Islamic Arts Galleries
The Louvre
in itself is considered a symbol of power. It is a structure that not only
represents Paris, but can also be considered a symbol of France. Throughout the
years as a palace and a historical art museum, its content has been admired by
many, and it is generally though that every piece of content within the museum has
a purpose. The feeling of national pride is noticed from the entrance way with
the grand lobby and general feeling of wealth within the museum. “Where
national identity and enthusiasm are associated within the state are high among
individuals and diverse groups, patriotism and nationalism are likely to be
supported and deeply felt.” Pg. 153, Comp MS
The Louvre
was able to transition from a sovereign power and neutralizes itself for public
use. As stated in our class visit gone are the names of Kings that decorate the
walls, but instead they are replaced with famous French artists from the last
couple of centuries. However, in saying that the power has shifted, there is
still a feeling that you are in a political building. The amount of artwork
collected by the Louvre on display and in storage amasses to millions and with
that you feel that you are in a sacred space. For this is not just any regular museum.
This feeling
of scared space pertains to the newly opened Islamic Arts galleries. The
galleries are located on the ground floor of the Louvre and extend even further
underground. Upon entering the gallery the viewer walks through a dark portal
and is brought into a room that is similar to a tent in the desert. The tents
texture is knitted and gold, and it moves like the ocean. It truly feels like
you are being transported into a different world. I should note that also upon entering
there is a giant sign that states that the show was presided over by President
Francois Holland. (Could this be subliminal messaging?) The material used for the ground is dark with
pieces of metallic in it. To give off this Arabian night feeling, however in
saying this, the actual exhibit is extremely quiet. Only the slight hum of
visitors talking creates the mood. The design of the exhibit is quite odd.
Upstairs everything is on a slant and there doesn’t seem to be much order.
Downstairs almost takes your breath away for there is so much content, which I
later found out could not be show upstairs because the light would damage the
pieces. Everything seems to be in sections. There is a section for rugs, a
section for stained windows, and even a section for multimedia where you can
sit and watch films. The exhibit as large as it was, felt quit somber, and when
you looked around at the type of clientele who were visiting it was the older
generation of Parisians. It felt like an exhibition for old people.
Referring
back to the entrance way with Francois Holland’s sign of endorsement, perhaps this
is exactly what the curators and contributors wanted this exhibition to be. A
somber reflection of the beauties and quiet qualities that each of the Islamic countries
have to offer. As mentioned briefly on pg. 165, Comp MS. Flora Edouwaye S.
Kaplan talks about the use of storage in a museum. What artifacts are put on
display, and what artifacts are put in storage. This could be the reason why
this exhibit is being shown now instead of in previous years. As a political
message to bridge the gap between the Islamic countries and France, and show support
for mass amount of Islamic people who are now living not only in Paris, but in
France. (BBC)
It is actually
quite amazing the amount of support that was given to this exhibit and that is
seen through the small, but noticeable plaques that state who the donors are.
The Islamic Arts galleries bring together not only one but almost all Muslim
cultures but, are able to teach the public about the different types of artifacts
present such as poetry, and ancient deities. As a note on the use of
interactive technology the spoken word on the ground floor, gave viewers an insight
into how these pieces of art are conveyed to the public.
In chapter 12 of Comp MS Rosmarie Beier-de
Haan says “What we see emerging is a world society characterized by everything that
distinguishes people religious cultural and political differences- being
presented in a single location, a single city, and increasingly even within a
single family or life story.” Pg. 188 That is what I felt this exhibition was.
Although if I was asked with that political message was within the context of
the art I am unsure, although I know it is there. From an outside view it is
obvious that the political message was the support and endorsement of France
and Islam coming together to teach and appreciate their cultures in one of the most
prevalent cultural museums in the world.
My overall
reactions to the exhibit was that it is definitely worth seeing, however failed
to grab my attention with the most of the multimedia and subject matter. The
space is visually beautiful, but I am not sure how must I really learned about the
content. Yet, I should probably go back and have another look.
Work Cited
"Muslims
in Europe: Country Guide." BBC News. BBC, 23 Dec. 2005. Web. 08
Oct. 2012. <http://news.bbc.co.uk/2/hi/europe/4385768.stm>.
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