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Exposing the role that Islamic jihad theology and ideology play in the modern global conflicts

Met presents Islam “cleansed of imperialism, brutality, absolutism, and institutionalized inequality of non-Muslims”

Nov 3, 2016 7:43 am By Christine Douglass-Williams

Politics is the last thing that enters the mind of visitors to art museums.

Propagandists are clever at manipulating and corrupting the beauty of art to serve a hostile agenda.

The Met’s “Jerusalem 1000 to 1400: Every People Under Heaven” exhibit in New York “pursues jihad by other means”: it reeks with jihadist propaganda in its appalling and inaccurate revisionist history presentation:

The ravishing catalogue conjures an Islam cleansed of imperialism, brutality, absolutism, and institutionalized inequality of non-Muslims. Here instead is an Islam shimmering with benignity and civilized taste, a light to the nations…..

Christians conquer, but Muslims reclaim and retake. The catalogue gives us crusaders who “mercilessly slaughtered,” in contrast to Muslims who “take back Jerusalem” to create a spiritual and scholarly center of rare pluralism.

Jihadist propaganda has also invaded the arts in Canada. In fall 2013, the “Toronto Palestine Film Festival” emotionalized Palestinian victimhood to smear Israel. The festival was promoted by the Canadian Arab Federation, an organization condemned by the Conservative government for its support for Hamas and Islamic Jihad.

museum-of-arts-nyc

“The Met’s Jerusalem Exhibit Pursues Jihad By Other Means”, The Federalist, by Maureen Mullarkey, The Federalist, November 2, 2016:

Politics is the last thing that enters the mind of visitors to art museums. As modern pilgrimage sites, museums are venerated as sanctuaries of pure, unspotted Culture. That piety makes art exhibitions a credible vehicle to displace history with ideology. Add a Kuwaiti princess to a prestigious museum’s board of directors, and the subordination of culture to politics is guaranteed.

“Jerusalem 1000 to 1400: Every People Under Heaven” at the Metropolitan Museum of Art is a sophisticated exercise in historical revision and cultural proselytizing. Between cherry-picked anecdotes, crucial omissions, and the lyrical come-ons of Conde Nast Traveler, the ravishing catalogue conjures an Islam cleansed of imperialism, brutality, absolutism, and institutionalized inequality of non-Muslims. Here instead is an Islam shimmering with benignity and civilized taste, a light to the nations.

The paradisiac myth of convivencia—peaceful coexistence between “three Abrahamic faiths”—arrives splendidly packaged, relocated from Andalusia under the caliphate to Jerusalem. In the Metropolitan’s telling, medieval Jerusalem was al-Andalus in Palestine. A flourishing multicultural Arcadia, its magnificence and diversity testified to the enlightened tolerance of Islamic domination.
We’ll Get Along If We Can Destroy Your Sacred Sites

Sleight of mind begins at the starting gate. An outsized projection of the Dome of the Rock dominates the wall that meets your eye on entering. It commands high center, overshadowing several smaller images of other sites flanking it. Built in the late seventh century in the appropriated style of a Byzantine martyrium, the Dome is an architectural symbol of Islamic ascendency. Visual arrangement conveys a subtle message: Jerusalem belongs to Islam.

The initial wall text adopts the upbeat tones of a tour guide: “Beginning about the year 1000, Jerusalem captivated the world’s attention as never before.” True. But our guide omits the reason: In 1009-10, Fatimid caliph al-Hakim bi-Amr Allah ordered the destruction of all synagogues and churches throughout Palestine, Egypt, and Syria, including the Church of the Holy Sepulchre in Jerusalem.

His demolition left the city in tatters. It was one of the final triggers that, after centuries of Islamic assault on what was then Christian territory, led to the Crusades decades later. Like Spain’s reconquista, the Crusades began in response to Muslim invasion and subjugation. In 1095, the Byzantine Emperor Alexius Comnenus begged Pope Urban II to send forces to repel the Seljuk Turks, non-Arab converts to Islam who were then in control of Jerusalem and advancing on Constantinople.

As the crusaders approached, the Fatimid governor of Jerusalem expelled the city’s Christians. (Expulsion of an adversarial population was common in medieval warfare and practiced by all antagonists.) But history is putty in an exhibition intent on flattering Islamic culture.

The tutorial moves quickly to the predictable wisdom: “In 1099, European Christians achieved their improbable dream of conquering and claiming faraway Jerusalem as theirs.” Counter to historical reality, the wording suggests unprovoked, expansionist “Western warriors” (the catalogue’s phrase) attacked and colonized blameless Muslims. Instruction continues: “In 1187, the military leader Saladin retook the city and dedicated its Islamic sanctuaries (“rededicated,” in the catalogue). In the late 1200s through the 1300s, Mamluk sultans, blessed with stable regimes, promoted the city as a spiritual and scholarly center.”

Christians conquer, but Muslims reclaim and retake. The catalogue gives us crusaders who “mercilessly slaughtered,” in contrast to Muslims who “take back Jerusalem” to create a spiritual and scholarly center of rare pluralism: “Venice, Rome, Paris—none of these cities tolerated the same degree of religious diversity.” In just that way, the catalogue repeats and affirms conventional misconceptions about one of the most misunderstood periods in Western history.

Wishful Academic Fantasy Is Not Historical Evidence

Jerusalem, a small city, was askance of major trade routes and did not manufacture much beyond souvenirs for pilgrims. As historian Diarmaid MacCulloch once phrased it: “Its industry has been sacredness ever since its first gnomic appearance in the pages of biblical history.”

Medieval Jerusalem owed its prosperity to pilgrims, particularly Christian penitents who traveled to the Holy Land at risk of capture, rape, or death. The museum narrative, however, presents medieval Jerusalem as a Levantine theme park, paved with dinars and hopping with discerning tourists, upmarket pilgrims, and broadminded intellectual elites.

Curatorial spotlight on “the various aesthetic strands that made medieval Jerusalem a magnet for so many” substitutes spectacle for historical understanding. It permits the beauty of artifacts to override such bothersome realities as Islamic law’s divinely ordained subordination and degradation of Christians and Jews. Instead, it dresses the city’s bloodied history in terms adapted to modern sightseers on holiday:

Suppose we set aside political history as a means to define cultural history so that we could better explore the variety, richness, continuities, and interconnectivity of the city, its people, and its art?

All pluralists now, polite audiences believe in the Tinkerbell of diversity. The museum obliges. It projects back in time current notions of inclusiveness and interfaith comity. Buying and selling prompted goodwill. Ethnic tumult and religious hatreds melted in commercial exchange: “Trade and travel between Europe and the Holy Land provided common cause, even in times of war, and afforded peoples from different worlds opportunities to meet through the shared language of commerce.”

The “common pleasures of eating and drinking” were another bridge to fellowship. Here was Diners Club by the Dead Sea: “No visitor to Jerusalem failed to mention the food… The abundance and assortment of foods were remarkable. Al-Muqaddasi held the conviction God himself had provided the wide array of delicacies in his native land…”

Given Islamic prohibition of alcohol, what were they drinking? And with whom? Religiously mandated exclusionary laws were strictly observed by Muslims toward Christians and Jews, and by Christians and Jews toward Muslims and each other as well. Muslim fear of defilement by contact with clothing, utensils, food, and water touched by Christians did not make for camaraderie.

The narrative cannot resist a tell-tale dig at the inferiority of Christian cuisine. For the city’s surviving Christian remnant, food sale was restricted to “a street whose name carried its own implicit warning: Malquisinat Street” [Street of Bad Cooking]. Qur’anic obligation to humble the infidel extended even to the table—though the Islamophilic narrative does not state it that way.
Assimilation Does Not Mean What You Think It Means

What it does do is distort the past with insidious half-truths: “By the ninth century Arab Christians had acculturated into Islamic society.” So, they spoke and wrote Arabic. But the wording lulls readers into making a false equation between the situation of Christians under Islam and our own assumptions about the assimilation of immigrants. Acculturated Christians were those who endured degraded status, the climate of fear that accompanied it, and the tyranny of the jizya in order to stay alive.

No reference to dhimmitude appears in the catalogue’s 333 pages. Typical of mainstream scholarship devoted to the myth of Islamic benevolence, the text ignores the conditions imposed on the masses of Christians and Jews. Sharia-mandated abasement disappears. Rather, the narrative features isolated vignettes of intellectuals, poets, scholars—“the flourishing academic scene”—and fantasies of “fluid religious identity.”

Religious identity was especially relaxed in medicine, we learn. These “doctors without borders” could “help bridge the divides between cultures.” Missing is any mention of the circumstances of these physicians, many of them despised dhimmi who practiced a necessary craft under conditions of servitude.

One name on the dizzying roster of exhibition acknowledgments demands attention: Sheikha Hussah Sabah al-Salem al-Sabah. A Kuwaiti princess, her excellency is director of Kuwait’s Dar-al-Athar al-Islamiyyah (DIA), created to house—and lend—the al-Sabah Collection of Islamic art, possibly the largest in the world. Among other influential roles, she is a former macher with the Islamic Research Centre for History, Arts and Culture in Istanbul, Turkey.

In joining the Metropolitan’s board, Sheikha Hussah brings the museum more than petrodollars. She comes with a mission: to alter Western perception of Islam. Art is the chosen vehicle for conversion. She is committed to the ability of art “to open people’s minds as well as their eyes to the splendor of Islam.” Her activism conforms to the recommendations of the Organization of Islamic Conferences (OIA) to portray a radiant image of Islam “by all available means and channels.”….

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Filed Under: Art & Culture, Featured, New York City, United States Tagged With: Jerusalem 1000 to 1400: Every People Under Heaven, Metropolitan Museum of Art


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Comments

  1. Shmooviyet says

    Nov 3, 2016 at 8:18 am

    This will be THE must-see of the season, for the tolerentsia and their fellow bubble-dwellers.

  2. Mubarak says

    Nov 3, 2016 at 9:34 am

    https://thefederalist.com/2016/11/02/mets-jerusalem-exhibit-pursues-jihad-means/

    “Call it jihad-by-other-means.”
    Maureen Mullarkey – an artist who writes on art and culture.

    Summa summarum:

    The Left’s affinity for Islam is a profound hatred for Christianity and that explains it’s “John the Baptist” function for this religion of debauchery. –

    The Left and Islam share the same paradise of pride and lust with the difference that Muslims wants to take this worldly paradise a step further, i.e. to heaven.
    Shariah is the ironic judgment the Left provoke and Islam invoke.

    • gravenimage says

      Nov 4, 2016 at 1:25 am

      Says the poster who claims that we deserve Muslim rape unless we submit to Shari’ah strictures.

  3. Cretius says

    Nov 3, 2016 at 9:55 am

    As a retired Canadian government curator, I am ashamed that such revisionist Islamic propaganda is promoted by any museum of note. Lies and omissions are not of educational benefit. I would love to know the composition of the team that put this exhibition together, especially the name of the so-called ‘historian’.
    I will boycott this exhibit on principle.

  4. August West says

    Nov 3, 2016 at 10:30 am

    Agitprop pure and simple. Lots of it going around. This article reminds me of a recent Koran exhibit that made all kinds of absurd claims about the Koran.

    I am always surprised when I hear how “wonderful” Islam was X amount of centuries ago. This is a very commonly held belief among many people.

    I always ask them where is today’s Islamic paradise?

    When they cant name it I always ask what do you think has changed why was it so great then and not now?

    Then I ask when exactly was “Palestine” a country and can they name the President of Palestine when it was a country?

    These questions invariably case a lot of stuttering and mumbling.

    • gravenimage says

      Nov 4, 2016 at 1:27 am

      Yes–that is this absurd exhibit:

      “Exhibit of rare Qur’ans in DC seeks to give Americans ‘a different image of Islam’”

      https://www.jihadwatch.org/2016/10/exhibit-of-rare-qurans-in-dc-seeks-to-give-americans-a-different-image-of-islam

      As if this changes the *content* of that foul tome.

    • Baucent says

      Nov 4, 2016 at 6:04 am

      Yes, maybe the museum would like to display some ancient coins of “Palestine”, if they can find any.

  5. Crusades Were Right! says

    Nov 3, 2016 at 11:39 am

    Perhaps the Met will do an exhibition on the “peaceful coexistence” of peoples under Stalin.

    Barbed wire is an art form, isn’t it?

  6. Angemon says

    Nov 3, 2016 at 12:05 pm

    Let’s pretend, for a moment, that history happened, in fact, as that exhibit whitewashes it to be. Christians were barbaric invaders and muslims were poor, little innocent victims who wouldn’t hurt a fly. So f***ing what? That was 1000 years ago, this is now. It’s not Christians who are going around oppressing women, killing gays, preying on religious minorities and blowing themselves up in crowds of infidels in the name of their religion. It’s not Jews either. Nor Buddhists, or Sikhs, or Hindus. It’s muslims. From Afghanistan to Yemen, it’s a common denominator in all muslim countries. Maybe not in the same degree through all muslim nations, but it’s there.

    • Vic says

      Nov 4, 2016 at 5:57 pm

      You are correct. However, I do believe that presenting history accurately serves to prove the point that the Islamic MO has never changed at all in 1400 since its inception–to conquer all or die trying. No regard for the conquered. As you aptly point out, Muslims are the ones carrying out the majority of attacks worldwide against infidels and even among their own people. Nothing has changed. We in the West are in denial because we don’t seem to care to know or understand how Islam developed and why it will never change. I am waiting for another art exhibit on al-Andalus. One can search the history books in Spain and Portugal and learn the truth of dhimmitude, and how they relied on the Christian and Jewish craftsmen to produce their beautiful palaces. Or what about their bloody conquest of India. They even lifted the “Arab numbers” from the Indian mathematicians. Islam believes in the “culture of the sword”. We don’t have a clue and think that today if we are welcoming, nice and tolerant they will assimilate. It’s never going to happen. They think we are weak and corrupt. The vilest of creatures. We have to stand for our values and our rule of law.

      • gravenimage says

        Nov 4, 2016 at 6:30 pm

        True, Vic.

  7. El Cid says

    Nov 3, 2016 at 4:16 pm

    Disgusting. Shocking. Who is paying for this? Saudi donors? Pure, unadulterated propaganda.

    Can you imagine an art exhibit dedicated to Tibet run by the Chinese Government? This is the equivalent.

    • Cretius says

      Nov 3, 2016 at 4:34 pm

      Bottom line. Islam is not a race. It is a fascist, totalitarian, anti-democratic belief system dedicated to the destruction of western democracy, culture and religions. If citizens cannot see this then their ignorance is not only monumental but also culturally suicidal.

    • gravenimage says

      Nov 4, 2016 at 1:35 am

      Here’s who is backing this show:

      “The exhibition is made possible by The David Berg Foundation; The al-Sabah Collection, Kuwait; the Sherman Fairchild Foundation; the William S. Lieberman Fund; The Polonsky Foundation; Diane Carol Brandt; The Andrew W. Mellon Foundation; the Ruddock Foundation for the Arts; and Mary and Michael Jaharis.

      Additional support is provided by the National Endowment for the Arts.”

      http://www.metmuseum.org/exhibitions/listings/2016/jerusalem

      Some Muslim backing, but mostly clueless Infidels.

      • Vic says

        Nov 4, 2016 at 5:30 pm

        And here is the link for the interview with the Curators … Doesn’t look like they did due diligence on the true history of Jerusalem, but what is considered safe and politically correct… Many museums seek to educate through art but the art not connected to history, is misinformation and fantasy…
        http://www.metmuseum.org/blogs/now-at-the-met/2016/mapping-the-medieval-city

        • gravenimage says

          Nov 4, 2016 at 6:47 pm

          Thanks for the link, Vic.

          As an art historian, I am just embarrassed by this “political correctness” and sloppy scholarship. And as a proud Infidel, I am disgusted by their dhimmitude.

          Their asking how Jerusalem is like Manhattan is unwittingly poignant–one might mention that both have been under Muslim attack–although this is something they would never think of.

    • Mazo says

      Nov 4, 2016 at 1:40 pm

      Can you imagine an art exhibit dedicated to Native Americans by the United States- oh wait.

      • gravenimage says

        Nov 4, 2016 at 6:56 pm

        What absolute claptrap–Mazo shows once again that he understands *nothing* about the West.

        Here’s an exhibition at the Met from last year:

        “The Plains Indians: Artists of Earth and Sky”‘

        http://www.metmuseum.org/exhibitions/listings/2015/plains-indians-artists-of-earth-and-sky

        And here’s the National Museum of the American Indian:

        http://www.nmai.si.edu/

        There are hundreds more such stories.

        I was peripherally involved with an exhibition of Native American art at the Oakland Museum in the 1990s at which two of my students spoke.

  8. Jay Boo says

    Nov 3, 2016 at 10:27 pm

    Muslims do this insulting assault against us yet they have the audacity to get indignant at a few burnt Korans.

  9. gravenimage says

    Nov 4, 2016 at 1:22 am

    Met presents Islam “cleansed of imperialism, brutality, absolutism, and institutionalized inequality of non-Muslims”
    ……………………..

    More whitewashing of Islam by the art world. *Ugh*.

  10. Baucent says

    Nov 4, 2016 at 6:16 am

    ” In 1009-10, Fatimid caliph al-Hakim bi-Amr Allah ordered the destruction of all synagogues and churches throughout Palestine, Egypt, and Syria, including the Church of the Holy Sepulchre in Jerusalem.”

    This particular lunatic caliph is worth looking into. His hatred of Christianity was so rabid that he took to the destruction of the tomb of Christ in the Church of the Holy Sepulchre with warped enthusiasm. He smashed the rock walls and tried the grind to powder all trace of the shrine. That inner shrine now under restoration is mostly built during the 100 years of Christian rule. But the bedrock is still there from the original tomb cave.

    • Mazo says

      Nov 4, 2016 at 1:31 pm

      Al-Hakim is revered by the Druze religion.

      • gravenimage says

        Nov 4, 2016 at 6:58 pm

        The only reason Mazo considers this salient is that he desperately hopes he can use it to split the camp of the victims of Islam.

        • Mazo says

          Nov 5, 2016 at 9:35 am

          That would be news to the Druze, who consider the Quran one of their holy books and Muhammad to be one of their Prophets. They are long time practitioners of Taqiyysh.

  11. duh swami says

    Nov 4, 2016 at 6:34 am

    Islam cleansed…You mean with a rag? Hillary tried that with her e-mails and look how that worked out…

    Islam has so many blood stains that no amount of sweet talk can wash it off…

  12. Larry A. Singleton says

    Nov 4, 2016 at 9:09 pm

    Go to the Met’s Facebook page and post your comments. Especially if you feel strongly about Israel. Read my comments and tell me if I’m out of line.

    These are the places you should be voicing your opinions. I seem to be the lone ranger when it comes to posting on these Facebook pages. It just doesn’t make any sense to me especially when you consider Fakebook’s efforts at shutting down conservative “hate” speech and criticism of Islam. These Fakebook pages and liberal websites are the places where one might influence someone who’s still on the fence about these issues or trying to understand them in the first place.

    I wish I would have seen more comments about Clinton and Trump on the Fakebook pages of CNN, MSNBC, the NY and LA Times, the White House, Obummer’s and all the other “liberal/progressive” venues.

    After a while it gets almost boring getting called names or getting the silent treatment when I post the articles I’ve read here at JW or FrontPage magazine or the Middle East Quarterly or the Gatestone Institute or books like The Case for Israel by Alan Dershowitz and challenge people to read them then dispute, refute or debunk a single word in these sources.

    At the same time I would love to see keener and more eloquent minds than mine like gravenimage and others expose the farce that is the obscenity of having this propaganda tool “exhibit” at one of America’s oldest art institutions.

    Really, I got almost teary eyed as I explained to one commenter who objected to my comment how I came to be interested in this issue. I wish I could do a Vulcan Mind Meld on these people when it comes to why Israel deserves a national homeland, it’s history and why all these accusations and attacks against Israel are so “wrong, Wrong, WRONG”.

    And again; there are those here at JW who are light years ahead of me in brains and abilities to persuade. persuasive abilities? Help change minds? I don’t know.

    I wake up in the morning and sometimes read from Andrew Bostom’s book The Legacy of Islamic Antisemitism and I get out of bed almost kicking over the furniture (in anger at the “robbing, looting, killing, raping and burning”) eager to share what I’ve read.

    This one guy who commented regretted that he lived overseas and couldn’t go to this “exhibit”. I asked him, that after reading what I’d posted about Islam, if he would still spend his hard earned money and go visit this “exhibit”.

    This is usually when I get the silent treatment.

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