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Crescent Moon Islamic Art & Civilisation in Southeast Asia Art Gallery of South Australia Nov 10, 2005 - Jan 29, 2006  The
latest exhibition at the Art Gallery of South Australia, 'Crescent
Moon', curated by James Bennett, is monumental. Not only is it the
first time that historical Islamic artefacts from Southeast Asian
as well as Australian collections have been shown together in such
significant numbers - numbering almost 180 - but it is also the first
time that numerous pieces have left their home countries. It is understandable
why Southeast Asian museums and galleries have previously been reluctant
to lend these precious works; they are aged, thus have delicate and
fragile natures, and hold positions as 'national treasures' within
their countries of origin. Examples are objects of royal significance,
such as crowns, royal clothing, daggers as well as recently rediscovered
sculpture; in particular, a very rare statue of a lion from the sixteenth
century. To prevent damage to such objects the exhibition uses low
lighting, further aided by richly painted walls. This large exhibition reveals Islamic art from all across South East Asia from countries with majority Muslim populations - Indonesia, Malaysia and Brunei - and there's also objects from countries with minority Muslim populations; Singapore, Philippines, Thailand, Cambodia, Myanmar and East Timor. As 'Crescent Moon' illustrates, Islamic art from Southeast Asia has a rich and complex history based upon cultural exchange imported through the 'spice trade'. Muslim traders from the Middle East, India and China first arrived in Southeast Asia approximately eight hundred years ago. Since that time, Islam has been reflected in both the products of the royal courts and in folk art, while also incorporating other influences of Chinese, Dutch and Indian motifs and techniques.  Products
of the royal courts, as one would imagine, are expressions of wealth
and status; they employed the finest craftspeople to use the most
prized materials of lavish gold and jewels to create these expressions.
Gold was compared to the sun and in turn, the sun to god's blessing.
The delicate patterns employed on royal shields, Betel-nut sets (used
to acquire the mildly narcotic betel nut), belt buckles or daggers
attest to the highly developed craftsmanship as well as the non-figurative
Muslim orthodoxy. One dagger in particular, the Si Ginjei Keris, a
sacred heirloom of Jambi, Sumatra, incorporates delicate gold leaves
along the blade that are symbolic of the supernatural powers of this
decorative royal weapon. Royal textiles also not surprisingly incorporated gold. Ceremonial skirts or textiles given as royal gifts to reward allegiance incorporated gold-wrapped thread by weaving it into the delicate and intricate patterns of these fabrics. These textiles are stretched across much of the first large gallery space, alongside court wear, ceremonial vests and trousers, and an umbrella of velvet, silk, sequins and gold thread; an important signifier of status in the Sultanate courts. Perhaps the most significant of the folk art items is a pair of Malaysian shadow puppets from the Tale Of Panji. These stylised characters are an example of ancient folk art mixing with Islamic imports, despite the fact that in 1991 they were declared non-Islamic. Similarly a series of Indonesian dance masks, used for entertainment, from the late 1800s also show the meeting of traditional folk beliefs with Islamic culture, such cultural exchange made possible by the busy waters of the 'spice trade' routes. Indigenous representations of the Makassan sailors reveal Australia's inclusion in the trade routes as a close neighbour to Southeast Asia. The Makassan people from South Sulawesi, Indonesia, called Australia 'Marege' and had a close association with the Yolgnu people of Arnhem Land. Sailing to Australia yearly with the annual monsoon, the Makassan's would catch trepang (sea cucumbers) which they would then have to dry out; an onerous task. The Indigenous paintings in this exhibition observationally show this process, as well as the Indonesian process of weaving of textiles. The yearly visit to the top of Australia by the Makassan's provided a significant trading opportunity for the Yolgnu people who gained iron tools through this means. In 1906, the Australian Government officially banned this practice. The final room of the exhibition is dedicated to 'the Word'; calligraphy seen as the noblest of arts by Islam. These books display the written word of the Qur'an, or diagrams used to as talismans to evoke blessings and protection; all are intricate in detail, and once again employ gold as a signifier of the light of god. While other expressions of Islam could be made by non-Muslims (in the form of textiles, sculpture, etc), the sacred nature of calligraphy meant that only a strict Muslim follower would be allowed to make such delicate items. 'Crescent Moon' begins in Adelaide, and will move on to the National Gallery of Australia in Canberra next year. How lucky we are to have the opportunity to see these stunning artefacts in South Australia, and what an appropriate time in current world events for this exhibition to be showing.  |
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