This article considers a revised interpretation of the Hafsunid revolt in i
ts material aspect, traditionally identified with a type of cave church whi
ch has ended in forming an artistic stereotype. Through a review of the ide
as which have defined this monumental landscape and a reading of the scant
archaeological and documentary sources, the article attempts to show that t
he present interpretation does not satisfactorily explain what the construc
tion of churches in the context of fitna could represent.