Ustaz Suleiman, an expert in Arabic calligraphy. Chanat Katanyu
Ustaz Suleiman dipped his brush in a bottle of ink and moved his hand over a piece of paper. His fingers nimble, his movement steady as if he was holding a breath, Suleiman drew a trellis of calligraphic elegance that spells the Thai name of our photographer in classical Arabic.
"We put silk threads in the ink," Suleiman said. "It's an ancient technique -- from the time of the prophet -- to prevent the ink from curdling up."
Last week at the Institute of Islamic Art Thailand, Suleiman was busy writing names, mostly Thai names in adorned Arabic script, for visitors who came to admire a collection of art and would like to leave with small souvenirs. At one point Suleiman, a Thai man who grew up in Saudi Arabia and studied in Malaysia, called up a video clip from his phone. It showed King Rama X looking at the artist's handwritten calligraphy, which spelled the name of the King, on His Majesty's visit to the Mawlid Fair in Bangkok last year.
The Institute of Islamic Art in Charoen Krung 36 was founded about a year ago and it is arguably the first of its kind in Thailand. Run as a foundation by a group of Muslim artists and non-Muslim scholars, including Ustaz Sulieman, it's dedicated to promoting Islamic aesthetics -- largely though not entirely based on Islamic faith -- by hosting workshops, exhibitions and lectures.
Over the past months the institute organised several classes on Arabic calligraphy, manuscript ornamentation and the history of Islamic art, as well as sessions on arabesque and even on lai rod nam, a gold-lacquer pattern often used in Thailand as decoration at Buddhist temples. The participants were both Muslims and non-Muslims.
Handwritten Koranic verses, next to a painting by a Chinese Muslim from Chiang Mai. Photo: Kong Rithdee
Last weekend, the institute was one of the highlights at Bangkok Design Week organised by the Thailand Creative and Design Centre (TCDC). A few hundred visitors came to check out its temporary space, the historic so-called Green House on Charoen Krung 36 dating back over a century. After Design Week however, the century-old house will be closed for renovation, and activities will be carried on at the Anjuman Auditorium building in the same compound.
"The Prophet Muhammad said that people would admire Islam not just because of the teachings, but because of the beautiful manners of Muslims," said Siripong Toleb, one of the founders of the institute. "Islamic art is also part of the beauty of the religion, and we want everyone to be able to admire and even learn about it."
"Art is traditionally based on religious devotion," said Worrapoj Waiyaveta, an artist who studied tanning in India and also one of the institute's founders. "Buddhist art or Christian art, for instance, is built around worshipping rituals. Islamic art has its foundation in the belief in God and the scripture, though the essence is not about worshipping. Rather, it's about respect and acknowledgment of the glory of God. It's like when you cook for someone you greatly respect -- you have to cook the best meal you can, though the food in itself is not a medium of worship."
Siripong, a lawyer by profession, said that the institute was founded in part to push forth a project to produce the first-ever Thai edition of a handwritten Koran manuscript, a pinnacle of Islamic art that requires colossal time, commitment and devotional effort. The art is also related to the way the religion was spread in the past, at a time when printing was non-existent and the sacred words had to be copied by scribes at various locations around the globe. At the moment, the Thai team has managed to finish just one chapter. The graceful verses have been written by Ustaz Suleiman, with Worrapoj and Shareef Toleb, Siripong's son, designing the intricate arabesque that frames the text.
The history of Islamic art began officially with the founding of the religion in the 7th century, though the influences of the earlier periods, such as the Byzantine and the Persian, had been carried over into the new era. According to Suniti Chutamas, one of the members of the institute who studied archaeology in Jordan, the Abbisid Caliphate in the 10th century presided over a profusion of artistic and scientific blossoming in the Middle East. The Ottoman Empire and later the Mughal also perfected the various disciplines of artistic creation as Islam spread to other parts of the world.
Broadly, Suniti said, Islamic art has the following characteristics. It is based on faith in the one God, and it's renowned for geometric and graphic aesthetics, since the prophet didn't encourage the display of human or animal figures. Lastly, Suniti said, Islamic art has incorporated local elements wherever the faith has found its followers, from China to Southeast Asia and beyond.
"The term 'Islamic art' may be associated with the Middle East, and today some of the finest Islamic art can be found in Turkey and Iran," he added. "But Muslims in different parts of the world also put their own artistic instincts into their creations, such as the Malay or the Chinese Muslims. In fact, the character of Islamic art becomes stronger when adapted through other influences."
For instance, mosques built in the Ayutthaya period share many decorative details with Buddhist temples. Meanwhile, the institute exhibits paintings by a Chinese-Muslim artist in Chiang Mai, which feature a minimalistic swirl typical of Chinese art. Also, the institute recently had a session on lai rod nam, or a sophisticated gilded lacquer work that Thai artists often use in temples.
"We had a class on lai rod nam because we wanted to show that even though the technique is associated with Buddhist decoration, we can adapt it in Islamic art as well," said Suniti.
At the moment, the institute is also working with experts to preserve palm-leaf scriptures with Arabic verses, which are some of the artefacts found in the Green House, where Tuan Suwannasart, the second Sheikhul Islam of Thailand, resided from the 1950s until his death in the 1980s. The plan is to renovate and convert the historic residence, which sits on land belonging to Manas Nana, a well-known businessman and respected figure in the Thai-Muslim community, into a permanent office of the institute, complete with a library on Islamic art. The location on Charoen Krung also fits into the new narrative assigned to the old-fashioned neighbourhood that has seen a revival and become a hub of art and design.
The interest shown by the public during Design Week has assured the institute of its mission -- to try to include everyone in the appreciation of art that is based on faith but that also transcends it. "I was in Abu Dhabi many years ago when they were building the famous White Mosque," recalls Worrapoj. "And I saw a Thai artist working there -- I could tell [he was Thai] from his face. He was painting a pattern on the wall of the mosque. I went to talk to him and, naturally, I asked if he was Muslim. He wasn't. He was a Thai artist, hired to paint at this Islamic holy place.
"On the one hand, I envy him for getting the chance. On the other, I knew that Islamic art could be learned and appreciated by everyone."
The Institute of Islamic Art Thailand is located at Anjuman Islam Auditorium, Charoen Krung 36.
Visit the Facebook page for the Institute of Islamic Art Thailand.
A handwritten chapter of the Koran, right. Chanat Katanyu
An exhibition of Islamic ornamental patterns. Chanat Katanyu
The Green House, which serves as temporary office for the Institute of Islamic Art Thailand. Chanat Katanyu
A gold-on-silk calligraphic work, a mix of Islamic and Thai influences. Chanat Katanyu
The Thai name Chanat spelled in Arabic. Chanat Katanyu
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