Islamic Art in... Hawaii?

In class, we are currently learning about Islamic Art, i.e. the forms and meanings behind those forms.  I read an article entitled "Shangri La" in Hawaii: The Politics of Representation of Islamic Art by Suchart Setthamalinee which discussed a private museum of Islamic art in Hawaii which was once the home of Doris Duke.

Her private collection of art is spread throughout her home, which is basically a campus, and is classified in the article as falling into three main types: calligraphic, geometric, and arabesque.  The collection contains pieces and styles from all over the Islamic world, from Morocco to India.  Yet what is amazing about the collection, and Islamic art in general, is that even though the collection has roots in cultures from all over the Islamic world, it is still centered around a core Islamic style.

While this collection impresses many visitors to the museum, it is interesting that most questions asked are concerned with the Doris Duke and her life, rather than questions about Islamic art or Islam itself.  The author does not find this surprising, since most people go to the museum to consume the wealth and opulence of Shangri La, rather than consume knowledge about Islamic art or Islam.  In fact, some have argued that such a collection of Islamic art is a product of the American upper-class culture of the early 20th century, which included a fascination with the Orient and all things Oriental.

To me, this notion seems to make the most sense.  For instance, the foyer is "awash with color, light, pattern, and texture, an effect created by Duke’s juxtaposition of a great variety of Islamic architecture and artistic forms in the room. Textiles with floral motifs from Central Asia and India are displayed behind mother-of-pearl inlaid wood chests from Syria. Above them is a painted wood ceiling made in Morocco. Ceramic tiles from Turkey cover the walls, which are pierced with Spanish-style stained glass windows" (p. 425).  This smorgasbord of cultural Islamic art adorning the foyer suggests not so much an academic, or even basic, appreciation for Islamic art as rooted in its specific cultural context, but rather a generalized, and otherwise idealized, Orientalist arrangement of Islamic art.

Another example of this is how the mihrab, or niche found in the wall of many mosques which signifies the direction towards Mecca--the direction of prayer for Muslims--is placed 3 feet from the bathroom and faces the wrong direction. Muslim leaders and academics who have toured Shangri La have commented that it is not such a big deal because the house is not a mosque.  While yes, this is true, it still demonstrates the fascination with the art as merely a generalized "Islamic art" object rather than what it truly means or signifies.

Mihrab

Perhaps what is most surprising to me, at least from what is written in the article, is the response from many guests once they enter and see the Islamic art collection.  Many are surprised to find that Muslims have such a vibrant culture and civilization, a reaction I think is symptomatic of how Muslims and Islam are portrayed (or not portrayed).  However, I do believe it is a good thing to have this collection available to the public, whatever the original intentions or motivations of the owner may have been.  Even if people are surprised at first at the level of sophistication and beauty of Islamic art, they leave having a better appreciation and understanding of it which they can relate to their friends and family.