Las influencias bizantinas en la escultura visigoda. Análisis de los elementos decorativos procedentes del sureste hispanoBasilica de Algezares y conjuntos arqueológicos de Begastri y Cerro de la Almagra

Abstract

The Byzantine influences in the Visigothic sculpture. Analysis of decorative elements from the Hispanic southeast: basilica of Algezares and archaeological sites of Begastri and Cerro de la Almagra. Summary: The main object of investigation of this doctoral work is the analysis of the Byzantine influences in the Visigothic sculpture elaborated in the workshops of the southeast peninsula occupied, between the 6th and 7th centuries, by the milites within the context of the Justinian's reconquest policy. From this point of view, it is intended to clarify whether the Byzantine presence in the south-eastern coastal strip favored a process of artistic Hellenization-representing a stylistic reference standard by local sculptors-or if it did not determine an artistic contribution. The other core of historical research wants to define both the technical, formal and decorative specificities of the Visigothic sculpture of the Southeast (studying, particularly, the pieces found in the Basilica of Algezares, in Begastri on the hill of Almagra) and understand the productive and organizational dynamics ( working arrangements of the stone, the choice of iconographic schemes, commercialization of stone works) of the active workshops in this geographical area of Hispania during the high middle ages. From a methodological point of view, the work involved the cataloging of the sculptural corpora from the Basilica of Algezares, Begastri, and the Cerro de la Almagra, analyzed de visu, by means of cards that include technical data (measures of each piece, material, and size used), formal data (typological aspects) and stylistic ones (ornamental motifs). All these cards have been integrated with drawings and photographs. Firstly, the systematic study of the plastic documents elaborated by the southeast workshops -especially the pieces from the archaeological sites of the Basilica of Algezares, Begastri and the hill of La Almagra- has shown, unequivocally, how in this geographical area the Byzantine influences were weak and not significant although this territorial framework became the "heart" of the Imperial possessions in Hispania On the other hand, the oriental artistic contributions are evident in territories that were never submitted to the control of the milites, such as Mérida, the Valencian territories and the Toledo court. The stylistic contributions of Byzantine affiliation came both through commercial dynamics and through the explicit policy of imitatio imperii promoted by Visigothic sovereigns. The plastic production elaborated by the workshops of the Southeast shows the use of a language of abstract roots associated with decorative repertoire preferably geometric represented, in most cases, according to a principle of horror vacui principle, probably from North African. The Southeast language is strongly opposed to the sculptural areas of Mérida, Toledo, Catalonia, Valencia, and the Northwest territories showing a strong stylistic autonomy especially with regard to the Mérida workshops characterized by an intense Byzantinism. On the other hand, comparative studies show close, formal, decorative and technical relations between the Southeast documents and creations attested both in the Cuenca area and in the southern Andalusian territories. The extraordinary decorative analogies present between these pieces imply, necessarily, the presence of itinerant workshops that spread the decorative grammar of the Southeast towards these areas of Hispania. We can suggest that these workshops spread these decorative programs through the old Roman roads such as the road from Carthago Nova to Segobriga and Carthago Nova-Castulo that connected the Southeast with the territory of northern Andalusia. With regard to external artistic contributions, we have already observed how the sculptural work of the Southeast shows a certain connection with plastic, ceramic and mosaic creations of North African scope, compared to the oriental contributions which were definitely less intense.