The Message and the Monsoon
Faris Jawad
By Rahma Bavelaar
Nov. 21, 2005
>From July 5 to October 5, 2005, the Islamic Arts Museum of Malaysia
featured an exhibition of Islamic art of Southeast Asia titled The
Message and the Monsoon. The exhibition examined the evolution of a
unique identity, concentrating on those artifacts that embody the
Muslim character of the region. This was the first time that a
comprehensive selection of Islamic artifacts from the Malay world was
brought together to bring alive the history and culture of a region
that has received very little exposure. The exhibition generated a lot
of interest and will soon be traveling to the United Kingdom for the
Festival of Muslim Cultures.
The IslamOnline.net Art & Culture Page had the opportunity to speak to
the Acting Head Curator of the Islamic Arts Museum, Lucien de Guise,
about the inception, intent, and concept of The Message and the Monsoon
and the story of the artifacts highlighted in it.
IOL: Could you tell us something about the background to the recent
exhibition on the Islamic art of Southeast Asia that you set up for the
Malaysian Museum of Islamic Art? What is the underlying concept or
narrative and how does the format of the exhibition reflect its intent?
De Guise: Central to the exhibition concept is the arrival of Islam in
Southeast Asia. The Message refers to Islam, and the Monsoon refers to
the winds that brought traders to this part of the world-mainly from
India, China, and Arabia. Islam arrived comparatively late-14th
century roughly-but was accepted with a minimum of resistance.
Another important component of the exhibition is that Islamic art does
exist in Southeast Asia. As most surveys of the subject go no further
east than India, there is a world of artifacts that receive attention
as regional works but not as part of Islamic art. Being made by Muslims
for Muslims, often with religious content, means that Southeast Asian
artifacts are as valid as those from other parts of the Ummah. We have
tried to show the ways in which objects from Muslim communities in the
region are subtly different from those produced by non-Muslim
communities.
The exhibition is arranged by category-manuscripts, textiles,
weapons, etc.-to avoid too much confusion for visitors. Within each
category we have tried to make it clear what the Islamic elements are,
and what foreign influences exist.
IOL: Could you say something about the objects that were on display?
De Guise: Some of this is covered above, but the full range of objects
is manuscripts, seals, textiles, jewelry, weapons, woodwork, metalwork,
and coins. They were created in communities throughout Southeast Asia,
mainly the Malay Peninsula, Sumatra, and Java. Every item is from our
own collection, which implies some limitations. However, every part of
the region is represented. Most are from the 19th or early 20th
century. The climate in this part of the world is not kind to most
materials. Paper and textiles rarely survive more than a century or
two. Wood has similar problems. Coins are the greatest survivors, and
we have examples going back 500 years.
The "Islamic" elements in them might be as obvious as being a
Qur'an-of which a large number are displayed-or as subtle as
being a textile designed to be worn in a certain way. Muslim
communities took a different approach to dressing, even when the
clothes may look similar to those of non-Muslims. Many weapons and
objects in wood or textile have religious inscriptions.
IOL: What are the distinguishing features of Southeast Asian Islamic
art and where lies the continuity with the themes and design of Islamic
art in general?
De Guise: The Islamic art of Southeast Asia has been heavily influenced
by its surroundings. Unlike many parts of the Islamic world, which are
fairly arid, Southeast Asia is humid and fertile. There are no seasons
to speak of, apart from wet and dry. The difference in topography is
reflected in a different approach to subject matter and to some extent
the uses of objects. Betel nut chewing, for example, is rather more
established in Southeast Asia than elsewhere, so there are countless
betel nut sets to accommodate this taste. It has to be said that it is
by no means restricted to Muslims. However, the Muslim sense of
hospitality dictates that the offering of betel nut to guests is a
priority.
Another typical difference in the types of artifacts from this region
is armor. Whilst in most of the Muslim world there is a tradition of
ornamented metal armor, this hardly exists in Southeast Asia where the
humidity makes it impractical. The closest one finds is the natural
solution, such as armadillo scales.
The main distinction with Southeast Asian Islamic works is the motifs.
These are generally inspired by nature without representing it too
literally. Botanical motifs are the most common, with typically
regional fruits such as mangosteen turning up frequently. Plant
tendrils are the most ubiquitous feature, adorning everything from the
Qur'an to architectural elements. They are the arabesque of the Malay
world. Birds and animals also appear, often in such a stylized fashion
that they would be impossible to identify without guidance.
IOL: What is the current Southeast Asian art scene like? Are
traditional arts still popular? How does modern art build upon the
traditional heritage?
De Guise: The contemporary art of Southeast Asia rarely has an Islamic
emphasis. There are artists who avoid figural representation, and a few
who use Arabic calligraphy. However, as the market is driven by
cosmopolitan, affluent, and often Westernized collectors, regional art
has an international feel to it. Traditional arts persist on a small
scale. Some artists incorporate older designs into their work, but it
tends to be rather self-conscious and often politically motivated.
Old-style textiles are worn for occasions such as weddings; otherwise
these are dying crafts. Much effort has been spent trying to revive
them, but there is constant disagreement on whether they should
slavishly follow the past or permit innovation. The Malaysian prime
minister's wife has created a popular amalgam of old and new, very
wearable batik, using old techniques and more avant-garde designs.
Meanwhile it is Western designers who attract the most attention.
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* For more information visit the Web site of the Islamic Arts Museum of
Malaysia: http://www.iamm.org.my/iamm_main.htm.
** Rahma Bavelaar is the IOL Art & Culture editor and holds an MA in
African Studies from the School of Oriental and African Studies in
London, UK.
http://www.islamonline.net/English/ArtCulture/2005/11/article04.shtml