Muhammad at the Museum: Or, Why the Prophet Is Not Present
This article analyses museum responses to the contemporary tensions and violence in response to images of Muhammad, from The Satanic Verses to Charlie Hebdo. How does this socio-political frame effect the Metropolitan Museum of Art in NY, the V&A and British Museum in London, and the Louvre in P...
| Κύριος συγγραφέας: | |
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| Τύπος μέσου: | Ηλεκτρονική πηγή Άρθρο |
| Γλώσσα: | Αγγλικά |
| Έλεγχος διαθεσιμότητας: | HBZ Gateway |
| Journals Online & Print: | Φόρτωση...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Έκδοση: |
MDPI
[2019]
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| Στο/Στη: |
Religions
Έτος: 2019, Τόμος: 10, Τεύχος: 12 |
| Άλλες λέξεις-κλειδιά: | B
Muhammad
B Ισλάμ (μοτίβο) B Collection management B Islamic art B Images B Exhibitions B Museums B Islamicate cultural heritage |
| Διαθέσιμο Online: |
Πιθανολογούμενα δωρεάν πρόσβαση Volltext (Resolving-System) Volltext (doi) |
| Σύνοψη: | This article analyses museum responses to the contemporary tensions and violence in response to images of Muhammad, from The Satanic Verses to Charlie Hebdo. How does this socio-political frame effect the Metropolitan Museum of Art in NY, the V&A and British Museum in London, and the Louvre in Paris? Different genres of museums and histories of collections in part explain differences in approaches to representations of Muhammad. The theological groundings for a possible ban on prophetic depictions is charted, as well as the widespread Islamic practices of making visual representations of the Prophet. It is argued that museological framings of the religiosity of Muslims become skewed when the veneration of the Prophet is not represented. |
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| ISSN: | 2077-1444 |
| Περιλαμβάνει: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel10120665 |