Islamic art is getting some awesome exposure in fifteen renovated galleries of New York. With of more than 12,000 Islamic works of art spanning 13 centuries and an area ranging from Spain to India on display, the exposure is immense. This is a completely fresh perspective for the Metropolitan Museum of Art’s collection in NY.
The displays will be changing frequently because the artwork on paper and textiles are sensitive to light and have to be protected from adverse effects of light. This is a part of last year’s renovation project of the galleries that reconstructed pats of themselves to have regions fully dedicated to Islamic art. These new galleries have been named to reflect the range of nations and empires that produced the art.
The collection is named according to galleries and bear names like “Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia.” The geographical stress is to highlight the fact that these art works are unified by religion but diversified by geography.
Navina Najat Haidar, curator and coordinator in the Met Museum’s department of Islamic art, said, “Islam is not a single lens through which we view and interpret the art. Rather, it’s an inverted lens that reveals great diversity. It’s less linear and more integrated with world culture and world heritage.”
The connectedness of the culture despite geographical variation is highlighted by the circular layout and a number of logical entry points. The galleries are inlaid with colors and stonework typical of the geographical area where the art was made.
Haider added about the construct of the galleries, “The whole space changes as the visitor goes through the galleries. The floor plan also connects the galleries to the work of European Orientalists, opening up a conversation between East and West.” She was referring to works by 19th century European artists who drew on their travels to North Africa and Western Asia for subject matter.
She added, “The physical act of writing was highly respected and the status of calligraphers was extremely high. Calligraphy is a great backbone for the collection.”The museum’s Islamic galleries were dismantled in 2003 for renovation and during the renovation the latest scientific conservation and restoration techniques to manuscripts, fragile glass objects and rare carpets.
When the Damascus Room was taken down, the staff studied it and discovered a numbering system on the panels. Haider said, “That gave us a clue to its original configuration so when we reinstalled it, the entrance door and windows were returned to their correct location.”
About the new visitors to the galleries that are expected to include the growing communities of people from this part of the world who now live in New York City, Haider said, “Those communities should feel very proud to see their heritage being recognized. Whether they are from Morocco or Uzbekistan, in the work and in the explanations of the work, they will find themselves somewhere. They can bring their children and families; that’s a very important thing.”