ABSTRACT

Deconstructing the Myths of Islamic Art addresses how researchers can challenge stereotypical notions of Islam and Islamic art while avoiding the creation of new myths and the encouragement of nationalistic and ethnic attitudes.

Despite its Orientalist origins, the field of Islamic art has continued to evolve and shape our understanding of the various civilizations of Europe, Africa, Asia, and the Middle East. Situated in this field, this book addresses how universities, museums, and other educational institutions can continue to challenge stereotypical or homogeneous notions of Islam and Islamic art. It reviews subtle and overt mythologies through scholarly research, museum collections and exhibitions, classroom perspectives, and artists’ initiatives. This collaborative volume addresses a conspicuous and persistent gap in the literature, which can only be filled by recognizing and resolving persistent myths regarding Islamic art from diverse academic and professional perspectives.

The book will be of interest to scholars working in art history, museum studies, visual culture, and Middle Eastern studies.

chapter |12 pages

Introduction

part 1|78 pages

Deconstructing the Myths of Islamic Art in Scholarship

chapter 1|13 pages

Deconstructing the Myths and Mysteries of the Mosque

West African Marginality, Transculturation, Vernacularization

chapter 4|20 pages

The Islam in Europe Exhibition and the World of Islam Festival

Curatorial Aporia and Failure as Methodology

chapter 5|14 pages

Fiber Fragments

The Divided Histories of Textiles from the Islamic World

part 2|70 pages

Deconstructing the Myths of Islamic Art in Museums and Classrooms

part 3|52 pages

Deconstructing the Myths of Islamic Art in Contemporary Art Practice

chapter 11|13 pages

Translating Mughal History

Hamra Abbas and the Contemporary Miniature

chapter 13|13 pages

Gen Y Speaks

Performing and Unfolding Identity in the Work of Australian Muslim Artists

chapter 14|14 pages

Deconstructing Myths via Performance Strategies

Experiences of a Contemporary Practitioner

chapter |2 pages

Conclusion