Editing Almoravid dynasty (section)

==== Textiles ====
{{See also|Almoravid and Almohad textiles}}
The fact that [[Ibn Tumart]], leader of the [[Almohad Caliphate|Almohad movement]], is recorded as having criticized Sultan [[Ali ibn Yusuf]] for "sitting on a luxurious silken cloak" at his grand mosque in Marrakesh indicates the important role of textiles under the Almoravids.{{Sfn|Bennison|2016|p=303}}

[[File:Fragment with wrestling lions and harpies - Google Art Project (cropped).jpg|thumb|Fragment of the shroud of San Pedro de Osma, early 12th century: the imagery features pairs of lions and harpies, surrounded by men holding griffins]]
Many of the remaining fabrics from the Almoravid period were reused by Christians, with examples in the reliquary of [[Basilica of San Isidoro, León|San Isidoro]] in [[León, Spain|León]], a [[chasuble]] from [[Basilica of Saint-Sernin, Toulouse|Saint-Sernin]] in [[Toulouse]], the Chasuble of [[Juan de Ortega (hermit)|San Juan de Ortega]] in the church of [[Quintanaortuño|Quintanaortuña]] (near [[Burgos]]), the shroud of San Pedro de Osma, and a fragment found at the church of [[Thuir]] in the eastern [[Pyrenees]].{{Sfn|Bennison|2016|pp=300–305}}<ref name=":42">{{Cite book|last=Partearroyo|first=Cristina|url=https://www.metmuseum.org/art/metpublications/Al_Andalus_The_Art_of_Islamic_Spain|title=Al-Andalus: The Art of Islamic Spain|publisher=The Metropolitan Museum of Art|year=1992|isbn=0870996371|editor-last=Dodds|editor-first=Jerrilynn D.|location=New York|pages=105–113|chapter=Almoravid and Almohad Textiles}}</ref>{{Sfn|Lintz|Déléry|Tuil Leonetti|2014|loc=Au coeur des trésors chrétiens|pp=71–98}}{{Sfn|Bloom|Blair|2009|loc=Marrakesh}} Some of these pieces are characterized by the appearance of [[Kufic]] or "Hispano-Kufic" woven inscriptions, with letters sometimes ending in ornamental vegetal flourishes. The Chasuble of San Juan de Ortega is one such example, made of silk and gold thread and dating to the first half of the 12th century.<ref name=":42" />{{Sfn|Lintz|Déléry|Tuil Leonetti|2014|loc=Au coeur des trésors chrétiens|pp=71–98}} The Shroud of San Pedro de Osma is notable for its inscription stating "this was made in [[Baghdad]]", suggesting that it was imported. However, more recent scholarship has suggested that the textile was instead produced locally in centres such as Almeria, but that they were copied or based on eastern imports.<ref name=":42" /> It is even possible that the inscription was knowingly falsified in order to exaggerate its value to potential sellers; Al-Saqati of [[Málaga]], a 12th-century writer and market inspector,<ref>{{Cite journal|last=Latham|first=J. D.|date=1978-10-01|title=The Interpretation of a Passage on Scales (Maw Āzin) in an Andalusian Hisba Manual|url=https://doi.org/10.1093/jss/23.2.283|journal=Journal of Semitic Studies|volume=23|issue=2|pages=283–290|doi=10.1093/jss/23.2.283|issn=0022-4480}}</ref> wrote that there were regulations designed to prohibit the practice of making such false inscriptions.<ref name=":42" /> As a result of the inscription, many of these textiles are known in scholarship as the "Baghdad group", representing a stylistically coherent and artistically rich group of silken textiles seemingly dating to reign of [[Ali ibn Yusuf]] or the first half of the 12th century.<ref name=":42" /> Aside from the inscription, the shroud of San Pedro de Osma is decorated with images of two lions and [[Harpy|harpies]] inside [[roundel]]s that are ringed by images of small men holding [[griffin]]s, repeating across the whole fabric.<ref name=":42" /> The chasuble from Saint-Sernin is likewise decorated with figural images, in this case a pair of [[Peafowl|peacocks]] repeating in horizontal bands, with vegetal stems separating each pair and small kufic inscriptions running along the bottom.{{Sfn|Lintz|Déléry|Tuil Leonetti|2014|loc=Au coeur des trésors chrétiens|pp=71–98}}

The decorative theme of having a regular grid of roundels containing images of animals and figures, with more abstract motifs filling the spaces in between, has origins traced as far back as Persian [[Sasanian Empire|Sasanian]] textiles. In subsequent periods, starting with the Almohads, these roundels with figurative imagery are progressively replaced with more abstract roundels, while epigraphic decoration becomes more prominent than before.<ref name=":42" />