Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Hunting in the Borderlands (for Oleg Grabar)

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Medieval Encounters

In an article now three decades old, I suggested that the Paintings of the Hall of Justice of the Alhambra used Arthurian iconography as part of a fashionable admiration for Gothic style and the language of chivalry in the Nasrid court, one which was subverted by the polarizing imagery of a Muslim and a Christian fighting. However, I failed at the time to take into full account the extraordinary hunting cycle of the Hall of Justice paintings, discrete groups of hunters and their prey that were interspersed with surprising episodes from romance narratives. These images picture Christians and Muslims as polarized and opposed. In fact, I believe it is in these very images of domination and apparent differentiation that a deep interconnectedness can be found. This study uses the painting cycle from the Hall of Justice of the Alhambra as a means of exploring, not just common styles and motives, but artistic meanings that were held in common between courts. In particular, hunting as an attribute of lordship and sovereignty is key here, in a world in which relationships between Nasrids and Castilians were still largely feudal and many meanings shared, allying the parties we once supposed to be 'other.' There, hunting as iconographic shorthand for ownership of the land appears in surprising and deflected ways. Through a discussion of the Palace of Pedro I at the Alcázar of Seville, contemporary literary evocations of the courtly tradition and of the practice and meaning of the hunt, as these were known on the Iberian peninsula, and the exploration of narrative and emblematic languages of form, I hope to reveal an imagery which suggests domination but masks a complicit, symbiotic interaction. Hunting imagery becomes the means by which both Nasrids and Castilians act out a ceremonial opposition to another with whom they are socially and culturally intertwined.

Affiliations: 1: City College of the City University of New York, New York, NY 10031, USA


Full text loading...


Data & Media loading...

Article metrics loading...



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    Medieval Encounters — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation