By Kenan Malik
8 Jul 2018
Details of the Adoration of the Magi by Gentile da Fabriano, 1423.
Photograph: Alamy Stock Photo
The Adoration of the Magi is an early
15th-century altarpiece painting by the Italian painter Gentile da Fabriano.
Housed in the Uffizi gallery in Florence, it is considered by many art
historians as Fabriano’s finest work and as the culmination of the
International Gothic style of the late 14th and early 15th centuries.
Look closely at figures of the Virgin Mary
and Joseph, and you will notice something odd. Their halos feature Arabic
script. That might seem sacrilege in a Christian religious painting. Yet as a
new exhibition in Florence, at the Uffizi and the Museo Nazionale del Bargello,
sets out to show, such cultural and religious cross-dressing was common at the
time. Entitled “Islamic Art and Florence from the Medici to the 20th Century”,
the show explores “the knowledge, exchange, dialogue and mutual influence that
existed between the arts of east and west”.
Embodied in the Renaissance view is
certainly a sense of Islam as the other. But it is intertwined with curiosity,
respect, even awe. There is a willingness, too, to reach beyond the otherness
of Islam and to see the Muslim world not as demonic or exotic but as a variant
of the European experience.
“I believe that the more we know of each
other culturally, the easier things are,” suggests Giovanni Curatola, a curator
of the Florence exhibition. That seems a pious hope. To transform contemporary
sentiments about Muslims or migrants will require far more than an exhibition.
Yet, at a time when many politicians present Islam as alien to the European
experience, such shows are a useful reminder of how historically deeply
intertwined are the worlds of Europe and Islam.
As the Turkish novelist Elif Shafak
observed in an introduction to the 2015 exhibition, “The Ottoman Orient in
Renaissance Art”, “the distance between ‘Us’ and ‘Them’ has less to do with the
world outside than with the world inside our minds”.