The roof of the Louvre's new Islamic art department undulates like golden fabric gently lifted by the wind—a feat, considering it is made of steel and glass and weighs almost 150 tons. Filling a neoclassical courtyard, the addition that opened last fall tripled the space devoted to Islamic art and more than doubled the number of objects on view to almost 3,000, or about a sixth of the museum's works from the Islamic world.
In contrast to the spectacular architecture by Mario Bellini and Rudy Ricciotti, the installation is understated, an elegant version of open-storage: objects grouped in long glass cases; larger pieces—carved steles, inlaid doors, stone latticed windows—clustered on low pedestals; and architectural fragments affixed to partitions. The flooring is dark, the passageways plain and the lighting democratic, giving shards of earthenware as much attention as finely woven rugs from Iran, a jewel-encrusted dagger from Mughal India or 14th-century enameled blown-glass lamps from Egypt and Syria that are about as close to numinous as objects can get.
Read it all.
Posted January 25, 2013 at 8:00 am
To comment on this article: Go to Article ViewThe URL for this article is http://www.kendallharmon.net/t19/index.php/t19/article/47350/
© 2014 Kendall S. Harmon. All rights reserved.
For original material from Titusonenine (such as articles and commentary by Dr. Harmon) permission to copy and distribute free of charge is granted, provided this notice, the logo, and the web site address are visible on all copies. For permission for use in for-profit publications, please email KSHarmon[at]mindspring[dot]com
<< Return to Mobile view (headlines)