The middle of the 10th century was a high point for manuscript illumination in northern Spain when named scribes and illuminators created cycles of dynamic images for exegetical texts and bibles. Evidence gathered over recent decades through building archaeology has proposed a re-dating of buildings and sculpture previously considered Visigothic to the 9th or 10th centuries, thereby enlarging the corpus of Mozarabic architecture. This paper begins to assess the implications of considering the corpus of illumination alongside this expanded corpus of architecture and sculpture. The manuscripts are associated with two main centres: Tábara in southern León and Valeránica in southern Castile; the church of San Pedro de la Nave is situated near Tábara, and the church of Santa María at Quintanilla de las Viñas near to Valeránica. Records of gifts, as well as stylistic and iconographic comparisons, suggest a network of monastic amicitia across which manuscripts and scribal expertise were exchanged, and perhaps also sculptural expertise. Questions around the potential relationship of this network to royal and comital power structures are also considered.

中文翻译：

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莱昂与卡斯蒂利亚之间的艺术对话（10世纪）

10世纪中叶是西班牙北部手稿照明的高峰，当时名叫抄写员和照明员为训text文字和圣经创造了动态图像循环。近几十年来，通过建筑考古学收集的证据提出将以前被认为是西哥特风格的建筑物和雕塑重新定型为9世纪或10世纪，从而扩大了Mozarabic建筑的主体。本文开始评估将照明语料库与扩展的建筑和雕塑语料库一起考虑的含义。这些手稿与两个主要中心相关：莱昂南部的塔巴拉（Tábara）和卡斯蒂利亚南部的Valeránica。圣佩德罗德拉纳夫教堂位于塔巴拉（Tábara）附近，圣玛丽亚教堂（Quintanilla de lasViñas）位于瓦莱兰尼察（Valeránica）附近。礼物记录，以及文体和图像学的比较，表明修道院的交流网络可以交换手稿和抄写专业知识，也许还可以交换雕刻专业知识。还考虑了有关该网络与王室和平民权力结构之间潜在关系的问题。