Cordova
The artistic enterprises were centered from the first moment around its capital Córdoba, which was equipped with a congregational mosque destined to become the most important monument of the Islamic West. The work was started by Abd al-Rahman I on the site of the Visigothic basilica of San Vicente that, during the previous stage, the two communities had shared: Christian and Muslim. In 784 this monarch decided to build a new basilica-type mosque with eleven naves perpendicular to the qibla wall - following the model of the Al-Aqsa mosque in Jerusalem, one of the most important sacred places in the Islamic world. Its most unique feature solves, at the same time, technical and functional problems. It is about the organization of its arches with a double superimposed arch: a horseshoe arch that acts as a support by supporting a more slender structure formed by a semicircular arch that supports, in turn, the wall that supports the roof. Both this system and the alternation of voussoirs, made of brick and stone, have precedents in the Milagros aqueduct in Mérida "Mérida (Spain)").
The successive expansions, carried out until the 2nd century, were motivated by the increase in population and its need to have a suitable place for worship. So the works of Abd al-Rahman II, in 833, consisted of demolishing the qibla wall, extending the mosque to the south. Abd al-Rahman III acted in the opposite direction, expanding the courtyard to the north and erecting a new minaret that still remains, although hidden, within the great bell tower of the 19th century. The previous efforts culminated with the intervention of al-Hakam II, around 961, in which he once again expanded the prayer hall to the south, introducing different novelties. It establishes a "T" shape, similar to that of the Great Mosque of Kairouan, enhanced by the use of domes whose ribs do not cross in the center, lobed arches, different types of intersecting and overlapping arches as well as capitals and columns made specifically by the caliphal workshops. The lavish decoration of this extension, especially in the area of the mihrab and the maqsura, received great influences from Byzantine art by introducing the mosaic technique, and constitutes the crowning work of Caliphal art.
In the last decades of the century, Almanzor expanded the entire eastern side of the great mosque, which now had nineteen naves, although without introducing any new features of interest.
In the year 936, the self-proclaimed caliph Abd al-Rahman III, following the eastern tradition, according to which each monarch built his own palatine residence as a symbol of prestige, decided to found in 936 the courtly city of Medina Azahara (Castilianization of the Arabic Madīnat al-Zahrā). To do this, he chooses, a few kilometers from Córdoba, a gentle slope of the land in the foothills of Sierra Morena, which allows him to organize the walled enclosure into three terraces. In them he arranged the palatine residences, reception halls such as the so-called Rich Hall, baths, a congregational mosque, a mint, caliphal workshops, gardens and a zoo. These works were completed by al-Hakam II, although their splendor was ephemeral, destroying the city in the first revolts of 1010 that ended with the fall of the caliphate.
During the construction of Medina Azahara, the ataurique technique was especially developed for the parietal decoration of the halls and rooms, as well as the so-called wasp nest capital was consolidated as a symbol of Caliphate architecture.
According to classical sources, during the period of splendor of the caliphate there were up to 4,000 public baths or "hammam" in Córdoba. Although this number is questioned by historians, there must have been many spaces dedicated to religious hygiene rituals. Of all of them, only four have survived to this day, some integrated into Christian buildings after the fall of the caliphate. The caliphal baths "Baños caliphales (Córdoba)"), built in the century during the period of Al-Hakam II, constitute the only vestige that remains today of the Caliphal Alcázar. Also of caliphal origin, and reused in Christian times, are the Arab Baths of La Pescadería "Arab Baths of La Pescadería (Córdoba)") and the Arab Baths of San Pedro (the latter with the peculiarity of being the only ones left of those that were built outside the medina). Finally, and very close to the Mosque of Córdoba, we find the Arab Baths of Santa María "Arab Baths of Santa María (Córdoba)"), although they have been greatly renovated today as they have been converted into a neighbors' house during the following centuries.[1].
There are also important vestiges of several neighborhood mosques in Córdoba, the first of which is the minaret of the church of San Juan de los Caballeros "Alminar de San Juan (Córdoba)"), which was reused as the bell tower of the aforementioned church after the Christian conquest of the city. It is the Caliphal minaret that has survived most intact to this day, given the few modifications it has undergone over the centuries. Another of the most important vestiges is the church of the convent of Santa Clara "Convento de Santa Clara (Córdoba)"), where a significant amount of remains can still be seen from the structure of the mosque on which it sits, such as the qibla wall, the ablution courtyard, the minaret in a high degree of conservation and a blinded horseshoe arch that can be seen from Osio Street. The churches of San Lorenzo "Iglesia de San Lorenzo (Córdoba)") and Santiago also preserve two minarets converted into bell towers, built on old neighborhood mosques, in which remains of twin horseshoe arches from the Caliphal period can still be seen.
Rest of the Iberian Peninsula
Of the artistic enterprises undertaken during the emir's time, those carried out during the reign of Abd al-Rahman II stand out, whose court welcomed numerous oriental artists, fashions and customs. He promoted, among other constructions, the works of the citadel of Mérida and improved the walls of Córdoba and Seville.
In the rest of the peninsular territory, the artistic flourishing promoted by the caliphate is also evident. Testimony of this is the city of Toledo, in which remains of its fortification can still be seen as well as some of the vestiges that define its citadel, medina, suburbs and surroundings, such as the Puerta Vieja de Bisagra or Puerta de Alfonso VI.
Among its buildings, the small mosque of Cristo de la Luz or Bab al-Mardum stands out. Its square plan, organized in nine domed sections, presents a plan and elevation that connects with the Tunisian model of the Aghlabid mosque of Bu Fatata.
Apart from the exceptional character of Toledo, works such as the rabbit of Guardamar del Segura (Alicante), the Castle of Gormaz (Soria) or the city of Vascos (Toledo) also occupy a prominent place.
On a religious level, the Almonaster la Real Mosque (Huelva) stands out, being the only Andalusian mosque that has been preserved almost intact in Spain in a rural area. It was built during the caliphal period, between the 1000s and 1900s, with hauling material from a previous Visigothic basilica.