The Opus Paintings. Paintings 1 - 10
This series of works was influenced by the miniatures found in the 13th Century Cantigas de Santa Maria, which depict musicians playing the then contemporary instruments. More details of the Cantigas can be found below, while each of the paintings has a brief explanation. This series formed the basis of the later sculpture-paintings started in 2009.
Prices from 500E.
Prices from 500E.
The Songs of the Virgin Mary (Las Cantigas de Santa Maria)
The Cantigas are in four manuscripts and form part of El Libro de la Música. It is a body of work that contains 426 poems set to music, some written by king Alfonso X, born on November 23rd 1221, and others composed by troubadours such as Ayras Nunes. All of the texts are dedicated to the Virgin, and are songs of praise, or, more frequently, are stories of miracles that occurred due to her intervention. The songs are a testament to medieval culture in Castilla and in particular to the Camino de Santiago, the pilgrim route to Santiago de Compostela.
The manuscripts contain miniatures that detail precisely with which instruments the particular Cantiga should be played.
Symbolically, Alfonso X is represented in the first miniature, singing, surrounded by four musicians, four clergy and four courtiers. The miniatures depict the musicians, whether Christians, Jews or Muslims, each one with their specific instruments, bowed or plucked string instruments, wind or percussion: Moorish guitar, bowed guitar, lute, psaltery, harp, and tambourine.
Alfonso X wrote in Gallego, the language of poets and also the language of the region where the tomb of St James of Compostela is to be found. The pilgrimage had been seen as a symbol of the Christian resistance against Islam, however, the Cantigas were a repertoire of songs written as much for the indigenous population (which included Muslims, Jews and Christians) as for the pilgrims and were compiled by Gallegan minstrels. Allfonso wrote in Gallego, the language of poets, in order to create a popular repertoire accessible to Christian devotees.
Alfonso X’s thirst for knowledge couldn’t be slaked only with Christian culture, which though it may define his identity, was also nourished constantly by the presence of Muslim courtiers, who were doctors, wise men, translators, architects or musicians. Alfonso dreamed of a unified and tolerant Spain, with a language that integrated the different social and religious elements, a dream which met more resistance from the Castilian aristocrats than the Muslims. The king also had the dream of sharing his knowledge with his subjects.
The manuscripts contain miniatures that detail precisely with which instruments the particular Cantiga should be played.
Symbolically, Alfonso X is represented in the first miniature, singing, surrounded by four musicians, four clergy and four courtiers. The miniatures depict the musicians, whether Christians, Jews or Muslims, each one with their specific instruments, bowed or plucked string instruments, wind or percussion: Moorish guitar, bowed guitar, lute, psaltery, harp, and tambourine.
Alfonso X wrote in Gallego, the language of poets and also the language of the region where the tomb of St James of Compostela is to be found. The pilgrimage had been seen as a symbol of the Christian resistance against Islam, however, the Cantigas were a repertoire of songs written as much for the indigenous population (which included Muslims, Jews and Christians) as for the pilgrims and were compiled by Gallegan minstrels. Allfonso wrote in Gallego, the language of poets, in order to create a popular repertoire accessible to Christian devotees.
Alfonso X’s thirst for knowledge couldn’t be slaked only with Christian culture, which though it may define his identity, was also nourished constantly by the presence of Muslim courtiers, who were doctors, wise men, translators, architects or musicians. Alfonso dreamed of a unified and tolerant Spain, with a language that integrated the different social and religious elements, a dream which met more resistance from the Castilian aristocrats than the Muslims. The king also had the dream of sharing his knowledge with his subjects.