Resumen de El valor simbòlic de la geometria a la tradició constructiva medieval de la península Ibèrica
The aim of this thesis is to reveal the crucial importance of geometry in the work of medieval builders and artisans, and to evaluate its symbolic significance and its capacity for spreading knowledge. In order to do so, this study will focus on the lberian Peninsula. lt may seem a huge and heterogeneous field of research, but it also provides an interesting example of cultural exchange marked by the continued expansion of several new Christian kingdoms in the north and the permanent presence of the Muslim community. The mutual influence between these two ditferent social realities affected them greatly, and constitutes an exceptional case of exchange of wisdom between two divergent artistic traditions. The paper is structured into four blocks with three chapters each. The four blocks correspond to the most deciding factors in !he use of geometric designs in medieval architecture. These determinants are the defining characteristics of every geometric shape, the cultural group the building was addressed to, the artisan who made the motif, and the technical limitations. The first part presents the essential features and the origin of geometric symbols. To begin with, the most enduring geometric patterns in the peninsula are recognised, and some native symbols prior to the romanization that prevailed until the Middle Ages are identified. Then, the reuse of signs coming from foreign traditions are analysed in a material and also in a conceptual sense. Finally, a study about medieval number symbolism is applied to explain some geometric designs as the graphic expression of symbolic numbers. The second section presents two possibilities depending on the purpose of the geometric symbol. Firstly, the emblems of some medieval personages that had an impact on architecture are recognized and examined. The next two chapters study the root, the meaning and the objectives of the most important religious symbols in the Hispanic Muslim and the Christian architecture respectively. The third block explores the attitude of medieval artists towards the geometric designs. This topic is clarified by the consideration of three different circumstances. Firstly, the ornamentation of some medieval buildings prove the existence of masons with a great sensitivity towards the geometric patterns , who were able to create very original iconographic programs. Secondly, there were an extensive use of geometric designs to create identity signs among craftsmen and masons. Thirdly, a wide diversity of individuals spontaneously engraved geometric graffiti, some of which have been preserved until nowadays. The last three chapters are devoted to the influence of technique in the production of geometric symbols. They observe the patterns originated almost as a result of the craftwork itself, the close attachment of some motifs to a specific architectural element, and the transformation processes of the geometric designs that arose as a consequence of technical, stylistic and cultural alterations.
