Category Archives: DICTIONARY

Mudejar in Spain, “the Style Allowed to Remain”

Decorative style in Spanish architecture and art that evolved from a fusion of Islamic and Christian (Romanesque and Gothic) elements. It was created either by Muslims working for Christians, or of Christians imitating Islamic forms (Lucie-Smith 2003:143). The term Mudejars (mudéjares) also “refers to the group of [Moors] who remained in Iberia in the late medieval period despite the Christian reconquest” (‘Mudéjar’ 2022); they were permitted to stay as much as their style of art. Those were mainly skillful craftsmen who greatly contributed to the creation of the new style ‘(Mudéjar’, 2021).

The Mudejar style appeared in the twelfth century and lasted until the seventeenth century (‘Mudéjar’, 2021). Its greatest heyday took place in the Gothic period of Spain, especially between the fifteenth and sixteenth centuries (Ibid.). Among its characteristic features are the richness of ornamental decorations made of stucco, wood and brick, with which the surfaces of palaces and churches/cathedrals were covered so that their walls still resemble embroidered or woven draperies (Ibid.). Yet, like in the Islamic art, depictions of human or animal figures were avoided (Ibid.). Arches typical of Moorish architecture were used, like horseshoe, polylobed and lambrequin (muqarnas) arches (Ibid.). The rooms were covered with coffered ceilings and stalactite vaults (Ibid.). Azulejos were also widely applied. For more information see: Shapes of the Architectural Oasis of Al-Andalus.

Featured image: Royal Alcázar of Seville: a beautifully ornamented head pillar and the ceiling with a wooden mosaic. Copyright©Archaeotravel.


‘Mudéjar’, 2021, in Wikipedia. Wolna Encyclopedia. Available at <>. [Accessed 18th September, 2022].

‘Mudéjar’ (2022), in Google Arts & Culture (Wikipedia). Available at <>. [Accessed 18th September, 2022].

Lucie-Smith, E. (2003). The Thames & Hudson Dictionary of Art Terms. London: Thames & Hudson World of Art, p. 143.

Cyclopean Masonry of the Ancient World

A type of masonry, also known as megalithic architecture, characteristic of unusually huge constructions created of gigantic more-or-less rough-edged boulders adjusted to each other frequently without using mortar, and the resulting minimal clearances between them are sometimes filled with clay and small stones (Lucie-Smith, 2003:68,205; Bruschi, 2020; “Cyclopean masonry” 2022; “Mur cyklopowy” 2018). The cyclopean term can be also described as ‘polygonal (ashlar) masonry’ technique, if there are regularly-dressed boulders with fine joints in polygonal shapes, and precisely fitted together without the use of mortar and without visibly defined courses of stones (Bruschi, 2020; Lucie-Smith, 2003:206). The degree of precision may differ in polygonal masonry. The finest examples astonish even modern-day architects and builders.

Initially, such a definition was used to describe constructions ascribed to the Aegean and Mycenaean cultures (circa 1425 – 1190 B.C.), who built their fortifications and citadels of huge blocks of stone arranged horizontally (Bruschi, 2020; “Cyclopean masonry” 2022; “Mur cyklopowy” 2018; Kashdan, 2007). Their creation was attributed to the mythological Cyclops, and “[the] term [itself] was coined by Greeks in the Classical Age, reflecting the belief that only the Cyclops, gigantic, one-eyed creatures of myth, could have been strong enough to manipulate stones so immense” (Kashdan, 2007). Pliny the Elder (23/24 – 79 A.D.) in his Natural History gives an account of such a belief, which apparently traces back to Aristotle, who was supposed to claim that the Cyclopes were skillful architects and builders (“Cyclopean masonry” 2022).

One of the weathered and ruined, but significant cyclopean walls in Europe. The base, though corroded represents polygonal masonry of huge blocks, whereas on top there is typical cyclopean example of stonework of smaller boulders. The Ġgantija complex, Gozo Island, Malta. Photo by Elżbieta Elżbieta Pierzga. Copyright©Archaeotravel.

Apart from ancient the Mediterranean region, where the the Mycenaean citadel, then Nuraghe towers or megalithic temples of Malta are most typical examples, such stonework is found in all parts of the ancient world (Lucie-Smith, 2003:68; Bruschi, 2020; “Cyclopean masonry” 2022; “Mur cyklopowy” 2018; Kashdan, 2007); in Egypt, the cyclopean masonry is present in the valley temple of Giza and in Abydos; in Ecuador, Peru, and Bolivia, there are numerous megalithic constructions, ascribed to the culture of Incas (Bruschi, 2020). A good examples of such masonry are also visible in the South-East Asia and even on Easter Island (Bruschi, 2020; “Cyclopean masonry” 2022). “But there are quite a few others” (Bruschi, 2020).

View of Hatun Rumiyuq Street. Many of the colonial constructions used the city’s Inca constructions as a base. A typical example of megalithic (cyclopean) polygonal masonry with a very high precision. Photo by David Stanley (2012). CC BY 2.0, in “Cusco” (2022). Wikipedia, the Free Encyclopedia.

Featured image: Homolle, Théophile (1902). A polygonal wall, excavated at Delphi, showing very characteristic polygonal masonry with a high degree of precision in contrast to stonework on the other side, in “Ecole française d’Athènes”, in “Cyclopean masonry”. Public domain, in Wikipedia. the Free Encyclopedia (2022).


“Mur cyklopowy”, in Wikipedia. Wolna Encyklopedia (2018). Available at <>. [Accessed 30th April, 2022].

“Cyclopean masonry”, in Wikipedia. the Free Encyclopedia (2022). Available at <>. [Accessed 30th April, 2022].

Bruschi, R. (2020). “The Cyclopean Walls: Construction Skills and Mystery”, in The Mystery Box. Available at <>. [Accessed 30th April, 2022].

Kashdan, H. (2007). “Archaeologies of the Greek Past”, in JIAAW Workplace. Available at <>. [Accessed 30th April, 2022].

Lucie-Smith, E. (2003). Dictionary of Art Terms. London: The Thames & Hudson World of Art.

Stanley, D. (2012). “View of Hatun Rumiyuq Street, Cuzco”, in “Cusco” (2022). Wikipedia, the Free Encyclopedia. Available at <>. [Accessed 30th April, 2022].

Prasat and its Meaning in Khmer and Thai Architecture

The term has derived from the Sanskrit prāsāda or more accurately, kudakhan or rueanyotand. It usually stands for a Khmer and Thai word meaning a ‘castle’, ‘palace’ or a ‘temple’. Accordingly, in Khmer architecture, prasat means a tapered tower (or towers) rising at the centre of a temple or a temple complex (e.g, Prasat Thom), which is often compared to a pyramid-like structure or even a temple-mountain. Many a time, prasat is surmounted by prang (a usually tall and richly carved spire). Whereas in Thai architecture, it involves a royal or religious building form. “It is a building featuring an ornate roof structure, usually multi-tiered, with one or more spires. The form symbolizes the centre of the universe, which is traditionally associated with the monarch or the Buddha” (“Prasat (Thai architecture)” 2021).

Prasat Neang Khmau – the Black Temple. Copyright©Archaeotravel.

Featured imge: The Dusit Maha Prasat Throne Hall in the Grand Palace is a prominent example of the prasat formin Thai architecture. Copyright©Archaeotravel.


“Prasat” (2020). In: Wikipedia. The Free Encyclopedia. Available at <>. [Accessed 9th May, 2021].

“Prasat (Thai architecture)” (2021). In: Wikipedia. The Free Encyclopedia. Available at <>. [Accessed 9th May, 2021].

“Khmer architecture” (2021). In: Wikipedia. The Free Encyclopedia. Available at <>. [Accessed 9th May, 2021].

The Hindu Symbol of Lingam of the God Shiva

In Hinduism, the term stands for the phallic symbol of the Hindu deity Shiva. It is also an abstract or aniconic representation of the god in Shaivism. The stone representations of lingas were worshiped as a symbol of the god’s creative power, often depicted in conjunction with yoni, the symbol of his wife, Parvati (Devi).

Featured image: An eleventh-century linga-yoni plaque with a worshipper (Nepal). Nepal, dated 1068 Sculpture Repoussé gilt copper alloy Purchased with funds provided by Harry and Yvonne Lenart (M.85.125) South and Southeast Asian Art. Public domain. Photo and caption source: “Lingam” (2021). In: Wikipedia. The Free Encyclopedia.


“Lingam” (2021). In: Wikipedia. The Free Encyclopedia. Available at <>. [Accessed 9th May, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 230. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Twelve (Uncovered) Consecration Crosses, Each for One Apostle

In the Catholic Church, referred to as crosses or apostolic candlesticks. Usually they are in the form of a block, tiles with a symbolic cross, are painted or carved into the wall. A single-arm candlestick or lamp is placed under them. Their number, twelve in total, symbolically refers to the Twelve Apostles. They are located on the walls of the main nave to mark the twelve places of consecration of the church. After the Second Vatican Council, the number of anointed places in in church was reduced to four. However, the anointing of the church in twelve places has not been forbidden. Candlesticks are lit on the anniversary of the church’s dedication.

The custom itself comes from the Old Gallic liturgy (France from the fifth century to the tenth century). The Polish name comes from the biblical name Zacchaeus (hence Zacheuszki), who received Jesus Christ in his home.

Featured image: The so-called in Polish Zacchaeus in the form of a cross in the wooden Gothic Church of the Blessed Virgin Mary on Borek in Tarnów (Poland). Photo by J. Błaż (2008). Public domain. Image cropped; colours intensified. Photo source: “Zacheuszki” (2018). In: Wikipedia. Wolna Encyklopedia.


“Zacheuszek” (2018). In: Wikipedia. Wolna Encyklopedia. Available at <>. [Accessed 23rd February, 2021].

Kubara: dewocjonalia (2021). Zacheuszki. in: Kubara: dewocjonalia. Available at <>. [Accessed 23rd February, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 447. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.