes a chivalrous narrative where a Christian and a Moslem are apparently disputing for the love of a lady. The story that begins on the left vault unravels itself on the right vault.
biography
• “Granada en tus manos. Alhambra y Generalife”. Author: Carlos Vílchez Vílchez. Ideal – 2006.
Web sites:
• http://www.alhambradegranada.org/historia/alhambraSReyes.asp
• http://legadoandalusi.es/legado/contenido/rutas/obras/21681.htm |
