The palace was constructed in century XI, during the period
of taifas, as residence of recreation of kings Saraqustís. Located to
the outskirts, surrounded of gardens, orchards and drains, it evoked
the Muslim paradise; in this time Qasr-al-surur "or Palace of the joy
was known like". The denomination of "Aljafería" alludes to the
name of its promoter, king Abu Yafar, known like Al-Muqtadir. By
its artistic style, the link between the Cordovan art and the nazarí of
the Alhambra of Granada is considered. It is the more important
civil construction of century XI in the Islamic West and the example
better conserved of the time of taifas.
Its tipología comes from the palaces Syrian-omeyas of the
desert (century VIII), whose influence arrives until us through the
Magreb. The walled enclosure organized around an open patio -
Patio of Santa Isabel- surrounded by rooms and cross-sectional
porches. We in a while were of the art hispanomusulmán
"manierista": the arcades are multiplied like in a theater scenery
creating a false impression of depth and a space greater than the
real one. This architecture corresponds with a political period in
which the monarchs try to maintain the fiction of a power which no
longer they have.
In his outside it emphasizes the pit and the Muslim wall. In
the interior the intimist exotismo of the Arab palace can be seen.
The Golden Hall shows an arcade of mixtilineal arcs that offer great
interest to be the first time which they are used like constructive
element. In this North porch also is the Oratorio, where still it is
possible to glimpse the refinement of the taifal time in the delicate
stature of ataurique, the ornamentación of mihrab and the paintings
that decorate the gallery. Also it emphasizes the tower of the
tribute, where Verdi located the action of his operates "the
Trovador", a solid tower that goes back to times previous to the
taifal construction of the palace.
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From it reconquers it, the building happens to be property of
Kings de Aragón; to this stage the palace belongs to mudéjar of
Pedro IV, as well as the chapels dedicated to San Martín and San
Jorge who was destroyed in century XIX It is necessary to add that
in these chapels it is thought that could have been, to be guarded
and to be kept Holy Grail transferred from San
Juan from the Rock by order of the kings of Aragón.
This set of constructions represented one of the essential
centers of the art to Aragón mudéjar, the style more rooted in
our community. The palace was scene of the sumptuous
ceremonies and festejos that accompanied to the celebrated real
coronations in the Seo.
Of the Christian remodelings it emphasizes the Hall the
Throne to which it is acceded by monumental stairs that lead to a
gallery to adorned with caissons traverse with a magnificent one
under which a gorgeous cortesana tribune runs. And the rich one
would be accustomed to of ceramics of Muel reflected as a mirror
the design of the ceiling. The set is completed with a series of
rooms between which they excel those of the Lost Steps
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In the last years of century XV, Kings Catolicos decide to
raise a palace on the previous taifal, that acquires therefore a
symbolic sense like allegory of the power of these monarchs on the
old occupant. In this zone he emphasizes the noble stairs,
conceived with great monumentalidad, within a style that the gothic
end with mudéjar combines and the first Renaissance. The ceiling
is decorated with paintings to the weather where the real emblems
surrounded by grotescos and candelieri imagine.
The palace was military quarter from end of century XVI to
half-full of century XX. The slow and delicate task of restoration that
began in years 60 has prolonged to the present time, concretely
until year 1998.
At the present time, the Aljafería is the seat of Cortes de
Aragón.
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For more information:
Arab invasion and Reconquista
Civil War
Route of the Holy Grail
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