Musée du Louvre - La Chaire du Louvre 2024 par Souleymane Bachir Diagne (3/5) : Louvre - Quels universels ?
The talk begins with Dwayne McKinley's critique of the Louvre's presentation of non-European art, particularly African art, which he felt was marginalized. This reflects broader structural barriers in museums that limit interest in African art. The speaker discusses the architectural and curatorial decisions made for the Pavilion of Sessions, which houses these collections, and the need for better integration and visibility.
The creation of the Islamic Arts Department at the Louvre is also explored, initiated by President Jacques Chirac to promote cultural dialogue and integration, especially post-9/11. The department aims to showcase the diverse and rich history of Islamic art, though it faces challenges in representing the full scope of Islamic culture, particularly from sub-Saharan Africa and Southeast Asia. The speaker emphasizes the importance of recognizing the global and interconnected nature of Islamic art and culture, advocating for a broader representation that includes African and other non-traditional influences.
Key Points:
- Dwayne McKinley criticized the Louvre for marginalizing African art, highlighting structural barriers in museums.
- The Pavilion of Sessions was designed to better display non-European art but still faces integration challenges.
- The Islamic Arts Department was created to foster cultural dialogue and integration, especially after 9/11.
- There is a need to expand the representation of Islamic art to include sub-Saharan Africa and Southeast Asia.
- Recognizing the global nature of Islamic art can help break the East-West dichotomy in cultural representation.
Details:
1. 🎨 Welcome and Introduction to Visitor Experience
- The introduction centers on the visitor experience at the Louvre, particularly in the Pavilion of Sessions and Islamic Arts, showcasing how these areas enhance cultural understanding.
- A specific example from early 2019 is provided, where a visitor shared their impactful experience on Afrounk, illustrating the profound effect of these exhibits on attendees.
2. 🖼️ African Art and Visitor's Critique at the Louvre
2.1. Visitor's Critique on African Art at the Louvre
2.2. Arguments and Impact of the Critique
3. 🔍 Structural and Cultural Barriers in Art Representation
3.1. Physical and Structural Isolation of Art
3.2. Cultural Implications and Visitor Experience
4. 🎭 The Pavilion of Sessions: Integration Challenges
- Dwayne McKinley highlights the structural obstacles in art representation following his visit to the Louvre, noting parallels to segregation language.
- He refers to the Pavilion of Sessions as a 'color section,' akin to the segregation-era term for non-white spaces in the U.S.
- McKinley points out that non-Western art is still segregated in museums, likening it to 'equal but separate' policies of the Jim Crow era.
- He concludes by expressing a desire for museums to integrate non-Western art more inclusively.
- Historical context: The segregation of art in museums is reminiscent of broader societal segregation practices, impacting how non-Western art is perceived and valued.
- Current Challenges: Museums often isolate non-Western art, which can perpetuate a perception of inferiority and limit audience exposure to diverse cultures.
- Potential Solutions: McKinley advocates for a more integrated approach where non-Western art is displayed alongside Western art to enhance cultural appreciation and understanding.
5. 🏛️ Art Presentation and Architectural Design
5.1. Art Integration at the Louvre
5.2. Architectural Enhancements by Jean-Michel Wilmotte
6. 🌀 Rhythm in Art and Architectural Intentions
- Classical African arts are defined as arts of rhythm, focusing on capturing the essence and rhythm of objects rather than mimicking reality.
- African royal court art is an exception, often naturalistic to represent the seigneuries exactly as they were.
- Experiencing these artworks involves engaging with them rhythmically, akin to dancing with them, rather than merely contemplating them.
- Architectural restructuring in exhibition spaces emphasizes space for movement and interaction with artworks, achieved through symmetry, parallelism, and filtered light.
- Simple materials like very light stone are used in flooring to enhance the architectural intention of space and interaction.
7. 🌉 Addressing the Pavilion's Isolation and Future Plans
- The Pavilion of Sessions is currently isolated, located near the Porte des Lions, which is not a main entrance to the Louvre, thus reinforcing its disconnection from the main museum areas.
- A recent conversation highlighted the Pavilion's isolation, likening it to 'Xun Leones,' a term historically used to signify unknown territories like Africa, indicating the Pavilion's perceived remoteness.
- Strategic plans are being developed to improve the Pavilion's accessibility and integration with the rest of the Louvre, addressing evaluations that emphasized the need for better connectivity and visitor flow.
- Specific strategies include enhancing signage, creating direct pathways, and promoting the Pavilion as a central feature to increase visitor engagement and traffic.
8. 🕌 Incorporating Islamic Art into the Louvre
- The renovation of the Pavilion of Sessions emphasizes accessibility and integration, providing an architectural translation of the 'Louvre-ization' of African, Asian, Oceanian, and American art.
- President Jacques Chirac, known for his commitment to cultural dialogue, decided to include Islamic art in the Louvre, aiming to promote cultural diversity and dialogue.
- Two years after inaugurating the Pavilion of Sessions, Chirac announced the creation of a new Department of Islamic Arts, reinforcing the Louvre's universal mission and enhancing its collection diversity.
- This decision also aimed at integrating immigrant populations into French society by showcasing diverse cultural heritage, fostering a sense of belonging and mutual respect.
- The creation of the Department of Islamic Arts was a strategic move to represent the artistic achievements of the Islamic world, contributing to a broader understanding and appreciation of global cultures.
- The newly established department was part of a broader initiative to modernize the Louvre and make it more inclusive, which included involving experts from the Islamic world to ensure authenticity and respectful representation.
- The impact of this initiative was a significant increase in attendance from diverse audiences, showing a 30% rise in visitors from communities interested in Islamic art.
- The project was widely received as a positive step towards cultural inclusivity and dialogue, helping to bridge cultural gaps and promote understanding within French society.
9. 🗣️ Chirac's Vision for Cultural Cohesion
- President Chirac, in his October 14, 2002 speech at Troyes, emphasized addressing societal fractures in France through cultural cohesion.
- He announced the creation of an Islamic Arts department at the Louvre, symbolizing his commitment to integrating diverse cultures within the republican framework.
- Chirac outlined specific reforms aimed at rebuilding social cohesion and addressing divisions, particularly focusing on acknowledging and integrating Muslim communities.
- He rejected communitarianism while promoting unity under a republican pact, countering the notion of a clash of civilizations.
- The speech followed recent global events, including the September 11 attacks and the Bali bombings, which underscored the urgency of fostering cultural understanding.
- Chirac extended condolences for the Bali tragedy, reinforcing his stance against terrorism and promoting cultural unity.
- The proposed reforms were aimed at fostering inclusion and preventing societal divisions, aligning with his vision of a cohesive society.
10. 🏗️ Innovating Architecture for Islamic Art
- The President emphasized the importance of cultural dialogue, highlighting secularism as a foundation for equal religious rights in France.
- He urged citizens to recognize France's historical enrichment from diverse cultures over centuries.
- A new department dedicated to Islamic art is opening at the Louvre, reinforcing its universal mission.
- This initiative aligns with promoting cultural understanding and dialogue, showcasing 1200 years of history across three continents.
- The Department of Islamic Art fulfills the President's vision for the Louvre to foster intercultural exchange and understanding.
11. 📜 Historical Context of Islamic Art Collection
- The Islamic Art department at the Louvre was a significant architectural project led by Rudy Ricciotti and Mario Bellini, situated on the Visconti courtyard, requiring excavation of about twelve meters to create two levels.
- The design includes a unique canopy-like roof described as a veil or tent, symbolizing protection and privacy, reminiscent of Arabic mashrabiyas, allowing inside viewing without being seen from outside.
- Located under the Louvre's famous Mona Lisa, the department's roof is visible from the hall of the Mona Lisa, linking both exhibits' historical and cultural significance.
- The architects intended the design to blend modern aesthetics with traditional Islamic art elements, facing challenges such as integrating new structures within a historical site.
- The design reflects cultural influences, combining modern engineering with traditional Islamic motifs, creating a space that respects both historical context and contemporary art design.
12. ⚔️ Significance of Hybrid Artifacts
- The Louvre possesses 15,000 works, primarily from the late 19th and early 20th centuries, which are supplemented by 3,000 works from the Museum of Decorative Arts, totaling approximately 18,000 works in the department.
- These works are brought together to highlight the 'luminous face of Islamic civilization,' a concept supported by President Jacques Chirac as a geopolitical statement.
- The term 'luminous face of Islam' is ambiguous, suggesting an alternative image of Islam compared to prevalent media portrayals.
- The semantic clarity of the term 'Islamic art' is debated, as many items in the department are characterized by their hybridity rather than purely Islamic features.
- Hybrid artifacts, which combine elements from different cultures, play a crucial role in showcasing the diverse influences within Islamic art, offering a broader understanding of cultural exchange.
- Examples of hybrid artifacts include ceramics and textiles that exhibit both Islamic and European artistic influences, illustrating the interconnectedness of these cultures.
- The strategic purpose behind emphasizing these hybrid works is to foster a more nuanced appreciation of Islamic civilization and to challenge monolithic perceptions of Islam.
13. 🔄 Cultural Narratives Through Hybrid Objects
- The Indian dagger from the Mongol era exemplifies exquisite craftsmanship, with a jade handle adorned with gold threads and precious stones. It illustrates a blend of Oriental and Arab influences on the handle, while the blade and inlays are distinctly Indian, reflecting a rich cultural fusion.
- The Tumu torch is another hybrid object, notable for inscriptions wishing the Sultan longevity and prosperity. Although not Islamic in artistic style, its significance is heightened by the inscriptions and the intended Muslim recipient, showcasing the cultural exchange and adaptation.
- The Baptistère de Saint-Louis, a renowned piece in the Islamic Art Department, is celebrated for its intricate inlays and the artist's signature. Unlike the Tumu torch, it does not specify a recipient, yet it offers a unique cultural narrative, highlighting the artist's prominence and the object's historical importance.
14. 🌐 Islam as a Cultural and Intellectual Hub
- The artwork of Master Mohammed ibn, dating from the first half of the 14th century, exemplifies Islamic cultural influence, though its origin between Syria or Egypt is uncertain, highlighting the fluidity of cultural boundaries in the region.
- The object's lack of a specific recipient makes its characterization challenging, but its unexpected uses, such as its association with Saint Louis, highlight its hybrid nature and the complexity of cultural exchanges.
- The object believed to be brought back by Saint Louis from the Crusades was actually used for the baptism of Louis XIII in 1606, demonstrating the cross-cultural interactions and misconceptions that occur over time.
- These hybrid objects reflect the diverse peoples, cultures, and intellectual traditions within the Islamic world, which are deeply interconnected with Jewish and other cultures, illustrating the rich tapestry of Islamic influence.
- In French, the distinction between Islam as a cultural world (capital 'I') and the religion (lowercase 'i') is clear, unlike in English, which lacks this orthographic distinction, pointing to the nuances in cultural understanding.
15. 📚 Tradition of Translation and Knowledge Exchange
- The Islamic world was not isolated but deeply engaged in translation and knowledge exchange, particularly during the Abbasid period, which was a time of significant intellectual growth and development.
- In response to the 2015 attacks, Yan Linds, a former department head, resisted changing the term 'Art of Islam,' emphasizing its academic significance and the importance of preserving historical terminology.
- Islamic philosophy as an academic category reflects the synthesis of Greek and Indian knowledge, which was translated into Arabic and integrated into Islamic thought.
- The House of Wisdom in Baghdad, established in 832 by Caliph Al-Mamun, was a center for translation and intellectual flourishing, playing a crucial role in translating Greek texts.
- The Islamic world actively incorporated knowledge from the Byzantine and Persian empires, significantly impacting its scientific and philosophical developments.
- Monasteries in Syria and Iraq, then part of the Byzantine Empire, were instrumental in teaching Greek philosophy, which was translated into Syriac before being integrated into Islamic learning.
- There were debates within the Islamic world regarding the value of external wisdom, such as Greek philosophy, compared to traditional Islamic teachings.
16. 🔄 Cultural Transmission and Influence
- The concept of philosophy, meaning 'love of wisdom', raises questions about seeking wisdom from pagan cultures when one has their own revelation of a singular God.
- There has been a historical dialectic within Islam between openness and closure, with current trends leaning towards closure, impacting cultural exchange.
- The translation movement within the Islamic world received significant political encouragement during the early Abbasid period, marked by the establishment of the 'House of Wisdom' in 832.
- The 'House of Wisdom' symbolized institutional support for translating Greek philosophy and sciences into Arabic, facilitating scientific advancements.
- Translation efforts were extensive, covering not only philosophy but also Greek scientific knowledge, leading to technological artifacts like astrolabes.
- This cultural transmission extended beyond the Islamic world to influence European kingdoms, challenging a Eurocentric view of cultural history.
- Specific philosophical works like those of Aristotle and scientific texts such as Ptolemy's Almagest were pivotal in shaping both Islamic and European intellectual landscapes.
- The translation movement illustrates a complex interaction between cultures, enhancing both Islamic and European scientific and philosophical understandings.
17. 🧠 Evolution of Islamic Philosophy
- The evolution of Islamic philosophy was significantly influenced by the translation and transmission of philosophical works across different languages, including Hebrew, Greek, Arabic, and Latin.
- Roger Bacon in the 13th century highlighted the importance of 'translation study,' noting that philosophy was first revealed in Hebrew, renewed in Greek, and then in Arabic, particularly through Avicenna's works, before being translated into Latin.
- This process shows that Arabic was not just a religious language but a vital philosophical medium, challenging the notion that Latin was the primary language for philosophy.
- The transformation of Arabic into a philosophical language was marked by changes and hybridization, making it a language of universal philosophical discourse, as seen in the works of Jewish philosopher Maimonides.
- These translations significantly impacted Western philosophy by introducing new ideas and methods of reasoning, which were integrated into the Latin philosophical tradition, enriching its development.
18. 💬 Dynamics of Cultural Openness in Islam
18.1. Historical Examples of Cultural Openness
18.2. Modern Implications of Historical Openness
19. 📜 Andalusian Influence and European Integration
- Efforts to counter 'scholarly Islamophobia' and the notion that Muslims have never been part of Europe include creating Islamic Arts Departments in museums to educate the public.
- Historically, Andalusia is seen as a hub of translation and transmission among Muslim, Christian, and Jewish philosophers, sharing a philosophical language in Arabic.
- Archaeological evidence suggests Islam has organic roots in Europe, particularly in southern Spain and Portugal.
- The Zahra Museum in Cordoba exemplifies the integration of archaeological insights with modern architecture, being built underground to connect with the artifacts it houses.
- Islam is portrayed as a European religion and culture, not just an immigrant phenomenon, with artifacts like the 'Lion of Monzone' in the department of Islamic arts.
20. 🌍 Globalization and Decentralized Islamic Culture
20.1. Translation and Multilingualism in Islamic Culture
20.2. Historical Centers of Islamic Scholarship
20.3. Recognition Gaps in Islamic Art and Culture
20.4. Broadening the Scope of Islamic Studies
21. 🔀 Rethinking Cultural Narratives and Integration
- The Islamic Art Department should represent the world of Islam beyond the East-West polarity, incorporating significant historical events such as the Islamic influence on the Mali Empire.
- The chronological narrative often excludes major Islamic world events, such as the reign of Mansa Musa, who ruled from 1312 to 1337 and made notable diplomatic connections, impacting the global gold market by traveling with 12 tonnes of gold.
- The pilgrimage of Mansa Musa to Mecca, where he brought a substantial amount of gold, reportedly affected Egypt's gold market, showcasing the interconnectedness of regions during that era.
- Europe has historically recognized the globalization of Islam and the role of sub-Saharan Africa within it, contrary to the notion of the Sahara as a barrier.
- Timbuktu, known as a cosmopolitan and intellectual hub in the Mali and Songhai Empires, contradicts the 19th-century notion of it being 'discovered.'
- Integrating the Pavilion of Sessions and Islamic Arts Department at the Louvre requires a shift from the East-West focus to a more inclusive and decentralized representation, acknowledging Africa's contributions.