The doorframes of the National Gallery have been reconstructed to resemble a mosque. The rooms are dim, and gold chalices and gilded Qu’rans gleam in the soft lighting. Aside from the ornate accompanying decoration, Palace and Mosque: Islamic Art otherwise feels like every other historical exhibit, in every other museum in the world.
So why is the National Gallery advertising this exhibit so heavily? Having scheduled Islamic Art for a seven-month run-in contrast to the three months allotted to last month’s Mayan exhibit-the gallery’s curators seem to think these artifacts are not to be missed. Based on the time and money invested in such details as doorframes, the curators of the National Gallery are the latest in the line of intellectuals intending to shovel Islamic culture, regardless of quality, into the minds of Americans.
The “Mosque and Church” section of the exhibit, while displaying primarily Islamic religious objects, took great care to make the connection between Islam, Christianity and Judaism: the guide reads, “Muslims regard Judaism and Christianity as ‘scriptural’ religions … and the Islamic states protected the followers of these religions.” Because many Christian and Jewish patrons were culturally part of the Islamic world, they commissioned art that was often indistinguishable from that made for Muslims. A priestly vestment on display, decorated with an image of the Virgin Mary and the Crucifix but traditionally worn by Armenian priests, exhibits this fact.
The last item in the exhibit, entitled “Luck of Edenthal,” is an ornate glass chalice from Edenthal, England, made at a time when the technology of glass blowing was unheard of to Anglo cultures. The chalice was made in the Arab world, but over time its Muslim heritage was forgotten. This, along with its original usage in a church, made it a myth of sorts in a region where it was the only one of its kind. The unique glass chalice was said to bring good luck to anyone in its possession.
Using a chalice as an example, the exhibit suggests that artifacts-and by extension literatures and religions-of other cultures may, in some cases, be more valued in a culture that is not their own.
As for the actual art on display, a few pieces are aesthetically noteworthy, but none amazing, inspiring or life-altering. The silver and gold woven tapestries were traditionally beautiful. One in particular was interesting, and more so after reading its description, which said, “this tapestry destroys any illusion of reality, which was an important part of the Ottoman dynastic style.”
However, even this piece presents no challenge to me, the viewer. The purpose was not for this exhibit to challenge the mind of its audience or incite awe at its magnificent beauty, but to educate the American public about a culture of which many continue to remain ignorant. One of a spate of tactics intended to open the minds of culturally isolated Americans, this exhibit may be better left for a rainy afternoon.
Palace and Mosque: Islamic Art will be on display in the National Gallery’s East Wing through February 6, 2005. The National Gallery is located on the National Mall between Third and Seventh Streets on Constitution Avenue, NW, Washington, D.C.
