From July 5 to October 5, 2005, the Islamic Arts Museum of Malaysia featured an exhibition of Islamic art of Southeast Asia titled The Message and the Monsoon. The exhibition examined the evolution of a unique identity, concentrating on those artifacts that embody the Muslim character of the region. This was the first time that a comprehensive selection of Islamic artifacts from the Malay world was brought together to bring alive the history and culture of a region that has received very little exposure. The exhibition generated a lot of interest and will soon be traveling to the United Kingdom for the Festival of Muslim Cultures.

The IslamOnline.net Art & Culture Page had the opportunity to speak to the Acting Head Curator of the Islamic Arts Museum, Lucien de Guise, about the inception, intent, and concept of The Message and the Monsoon and the story of the artifacts highlighted in it.

IOL: Could you tell us something about the background to the recent exhibition on the Islamic art of Southeast Asia that you set up for the Malaysian Museum of Islamic Art? What is the underlying concept or narrative and how does the format of the exhibition reflect its intent?

Another important component of the exhibition is that Islamic art does exist in Southeast Asia. As most surveys of the subject go no further east than India, there is a world of artifacts that receive attention as regional works but not as part of Islamic art. Being made by Muslims for Muslims, often with religious content, means that Southeast Asian artifacts are as valid as those from other parts of the Ummah. We have tried to show the ways in which objects from Muslim communities in the region are subtly different from those produced by non-Muslim communities.

The exhibition is arranged by category—manuscripts, textiles, weapons, etc.—to avoid too much confusion for visitors. Within each category we have tried to make it clear what the Islamic elements are, and what foreign influences exist.

IOL: Could you say something about the objects that were on display?

De Guise: Some of this is covered above, but the full range of objects is manuscripts, seals, textiles, jewelry, weapons, woodwork, metalwork, and coins. They were created in communities throughout Southeast Asia, mainly the Malay Peninsula, Sumatra, and Java. Every item is from our own collection, which implies some limitations. However, every part of the region is represented. Most are from the 19th or early 20th century. The climate in this part of the world is not kind to most materials. Paper and textiles rarely survive more than a century or two. Wood has similar problems. Coins are the greatest survivors, and we have examples going back 500 years.

The “Islamic” elements in them might be as obvious as being a Qur’an—of which a large number are displayed—or as subtle as being a textile designed to be worn in a certain way. Muslim communities took a different approach to dressing, even when the clothes may look similar to those of non-Muslims. Many weapons and objects in wood or textile have religious inscriptions.

IOL: What are the distinguishing features of Southeast Asian Islamic art and where lies the continuity with the themes and design of Islamic art in general?

De Guise: The Islamic art of Southeast Asia has been heavily influenced by its surroundings. Unlike many parts of the Islamic world, which are fairly arid, Southeast Asia is humid and fertile. There are no seasons to speak of, apart from wet and dry. The difference in topography is reflected in a different approach to subject matter and to some extent the uses of objects. Betel nut chewing, for example, is rather more established in Southeast Asia than elsewhere, so there are countless betel nut sets to accommodate this taste. It has to be said that it is by no means restricted to Muslims. However, the Muslim sense of hospitality dictates that the offering of betel nut to guests is a priority.

Another typical difference in the types of artifacts from this region is armor. Whilst in most of the Muslim world there is a tradition of ornamented metal armor, this hardly exists in Southeast Asia where the humidity makes it impractical. The closest one finds is the natural solution, such as armadillo scales.

The main distinction with Southeast Asian Islamic works is the motifs. These are generally inspired by nature without representing it too literally. Botanical motifs are the most common, with typically regional fruits such as mangosteen turning up frequently. Plant tendrils are the most ubiquitous feature, adorning everything from the Qur’an to architectural elements. They are the arabesque of the Malay world. Birds and animals also appear, often in such a stylized fashion that they would be impossible to identify without guidance.

IOL: What is the current Southeast Asian art scene like? Are traditional arts still popular? How does modern art build upon the traditional heritage?

De Guise: The contemporary art of Southeast Asia rarely has an Islamic emphasis. There are artists who avoid figural representation, and a few who use Arabic calligraphy. However, as the market is driven by cosmopolitan, affluent, and often Westernized collectors, regional art has an international feel to it. Traditional arts persist on a small scale. Some artists incorporate older designs into their work, but it tends to be rather self-conscious and often politically motivated. Old-style textiles are worn for occasions such as weddings; otherwise these are dying crafts. Much effort has been spent trying to revive them, but there is constant disagreement on whether they should slavishly follow the past or permit innovation. The Malaysian prime minister’s wife has created a popular amalgam of old and new, very wearable batik, using old techniques and more avant-garde designs. Meanwhile it is Western designers who attract the most attention.