From the Prophet to postmodernism? New world orders and the end of Islamic art
Finbarr Barry Flood
AbstractThis article addresses the peculiar fact that in most historical surveys narrative Islamic history ends around 1800 CE. It considers roots this idiosyncrasy and its implications for attempts to coopt or instrumentalize objects decade after 2001 discourses liberalism tolerance which an originary Islam was contrasted with modern more 'fundamentalist' understandings religious belief practice. explores contradictions inherent related locate models Muslim subjectivity medieval artifacts secularized as objects.KeywordsIslamic art, museum, canon, nineteenth century, postcolonialism, Qajar artWhen I read papers these days, often feel am reading museumized peoples. people who are said not make culture, except at beginning creation, some extraordinary, prophetic, act.Mahmood Mamdani, Good Muslim, Bad Muslim-an African PerspectiveThe breach between two kinds history, treat either do under different paradigms, no longer makes sense. We just poorly served by a rigid hermeneutic framework perpetuating dogmatic strategy interpretation. is perhaps appropriate regard interrogation medium man his images world, permanent experiment.Hans Belting, The End History Art?Ever since inception sub-field one has been quite sure where architecture within master narratives. In Sir Banister Fletcher's Architecture (first published 1896) Saracenic belongs non-historical styles, branching (along Byzantium) from trunk decidedly Eurocentric family tree somewhere Rome Romanesque.1 While (generally speaking) century drafted seen admitted into exclusive club problem house it less current, point reflected treatment universal art. eleventh edition Gardner's Art Through Ages (2001), example, chapter on located Byzantium Ancient America, whereas subject entirely absent sixth H.W. Janson's magisterial same year.2 enquiring reader who, seeking even trace culture narrative, turns index will find only entries there heading Islam: art of threat Europe from.3 juxtaposition disquietingly contemporary resonance, although question out be ninth-century Carolingians. Nevertheless, clear distinction Europe/not single reference occurs reflects frisson alterity upon reception accommodation predicated historically.The stems, least part, peculiarities term itself, invented rubric must accommodate vast array artistic production stemming almost 1,400 years spanning every continent.4 If appreciation fulfills cultural functions adulation, then position particularly fraught, qualifying adjective caught identity identification. resulting ambivalence lengthy apologias accompany use, but also tendency oscillate media-based dynastic taxonomies, appearance ethnically regionally based surveys.5Many qualities were manifest myriad new survey books United States 1991 2001. …
The Journal of Art Historiography