The David Collection is a museum of fine and applied art in Copenhagen, Denmark, built around the private collections of lawyer, businessman and art collector C. L. David.
The museum is particularly noted for its collection of Islamic art one of the largest in Northern Europe. The collection of Islamic art contains works from almost the entire Islamic realm, from Spain in the West to India in the East and dating from the 7th to the 19th centuries.
Islamic Art Collection
The Islamic works of art are presented from three different perspectives: Islamic art organized chronologically and geographically, Islamic art grouped according to material, and Islamic art presented in its cultural context.
Dynasties and Geography
The works of art here are divided into 20 sections according to specific epochs and dynasties and according to different geographic regions. Each of the 20 sections provides a historical introduction, a map, a selection of works of art, coins, and architecture.
The objects are categorized into eight different groups. This makes it possible to see how both stylistic features and techniques were developed within a specific medium both over time and across geographical borders.
Calligraphy / Miniature Painting / Ceramics / Glass / Stone and Stucco / Ivory, Wood, and Papier-mâché / Metalwork, / Weapons, and Jewelry / Textiles, Carpets, and Leather
Focusing specifically on the cultural background for art in the Islamic world, this section illustrates fourteen themes of special relevance. Each theme is illustrated with a selected group of objects, accompanied by an explanatory text.
Islam, the Religion \The Five Pillars of Islam \ The Prophet Muhammad \ Mecca and the Kaaba \ Sunni and Shia \ The Mosque \ The Religious Prohibition Against Images \ Symbolism in Islamic Art \ Islam in China \ Sufis \ Dervishes, and Holy Men \ Trade, Measures, and Weights \Mechanics, Astronomy, and Astrology \ Medical Science \The Art of War
Beyond words: dancing letters in Islamic calligraphy was on display in the Islamic Studies Library (ISL) from February 8th to March 13th, 2020. The library closure and service disruptions, caused by Covid-19, made the exhibition inaccessible to our students, professors and visitors. In this blog post, we will provide an overview of the exhibition, featured calligraphers, the ISL calligraphy panels collection and two events organized in conjunction with the exhibition.
Arabic calligraphy is one of the most recognizable forms of Islamic Art. While originally used to preserve the Word of God (Qur’an), Arabic calligraphy also appeared in other written texts (philosophy, literature and poetry). It further developed to represent figurative depictions and decorations that were uncommon in Islamic Art. Distinct scripts and styles like Kufic, Naskh, Raqaa, Diwani, Thuluth or Nastaliq flourished across the Muslim world often unified by specific common principles. Major elements of the Arabic script such as fluid lines and ornamentation offer contemporary calligraphers the flexibility to create a free-form twist on classic techniques, repositioning calligraphy for today’s context.
This exhibition brought together a new wave of calligraphy artists from various corners of the world united by the art of writing and the desire to break through barriers, tell a story and reach other cultures.
Massoudy chooses a word from the chosen quote and recreates it in much larger dimensions, with its straight lines and its curves and a new geometrical structure. Then, he writes the whole sentence underneath or on the side.
He is the great master of Calligraphy, praiser of the divine word. All the routes of the Mediterranean and the Middle East meet in the qalam of Ghani Alani, without contrast. His writing is not of dualities, but of harmony.
The master calligrapher, who has made the ancient Arabic tradition evolve from its religious roots, is creating deeply intellectual work that reflects his interest in modern poetry and literature, alongside Christian and Sufi philosophy.
Mahdaoui’s work inspired by Arabic calligraphy is remarkably innovative as the aesthetic dimension of letters brings forth a sense of the poetic, highly rhythmic, arresting us with its rich abstracts compositions.
Karaduman considers calligraphy art as a drawing science in aesthetical terms and conducts research and examinations in this field. He completed approximately 50 Holy Korans, verses and hilye-i sharifs by renovating, revising and imitating artworks of which some belong to calligraphy masters.
Zenderoudi has a superb style arising from juxtaposition and simultaneous use of freedom of Western modern art and the power of decorative and visual elements of the Oriental and Iranian traditions.
ISL Calligraphy Collection
A wealth of Arabic/Islamic calligraphy titles were on display and were available for browsing. Now, these titles can be can be found via the McGill library catalog. In addition to the circulating collection, the McGill Islamic Studies Library has a permanent digital exhibit Arabic/Islamic Calligraphy displaying a selection of dry black and white calligraphy and colorful illuminated pieces dating from the 10th to the 19th century.
The ISL hosted two events following the launch of Beyond words: dancing letters in Islamic calligraphy exhibit.
Calligraphy workshop with Mehdi Sharifi
Mehdi Sharifi is a trained calligrapher who masters a number of calligraphic methods. In January 2008, he was awarded the Best Momtaz Degree from the Iranian Calligraphers Association. In the workshop, he exhibited some of his artistic works, and demonstrated different methods for writing Nastaliq. The workshop was well attended. Participants had the chance to see firsthand various calligraphy tools and papers used in Calligraphy art. Almost everyone left with a souvenir from the calligrapher ( individual name written in calligraphic style).
ISL Calligraphy workshop | Octagon Room
A presentation by Dr. Hela Zahar, entitled Modulations du calligraffiti arabe & tensions arabo-occidentales
Dr. Hela Zahar is the director of the Lavallois Centre for Higher Education in Digital Arts and Creative Economics. Multidisciplinary, Zahar is a practitioner in calligraphy and digital arts, a teacher and researcher in urban and digital culture. Recipient of the INRS “Best Doctoral Thesis” Award (2018) and the “Cust of the Jury” Award – 5th Gala of Excellence, Maghreb Congress in Quebec (CMQ): The Way of Success (2017).
This fascinating and original talk was based on Dr Zahar’s PhD thesis defended in 2018 at the Institut National de la Recherche Scientifique (Université du Québec, Montréal). Her thesis analyzed “the political implications (…) of Arabic calligraffiti, a form of urban art that is inspired both by graffiti and Arabic calligraphy” in both Arab and Western cities. After conducting a digital and physical ethnography of calligraffiti that developed in Montreal, Paris, and some Tunisian cities between 2008 and 2017, Zahar examined the “various conflicts and power relations, such as Arab-Western tensions in the visual culture of Western cities, tensions around the religious role of Islamic calligraphy in Arab cities, tensions around urban art in all cities, and around the various digital spaces where these works are disseminated.”
The Beyond words: dancing letters in Islamic calligraphy exhibition was curated by Anaïs Salamon (Head Librarian, ISL) and Senior Library Assistants, Ghazaleh Ghanavizchian and Samah Kasha.
Discover Islamic Art is an initiative of the Museum With No Frontiers in collaboration with 14 countries from around the Mediterranean. Islamic objects, monuments and historical sites from the northern, southern and eastern shores are brought together in a virtual museum; to complete the collection, relevant Islamic items from museums in Germany, Sweden and the United Kingdom are included as well.
“The exploration of the history and art of Islam in the Mediterranean aims to create a more complete knowledge of the historical relationship between Europe, North Africa and the Middle East, and to make this information accessible to the general public in the countries represented in the consortium and beyond. The consortium’s aim is to promote deeper understanding between the peoples of Europe and their Muslim communities and the Islamic world on their doorsteps, and ultimately to celebrate the contribution of Islamic civilisation to world culture and art.”
Objects and monuments in the Permanent Collection can be sorted by country, period/dynasty, partner or date. Sorting by country provides related content such as timeline that ranges from 400 A.D.to 2000 A.D.
In the Database, different categories like location, provenance, architect/artist/Master, Materials/Technique can be selected while entering the search criteria. Date range and language will narrow down the search. Glossary and spelling feature facilitate getting the correct spelling of the transliterated Arabic terms used in the database.
Discover Islamic Art in the Mediterranean exhibition is set up with the support of the European Union. The virtual exhibition groups objects, monuments and historical sites under dynasties or themes. A download option is available once you start exploring the topic.
The story began in the fall and early winter of 2011-12, when Linda Komaroff, Curator and Department Head at the Los Angeles County Museum of Art (LACMA), decided to pursue an acquisition of a period room from eighteenth-century Damascus, Syria. Komaroff is one of the people who makes LACMA a very unique institution. In Unframed post titled Preserving Small Piece of Damascus, Komaroff describes the new acquisition:
The Damascus Room came to signify more than the unique opportunity to acquire a rare work of art that would become a destination for museum visitors but the very embodiment of what LACMA is as an encyclopedic art museum. Although the room was removed from Syria nearly thirty-five years ago, the notion that we would be helping to preserve a small part of the cultural history of one of the world’s oldest, continuously occupied cities, intensified my interest in bringing the room to Los Angeles so that its story can be told and appreciated in this twenty-first-century city.
The room was dissembled in 1978 from one of the courtyard houses located in the al- Bahsa district, which was later demolished in order to accommodate the growth of the city of Damascus. The room was then exported from Syria to Beirut, Lebanon where it remained in storage for over 30 years. It somehow made its way to a London warehouse where it was found by Komaroff. Although the room was maintained in its original state, some restoration was required and an armature was created to make the room self-supporting so that it could be installed in an already-existing space or reinstalled elsewhere. Komaroff describes the Damascus Room thusly:
It has multicolored inlaid stone floors, painted wood walls, elaborate cupboard doors and storage niches, a spectacular arch with plaster voussoirs decorated with colored inlays that served to divide the room into upper and lower sections separated by a single tall step; and an intricately inlaid stone wall fountain with a carved and painted hood. The painted wood surfaces are embellished with a particular type of relief decoration known in Arabic as al-‘ajami (“meaning non-Arab or foreign”) or as pastiglia in the West.
The restoration work was undertaken in collaboration with Saudi Aramco’s King Abdulaziz Center for World Culture and with the support provided by the Friends of Heritage Preservation, LACMA. The reassembling of the Damascus Room was a two-year project completed in December 2015. The room was on display at the King Abdulaziz Center for World Culture, Dhahran, Saudi Arabia from 2016–2018 and will be returned to Los Angeles to tell its story to a new audience.The reconstruction of the Damascus Room has been one of the Linda Komaroff’s curatorial career:
Being in the room is a joy; it exudes a kind of beauty, warmth and comfort, which is in keeping with its original function as a place for welcoming guests. But that joy is tempered by the sadness of the continuing deterioration of daily life in Syria, the diaspora of its citizens, and the destruction of its historic monuments. For now, the room must play one more role as a preserver of memories of Syria, as so beautifully expressed by the Syrian-American hip-hop artist and poet Omar Offendum, whose performance* was recorded in the room.