0.4 Islam, Poetry, and Perceptual Culture
This book resituates the term‘Islamic’in the category‘Islamic art history’
as equivalent to the term‘Western’in‘Western art history.’‘Islamic’and
‘Western’ each designate categories of perceptual practice emerging
through their respective discursive realms of Islamic and Christian
European hegemony.^46 Like hegemonic Western (Christianate) cultures,
the cultures we designate as‘Islamic’included complex, transcultural,
trans-geographic, interfaith, and trans-temporal literary and social engage-
ments with practices of faith that often transgressed the bounds of what we,
as modern subjects, distinguish as separate religions.^47 Just as European
Christianity drew on Roman antiquity and European pagan holidays
through non-linear, strategic appropriations, Islam developed intertwined
with a multitude of local cultures.^48 Like the Western (Christianate) world,
the historical Islamic world was never static, insular, or uniform. And just
as‘Western art’relies upon intellectual traditions reverberating through its
manifold cultural transformations, the arts of the Islamic world depend on
a dynamic intellectual history.
The exclusion of Islam from the‘Judeo-Christian’West belies inter-
twined geographical and intellectual interactions of Islam with both
Abrahamic and antique Greek and Roman cultures generally conceived
as‘Western.’Predominant models of the history of early Islam locate its
origins in the Arabian Peninsula and witness it spreading northward and
westward over the map, as though it emerged fully formed in the history of
its origins. Such narratives neglect the persistence of preexisting cultures
within the blossoming of Islam. As early Islamic forces conquered provin-
cial administrations in the Roman and Sasanian Empires, they did not
destroy existing practices. Muslims often directed minority governments.
While many locals did convert, states also benefited from the taxes decreed
in the Quran as legitimately levied on non-Muslims,financially incentiviz-
ing the maintenance of large and prosperous non-Muslim populations. As
Islamic territories expanded northward across the Levant and
Mesopotamia into Transoxiana and westward across Africa, Muslim rulers
incorporated and learned from local populations. From thefirst centuries(^46) In the early twentieth century, the Indo-European roots of the Persian language led to their
identification as Aryan, and thus more aesthetically refined than Arabs, designated as‘Semitic,’
or the even less cultured Turks (Necipoğlu, 2012 :59–60).
(^47) Masuzawa, 2005.
(^48) This book uses‘Roman’instead of‘Byzantine’, a modern term designating the Eastern Roman
Empire, ruled (mostly) from Constantinople until 1453 (Ostrogorsky, 1969 : 28).
20 From Islamic Art to Perceptual Culture