Mozarabic art and architecture

During this period, disciplines such as painting, goldsmithing and architecture with marked Caliphate influences were cultivated in a context of medieval coexistence - Christian, Hebrew and Muslim - in which the territories were constantly changing in size and status.

The Leonese elites were the main proponents of this art, from the monarchy to civil and ecclesiastical figures within the royal environment, such as Bishop Genadio of Astorga or the Galician noble Rudesind of Celanova.

The constructions showcased a unique blend of styles, prolific in experimenting with vaulted structures, domes, capitals, reliefs, and the "Roman" mural painting technique with Andalusian influence.

[3] In territories under Muslim rule, Mozarabic communities maintained some of the Visigothic temples for their religious rituals, rarely constructing new ones due to limited authorizations for new church buildings.

Mozarabic architecture is a blend of elements that defy easy classification, often showcasing influences from Paleochristian, Visigothic, or Asturian origins, while at other times, the Muslim imprint takes precedence.

This unique enclave, carved into the rock, was part of a defensive and religious complex during the rebellion led by Omar ibn Hafsún, a leader who converted to Christianity and challenged the Emirate of Córdoba in the 9th century.

Bobastro, in addition to its liturgical function, symbolized resistance against Islamic power, leaving an architectural and historical legacy that reflects the tensions and cultural influences of the time.

These influences are evident in the perfectly executed horseshoe arches with alfiz, the elaborate spatial articulations, the preference for columns as supporting elements, and the interior wall paintings in the Andalusian style.

A standout example is the hermitage of San Baudelio de Berlanga in Soria, the most enigmatic of this group, notable for its unique structure with a central column supporting a palm-shaped vault and its mural paintings.

Additionally, sculptural elements from San Millán de la Cogolla, such as ivories including the arms of a cross and a portable altar, have been found, highlighting the influence of Cordoban Caliphal art.