The colloquium was launched with an evening reception and plenary lecture by Gulru Necipoglu, Aga Khan Professor of Islamic Art and Architecture at Harvard University. The formal preceedings, beginning with an address by His Highness the Aga Khan on October 19, was followed by the Opening Lecture by renowned Art Historian, Oleg Grabar.
Second, many of the papers implicitly addressed the notion of ‘intertextuality’ or the Qur’an’s ability to produce a number of literary and artistic associations within and outside of its own content. In other words, the viewer of an artefact or building with a Qur’anic inscription is potentially responding to it through multiple layers of meaning. At first, there may be an instantaneous recognition of the passage. This may prompt recollections of narratives such as the story of the Seven Sleepers (ashab al-kahf), theological concepts such as the nature of God through His Beautiful Names (al-asma’ al-husna), eschatological concepts such as paradise, or evoke the potency of specific passages as formulae when repeated at a given time or place.
Calligraphic panel,Terengganu, Malaysia (courtesy of Huism Tan, Asian Civilisations Museum, Singapore)
|James W Allan|
|Mohamed Abbas||Joanna Kirkpatrick|
|Hülya Tezcan||Shainool Jiwa|
|Alain Fouad George||Miriam Ali de Unzaga|
|Anne Regourd||Emilie Savage-Smith|
|Sheila Blair||Venitia Porter|