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Textiles

The fact that Ibn Tumart, leader of the 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.

Many of the remaining fabrics from the Almoravid period were reused by Christians, with examples in the reliquary of San Isidoro in León, a chasuble from Saint-Sernin in Toulouse, the Chasuble of San Juan de Ortega in the church of Quintanaortuña (near Burgos), the shroud of San Pedro de Osma, and a fragment found at the church of Thuir in the eastern Pyrenees. 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. 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. It's 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, wrote that there were regulations designed to prohibit the practice of making such false inscriptions. 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. Aside from the inscription, the shroud of San Pedro de Osma is decorated with images of two lions and harpies inside roundels that are ringed by images of small men holding griffins, repeating across the whole fabric. The chasuble from Saint-Sernin is likewise decorated with figural images, in this case a pair of peacocks repeating in horizontal bands, with vegetal stems separating each pair and small kufic inscriptions running along the bottom.

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 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.