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