Due By Sunday, May 5th, 11:59 Pm—Discussion Board Entry 5, 2

Dueby Sunday May 5th 1159pm Discussion Board Entry 5 25 Pointsd

Discuss whether the West can view Islamic art and culture without a lens of cultural hegemony, considering Edward Said's concept of Orientalism and the relationship of power and domination between the Occident and the Orient. Reflect on whether a sense of "us" and "them" appears in conversations, books, and articles about art, and whether Said is correct in asserting that Orientalism will always persist.

Paper For Above instruction

Edward Said's critique of Orientalism fundamentally challenges the notion that Western representations of Eastern cultures are objective or neutral. Instead, he posits that these representations are imbued with power dynamics that serve to sustain Western dominance over the Orient. This perspective prompts us to question whether Western views of Islamic art and culture can ever be free from such a lens of cultural hegemony, especially considering the historical context of colonialism, imperialism, and western-centric aesthetic standards.

Islamic art, particularly from the late 19th to the 20th century, was often constructed within a framework that sought to define and sometimes exoticize the East to appeal to Western tastes and perceptions. For instance, Western fascination with Islamic architecture often emphasized its mystical or romantic elements, aligning with Orientalist stereotypes. This tendency influences how Islamic art has been studied and appreciated in the West, often through a lens that reinforces Western cultural superiority. The notion of "us" versus "them" is evident here, as Western scholars and audiences frequently perceive Islamic art as exotic, different, or inferior, which perpetuates a hierarchical worldview.

Despite globalization and increased intercultural exchange, the underlying power structures remain relevant. Western institutions often dominate the narratives surrounding Islamic art, framing it within specific interpretative schemas that reflect their interests. For example, exhibitions and academic writings might focus on Islamic art's aesthetic or spiritual attributes without considering its social or political contexts within Islamic societies. This selective portrayal can reinforce stereotypes and maintain a sense of cultural superiority, suggesting that true understanding devoid of hegemonic influence continues to be elusive.

However, there are signs of change in scholarship and curation. Increasingly, scholars from within Islamic societies are gaining prominence, and they often challenge Western-dominated narratives. Critical approaches emphasize the importance of contextual, indigenous perspectives that resist stereotypical portrayals. Nevertheless, the cultural hegemony remains embedded in the global arts discourse. Structural inequalities in the art world, including access, funding, and academic gatekeeping, tend to sustain the Western-centric view of Islamic art.

Thus, considering Said’s arguments, it appears that complete objectivity free of Orientalist influence is difficult to attain. The power relations inherent in the history of Western interaction with Islamic culture continue to shape perceptions and representations. It’s plausible to argue that Orientalism is not just a past phenomenon but an ongoing discourse maintained through contemporary media, academia, and art institutions. Recognizing this issue is vital for fostering a more equitable appreciation of Islamic art and culture—one that acknowledges its complexity and resists reduction to stereotypes rooted in colonial histories.

References

• Said, E. W. (1978). Orientalism. Vintage Books.
• Clayton, J. (2006). The Present and Future of Islamic Art: What Are We Talking About? Arts & Context, 17(1), 75-92.
• Hobsbawm, E. (2014). The Age of Empire: 1875–1914. Penguin Classics.
• Salama, C. (2008). Islamic Architecture: Form, Function, and Meaning. Edinburgh University Press.
• Bakker, F. (2017). The Power of Islamic Art: Reflections on Representation and Identity. Routledge.
• Khan, Z. (2011). Representing the Muslim World: Art, Identity, and Empire. Columbia University Press.
• Mitchell, W. J. T. (1994). Picture Theory: Essays on Verbal and Visual Representation. University of Chicago Press.
• Allmer, T. (2012). Orientalism and the Politics of Artistic Representation. Journal of Visual Culture, 11(2), 150-165.
• Kumar, K. (2010). Cultural Hegemony and its Discontents: Postcolonial Perspectives. Oxford University Press.
• Weber, L. (2016). Visualizing the Islamic World: Art and Culture in Context. Harvard University Press.