Construction Of Orientalism

This chapter introduces the methodology and theories used for the research of this thesis. Firstly, some aspects of the methodologies used during the research are mentioned to get a grasp on the direction of this thesis. Secondly, more information about the primary and secondary is provided. Thirdly, the theories are introduced, mainly focusing on Edward Said’s notion of Orientalism and the notion of discourse introduced by Michel Foucault and applied to the museum by Eileen Hooper-Greenhill. Lastly, this chapter aims to provide an explanation of why other theories are not used.

As mentioned above, the methodology used to conduct the research is mentioned first. With a qualitative approach a more in depth knowledge can be obtained. Qualitative

He stated that “Orientalism is a style of thought based upon an ontological and epistemological distinction between ‘the Orient’ and ‘the Occident” (Said E. W., 1978, p. 2). In his eyes, the construction of Orientalism presumed a static Orient, strange and different in the eyes of the West, which was a relation of power differences (Said E. W., 1978, pp. 1-96). This construction of otherness “… serves as a constant reminder of difference” for viewers of art when the presentation of the objects follows these orientalist discourse notion (Jordanova, 2000, p. 245). Edward Said’s book has been criticized as well for only proving a binary and for constructing a similar timeless, unchanging and essentialist image of the West (Macfie, 2002, pp. 65-66; Salvatore, 1996, pp. 459-482). This binary notion that Edward Said applied by seeing the West as a binary as well, is a method of order and truth specific for its time according to Timothy Mitchell (Mitchell, 1998). Edward Said’s notion of Orientalism as a hegemonic system, whether it be a more moderated version or not, had and still has a significant impact on many discourse within the studies of Islamic art. Although the notion of Orientalism can be applied to different fields and aspects of Islamic lands, only Orientalism in relationship to the visual arts and architecture will

Texts focusing on Islamic art historiography, as well as introductions in Islamic art survey books and museum catalogues, frequently mention definitions and concepts of Islamic art. These definitions can rank from a short paragraph to more elaborate definitions and criticism of the concept. Definitions and concepts of Islamic art may say less about the artifacts and more about the surrounding environment. Conceptual Analysis is a theory that could certainly have been applied to the concept of Islamic art as it certainly travels and breaking it down could provide more information. Unfortunately the size more than the scope of this topic limited the use of theories and Conceptual Analysis as used for example by Mieke Bal (Bal, 2009) will not be used in this research. This research will also not cover any theories related to education, audience or participation. Even though education and audience are important aspects of museums, the focus of this research would be too broad to include these features as well. Therefore, the knowledge transfer theory by Eileen Hooper-Greenhill will not be used as well but is certainly a point of interest for further research as some museum professionals of Islamic art are working with this theory (Weber, A Concert of Things: Thoughts on Objects of Islamic Art in the Museum Context, 2012a, p.