Defamiliarizing the Familiar: Museum Frames Qazwini’s ‘Wonder’

Date: 16 February 2025 - 22:18

News ID: ۱۳۶۹۷۰

BOSTON (Dispatches) -- The McMullen Museum of Art has unveiled an extraordinary exhibition—Wonders of Creation: Art, Science, and Innovation in the Islamic World—which bridges centuries of Islamic intellectual achievement through the lens of “wonder,” a concept deeply rooted in the work of 13th-century scholar Zakariyya al-Qazwini.
Born in Qazvin, Iran, al-Qazwini survived tumultuous times, eventually finding solace in scholarly pursuits that would produce his masterwork, The Wonders of Creation and Rarities of Existence.
The exhibition frames wonder as al-Qazwini defined it: “a state of perplexity that comes over a human being when he fails to understand the reason for a thing or how it affects him.” This philosophical approach shapes the entire exhibition, which presents over 170 objects that showcase the intersection of Islamic art, science, and innovation across 12 centuries.
Among the most powerful contemporary pieces is Issam Kourbaj’s “Dark Water, Burning World,” an installation of 20 boats made from repurposed bicycle steel mudguards and extinguished matches.
Created between 2016 and 2019, this haunting work transforms commonly discarded materials into miniature vessels carrying clusters of huddled figures, evoking the tragic stories of Syrian refugees. The work draws a poignant parallel between ancient cosmography and contemporary crises, speaking to both the timelessness of human migration and the current refugee crisis.
The exhibition’s exploration of astronomical innovation is exemplified by an astrolabe display that reveals the sophisticated fusion of science and craftsmanship in Islamic culture. These intricate instruments, which served multiple functions from timekeeping to finding the direction of Mecca, showcase how religious practices drove scientific advancement.
The astrolabe section of the exhibit also demonstrates how these devices evolved into works of fine art while maintaining their practical applications—their makers often being accomplished polymaths who were simultaneously astronomers, mathematicians, poets, and courtiers.
Textile arts receive particular attention through pieces like the “Man’s coat (choga)” from Kashmir, dated 1803–56. This garment, with its intricate double interlocking twill tapestry weave and distinctive buta (paisley) motif, exemplifies the exhibition’s theme of technical mastery meeting artistic excellence. The coat’s journey, ending up in Oman with Sultan Sa’id, speaks to the Islamic World’s far-reaching trade networks and cultural exchanges.
Contemporary artist Monir Shahroudy Farmanfarmaian’s “Muqarnas One” (2012) offers a stunning modern interpretation of traditional Islamic architectural elements through mirror fragments and reverse-painted glass. This kaleidoscopic composition demonstrates how geometric principles from Islamic architecture continue to inspire contemporary artists, creating works that play with light and challenge visual boundaries while remaining grounded in centuries-old craft traditions.
These objects reflect Qazwini’s core belief that wonder aims at “defamiliarizing the familiar,” leading viewers toward higher states of knowledge through contemplation. The exhibition successfully makes complex scientific and artistic concepts accessible without sacrificing intellectual rigor, using Qazwini’s framework to create meaningful connections between objects separated by centuries and continents.
The timing of this exhibition is particularly significant, as it forms part of Getty’s PST ART: “Art & Science Collide” initiative. The McMullen’s contribution stands out for its historical depth and cultural specificity, offering visitors a nuanced understanding of how Islamic civilization fostered intellectual exchange across disciplines and geographical boundaries.
The exhibition offers a unique opportunity to explore the rich intellectual heritage of Islamic civilization and its continuing influence on contemporary art and science. It stands as a powerful reminder of how wonder—both aesthetic and scientific—can bridge cultural and temporal distances, fostering a deeper understanding of our shared human pursuit of knowledge and beauty.
The exhibition will remain on view at the McMullen through June 1, 2025, presenting a compelling case for the enduring relevance of Islamic artistic and scientific traditions in contemporary discourse.