2012 is shaping up to be a big year for Islamic art

This year, several major exhibitions and new galleries are focusing on Islamic art.

The biggest news comes from Paris, where the Louvre is building a new wing dedicated to Islamic art. This is the biggest expansion to the museum since the famous glass pyramid. The new wing will have room to display more than 2500 artifacts from the Louvre’s permanent collection as well as notable loans. It will open at an as-yet undetermined date this summer.

In London, the British Museum is hosting two Islamic-related exhibits–one on the Hajj and one on Arabian horses. In Provo, Utah, the Brigham Young University Museum of Art is running Beauty and Belief: Crossing Bridges with the Arts of Islamic Culture. The Museum of Fine Arts in Boston opened two new galleries last December that include displays of Islamic art from Asia, and the Met in New York City also opened a new gallery late last year dedicated to the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia.

Islamic art is also facing some challenges this year. Looting and selling national treasures on the international art market always happens in times of political unrest. It happened in Iraq and Afghanistan and now it’s happening in Libya, where the death of Qaddafi did little to stabilize the situation. Syria is another country to watch. Sadly, unscrupulous “collectors” take advantage of civil wars and poverty to grab historic treasures for cheap.

Photo of eleventh century crystal ewer with birds in the Louvre collection courtesy Wikimedia Commons.

Animal mummies discovered in Egypt

A cache of animal mummies is among the finds from a recent excavation in Egypt.

The discovery was made by a University of Toronto team last summer at Abydos and was announced at a recent meeting. Abydos was the first burial ground for the pharaohs and remained a holy place throughout the history of ancient Egypt. The tomb of Osiris, king of underworld, was believed to be there.

Because of this, Egyptians wanted to be buried there too and numerous tombs have been found at the site. The Canadian team found a mysterious building that contained a pile of animal mummies. These animals could have served various purposes. Usually they were offerings to the gods, but they could also act as food for the afterlife or even post-mortem pets.

Many of the deities of Egypt had animal heads and aspects, and animals that were mummified as offerings were of the same species as the associated god. Hawks were dedicated to Horus, ibises to Thoth, cats to Sekhmet, etc.

Most of the 83 animal mummies found in Abydos in the latest field season were dogs, and may have been offerings to Wepwawet, a wolf-headed god associated with Osiris. Wepwawet was a war god and an “opener of the ways” who protected the dead on their journey into the underworld. The team also uncovered mummified sheep, goats, and two cats.

The function of the building where these mummies were found is unclear, although it may have been a temple. It’s not known exactly when it was built either. A few inscriptions at the site refer to Seti I, who ruled from 1290–1279 BC. The team also found a wooden statue that may represent Hatshepsut, a female pharaoh who ruled from 1479–1458 BC, and two tombs. One of them tombs has yet to be opened.

Animal mummies are common finds throughout Egypt. Everything from shrews to catfish to bulls were dipped in preservatives and wrapped in linen. Some were given elaborate sarcophagi, like the gilded one shown in the photo gallery. Others mummies were fakes. There was a big market for animal mummies as they were a popular sacrifice. Thus unscrupulous priests would often create mummies that contained only a few bones or feathers of the animal, or sometimes no animal parts at all.

Any museum with a good Egyptian collection will have at least some animal mummies. Museums that I’ve seen that have especially large collections include the British Museum (London), the National Museum (Cairo), the Louvre (Paris), the Royal Ontario Museum (Toronto), the Ashmolean (Oxford), and the Met (New York). Have you seen a good collection of these pickled pets? Tell us about it in the comments section!

Photo of cat mummy in the Louvre, Paris, courtesy Wikimedia Commons.

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New trail for medieval church paintings in England

The church of St Mary the Virgin in the little village of Lakenheath, Suffolk, England, contains a treasure trove of medieval church paintings. They were discovered 130 years ago when Victorian workmen were cleaning off centuries of grime and lime wash from the walls.

What they found was a series of detailed paintings of religious subjects painted from c.1220-c.1610. The church was repainted five times in that period.

A few years ago it was noticed that exposure to air, light, and moisture was destroying the paintings, and a painstaking restoration project was launched. The Lakenheath Wall Paintings Project has since restored the paintings and interpreted all five periods. Reconstructions of how the church looked during these periods can be seen on the website, as well as a rich gallery of closeup shots of the paintings.

They’ve also designed a cool Suffolk Wall Painting Trail that you can download for free. Suffolk is especially rich in wall paintings with several churches clustered together, making them easy to visit.

To learn more about this style of art, check out my review and photo gallery of the book Medieval Wall Paintings in English and Welsh Churches.

It was not possible to obtain permission to use one of the Lakenheath photos at press time. The above photo, of souls sheltering under the cloak of the Virgin Mary, is from the church of St John the Baptist, Byford. It’s similar in style to the paintings at Lakenheath.

Mistra: a medieval ghost town in southern Greece

On a steep hill overlooking the Vale of Sparta in southwestern Greece stands the last capital of the Roman Empire.

In 395 AD, beset by enemies, the empire split into western and eastern halves. The Western Roman Empire was soon overwhelmed. The east flourished. Its capital was at Constantinople, modern Istanbul. Known as the Byzantine Empire, it developed a distinctive style of art and architecture and protected the Greek Orthodox Church of its citizens.

Byzantium declined as civilizations always do, and suffered a serious blow during the Fourth Crusade in 1204. The Crusaders, who had originally set off to retake Jerusalem from the Muslims, decided to capture Constantinople instead. With its capital gone, Byzantium shattered into three small states. Byzantine art and the Greek Orthodox Church survived.

The Crusaders built an imposing castle on the summit of a hill overlooking the Vale of Sparta, one of a number of fortresses to protect their new domains. That didn’t work. The Byzantine emperor Michael VIII Palaeologos recaptured Constantinople and steadily pushed the Crusaders out of the lands they had conquered. The castle at Mistra was handed over to the Byzantines in 1262 and a fortified city gradually began to take shape around it. Mistra became the regional capital of the Morea, as the Peloponnese was then called.

The Palaeologian dynasty was the last to rule the Roman Empire. It was a time of political and economic decline, with the Turks pushing in from the east, the Venetians dominating trade, and numerous other enemies nibbling away at the borders. Morea was one of the last wealthy regions of Byzantium and despite the empire’s troubles witnessed a renaissance in art, learning, and culture.

Mistra is only seven kilometers outside of Sparta. It’s an easy walk but I was anxious to start my visit and so I took a taxi and decided I’d walk back through the olive groves. After a week of cloudy, cold weather, the sky had cleared and the air was cool and pleasant. The winding road up the hill is dominated by the massive town wall. Passing through the gate, I found myself walking along steep, narrow lanes between the remnants of homes, palaces, and churches. Several of these Orthodox houses of worship are still open.

These churches are deceptive. On the outside they are prettily made with patterned brick and a series of small domes and half domes around a large central dome. It’s inside that they show their true splendor. Frescoes cover the walls, domes, and pillars. Every available space is decorated with Biblical scenes and images of Christ, the Virgin Mary, and the saints, all painted in a rich but somber style.

%Gallery-146699%Mistra isn’t entirely a ghost town. A small nunnery called the Pantanassa is a miniature town inside the larger one. Men are allowed in to see its medieval church. When I arrived, one of the sisters, garbed all in black, was sweeping the sun-bathed courtyard while several cats lounged nearby. It was a perfect photo that of course I was too respectful to take. The church was built in 1428 and its rich frescoes show what a cultural high point the Palaeologian Renaissance was. The ground-floor frescoes are from the 17th and 18th centuries and represent a continuation of the art and ideas that made Byzantium great.

Back outside, I wended my way through the maze of little streets and came to the summit and its Crusader castle. Climbing to the top of the tallest tower, I looked out and saw the Vale of Sparta lay spread out beneath me, with the ancient ruins and modern city both visible. Behind me rose the snow-capped Taygetus mountains.

Of all Mistra’s medieval buildings, the most evocative is the church of St. Demetrios. Some scholars theorize this church may have been the site for the coronation of Constantine XI Palaeologos in 1449, the last emperor of Byzantium, and therefore the last emperor of Rome. He had served as Despot of the Morea while his older brother was emperor and lived in the palace at Mistra. It’s easy to imagine him here, with the images of Christ, Mary, and the saints looking down at him through the dim candlelight light as the priests sang their Orthodox hymns.

It must have been a glorious coronation and a sad one. Fears of usurpation from his other brothers meant the ceremony had to be rushed, and done in this provincial capital rather than the glorious church of Hagia Sofia in Constantinople. Even the crown showed Byzantium’s faded glory. The bankrupt Palaeologoi had long since hawked the crown jewels to the Venetians. Now the rightful heirs to the Roman Empire wore crowns of glass.

Besides the Morea and Constantinople, there was little left of Byzantium. The Ottoman Turks were closing in and in 1453 they made their final assault on Constantinople. The siege was a grueling one and it took the Turks weeks to pound the thick city walls into rubble with their cannon. In the final assault, the Emperor Constantine fought alongside his men and fell with them. He could have escaped. He could have made a deal. Instead he died fighting so that sad shadow of the Roman Empire would go down in glory.

But still Rome did not die. After the fall of Constantinople, the Ottomans spent time consolidating their position. Mistra survived until 1460 as the capital of the last free lands of Byzantium, and thus in a very real sense the last capital of the Roman Empire. Trebizond, a strip of territory on the south shore of the Black Sea, lasted another year, but that state had seceded from the empire before Constantinople was captured by the Crusaders and thus cannot be considered a part of it.

In the 15th century it was obvious to everyone that Byzantium’s days were numbered. Many Byzantine scholars and artists fled for safer havens. The favorite destination was Italy, where local rulers welcomed their learning and didn’t care much that they were Orthodox rather than Catholic.

These scholars brought with them books and a knowledge of Greek, Arabic, astronomy, history, philosophy, geography, and much more. They brought with them translations of the Classical authors of ancient Greece and Rome. Wealthy Italians, hungry for knowledge and for a model to inspire their own flowering culture, eagerly read these books and attended the lectures of Byzantine scholars. The influx of Byzantine learning was one of the major factors that led to the Italian Renaissance and the foundations of humanism and modern Western thought.

The torch had been passed.

Don’t miss the rest of my series: Our Past in Peril, Greek tourism faces the economic crisis.

London’s Estorick Collection of Modern Italian Art opens Alberto Burri retrospective

The Estorick Collection of Modern Italian Art is one of London’s best small art museums. Housed in an elegant Georgian mansion on a quiet street in the London borough of Islington, it has the best collection of modern Italian art in the city and perhaps the nation.

Its latest exhibition is Alberto Burri: Form and Matter, a retrospective of one of the leading Italian figures in modern art. Burri (1915-1995) started painting while interned in Texas as a prisoner of war during WWII. By the 1950s he was experimenting with common materials such as sacking, plastic, and tar, breaking out of the two-dimensions dictated by traditional painting.

His effect on modern art was huge and spawned many imitators. This exhibition brings together works from a number of museums and rarely seen examples from private collections. Aficionados of modern art won’t want to miss this one.

Alberto Burri: Form and Matter runs until April 7.

Photo courtesy Alex Sarteanesi.