An exhibition that brings Islamic art from the shadows

The Art Gallery of South Australia opened Australia’s very first permanent galleries of Islamic Art in 2005. Christopher Menz, the gallery director, stated:

Art is universal. It is a great teacher and bridge between cultures, religions, and times. It is more important than ever for Australian collecting institutions to embrace the art, culture, and history of the Islamic World in order to promote understanding and respect among Australians.

After a series of modest exhibitions, AGSA now presents its most ambitious and expansive exhibition to date of Islamic art: No God but God: The Art of Islam.

Objects from AGSA’s Islamic collection are usually displayed in one small room nestled in between European and Asian art. They are rotated infrequently, so that only a handful of highlights are seen. James Bennett, the curator of No god but God has taken over adjacent rooms in a spectacularly broad exploration that spans over 1,000 years and objects from all sides of the Islamic World.

The exhibition is characterized by cobalt walls that create a meditative mood. Art Gallery South Australia/Saul Steed

The four gallery spaces, which are reminiscent of Islamic architecture in their subtlety, are linked by portals that have been shaped into pointed arches. Cobalt walls, soft lighting, and a melodic Quran recitation and devotional music create an meditative environment inside.

The spaces are loosely dedicated to the main accepted tenets : endlessly expanding patterns that represent the infinity of God, flowers evoking the gardens of Paradise, calligraphy expressing God’s word, and the depiction of human and animal figures. Contrary to popular belief, these are commonly used in secular contexts but avoided in religious settings.

The title refers to the basic principle of Islam, the declaration of belief in one God. Even objects with a mundane, utilitarian function are often highly decorated as a sign of religious exaltation. (According to Prophet Muhammad, God is beautiful and loves beauty.

The craftsmanship of the works on display is breathtaking.

The Quran of the 20th century ‘evokes awe’. Indonesia, Quran c.1900. Bangkalan. Madura. East Java. Indonesia. Paper, ink. Pigment. Gold leaf. Leather. 43.0 x 29.00 x 3.0 cm. (two volumes). d’Auvergne Boxall Bequest Fund 2011. Art Gallery of South Australia. Adelaide.

The intricately gilded floral and geometric patterns that fill the page frames of a small Quran from Indonesia, circa the turn of the 20th century, evoke awe at the level and measured script of the calligrapher.

A pair of Moroccan doors from the 19th century are decorated with geometric patterns interlaced, which is evidence of the mastery of mathematics by Muslim artisans. Their striking ornamentation is a great contrast to their banal everyday function.

A school of fish swimming just beneath the teal, cool surface of a ceramic bowl dating from Iran’s 14th century is depicted.

This ceramic bowl is from the 14th Century Iran. It has fish on it. Gift of William Bowmore, AO, OBE, through the Art Gallery of South Australia Foundation, 2003, Art Gallery of South Australia. Adelaide.

Labels are just as important as objects. Most objects have extended text next to them. The text is informative, providing insight into the original function, significance, historical context, and possible meanings derived from their art content.

Bennett’s labels are sensitive and thoughtful, showing respect for the visitors’ desire to learn more about Islam.

Read more: Islamic art at the National Museum is spectacular but misses opportunities to bridge a cultural gap.

In preempting visitor questions, he doesn’t leave them hanging, hoping but struggling to learn more. And by giving a glimpse into the lives of these objects and their roles in the lives of the people who used them, he humanises Muslim people.

This diverse group shares with all the same human needs and wants: a home, respect and recognition in the public life, enjoyment of food and drink, and above all, beauty.

It is important. The former AGSA director has pointed out that art plays a greater role than just aesthetics. This role is political by nature for Islamic art. Since the September 11 tragedy, Islam and its adherents are under scrutiny.

Countering harmful myths

Islamophobia has spread in Australia. Attacks against members of Australian Muslim Communities have increased. In 2017, 25 % of Australians held negative views about Muslims.

Galleries can change the dominant rhetoric by displaying and curation Islamic art. They can also counter the damaging myths that are prevalent.

Read more: Islamophobia is still raising its ugly head in Australia

Many hold the idea Islam is monolithic: all Muslims are from the Middle East, look the same, and hold the same interpretations of their religion with the same fortitude.

This display of Islamic art quickly dispels the myth that Muslims are a small group. They have formed large communities in countries from Spain to Indonesia. Their religious practices were as diverse as their home countries.

Many people believe that there is no tolerance in Islam today or ever. This is false, as many objects show peaceful coexistence between people of different beliefs.

This exhibition features a 19th century Iranian tile depicting Jesus crucified surrounded by Twelve Apostles. In Islamic belief, Jesus is a prophet and deserves the same respect as Muhammad. However, he did not die on a cross. This tile was clearly made by or for the Christian community of Persia, which was under Islamic rule.

It is also important to the Muslim community. This depiction of animals and humans in artwork produced by or for Muslims shows that was acceptable over a long history.