The decoration of Tablao Flamenco Cordobes Barcelona, inspired by the Nasrid forms and architecture of Andalusia at the end of the 15th century, has been handcrafted by the official restorers of the Alhambra in Granada, Napoleon Morillas and Antonio Zubeldia. Our fidelity to these decorative motifs aims to remind Arab-Andalusian culture as one of the sources from which the root of flamenco drinks. Nasrid art or Granada art represents the last stage of Hispano-Muslim art. Its development phase includes from the 13th to the 15th century and laid the foundations for the future birth of Mudejar art. Its main area of influence was extended by the Nazari Kingdom of Granada, Barbary and various areas of the Iberian Peninsula.
Origins of Nasrid Art
Nasrid art or Granada art represents the last stage of Hispano-Muslim art. Its development phase includes from the 13th to the 15th century and laid the foundations for the future birth of Mudejar art. Its main area of influence was extended by the Nazari Kingdom of Granada, Barbary and various areas of the Iberian Peninsula. The origin of Nasrid art begins with the decline of the Almohad empire, beset by the proliferation of small kingdoms in al-Andalus during the 13th and 15th centuries. Years later, in 1237, the Nasrid kingdom was born and its capital was located in Granada for more than 200 years. The call Reconquista of the Christians was increasing the pressure and forcing the kingdom to give ground until, in 1492, Granada capitulated and with it the last Islamic stronghold, ending the Nasrid art in al-Andalus. The main paradigm of this art is found incontrovertibly in the Alhambra in Granada. Its name means Red Castle and comes from the Arabic "Qalat al-Ambra". The fascinating building synthesizes the Islamic palatine architecture with military architecture, which provides elements of fortification. The building has been recognized as a World Heritage Site by UNESCO and is an incomparable symbol of Islamic palatine architecture. The Alhambra, together with the buildings and buildings of Granada, allow, due to its shape, colors and style, to establish the general framework of this art as an evolution of Hispano-Muslim art. Characteristics of this art are complex ornamentations, used to mask the poverty of construction materials such as stucco plasterwork, tiled skirting or painted decoration. Another very common feature is the cylindrical shaft column and the capital of two bodies, similar to the decorations of the tablao, one cylindrical decorated with ribbons and another cubic with ataurique. The wooden roofs are usually alternated with vaults of muqarnas made of stucco and the most common arches are half-stitched and pebbled.
Link-up with the tablao
Most experts agree in relating Arabic music to flamenco, yet it is impossible to know for sure because the transmission of knowledge at that time was done orally. The most widely accepted explanation is that flamenco developed on the basis of popular and Andalusian music, thus creating melismas with great influences of Arab elements in Andalusia at the beginning of the 20th century. According to the flamenco scholar Hipólito Rossy, many similarities can be found between flamenco and Arab musical culture:"...in the constant and abusive use of decorative notes, trills, melismas, arrastres or portamentos (....) The use of ascending appoggiaturas at the beginning of the song or some turns or phrases within the same song (...) The inclusion in flamenco of the zambra mora and its influence on some songs from Murcia and Andalusia, such as the flamenco tango, the taranto and the rondeña binaria. This music and art developed in the flamenco tablaos, the historical setting of this art that has undoubtedly influenced some forms of expression of Spanish art and culture in the 19th and 20th centuries.