British cultural and aesthetic relationships with decorative arts of the Islamic Orient, with special reference to ceramics, 1851-1914

Vanke, Francesca Jane (1998). British cultural and aesthetic relationships with decorative arts of the Islamic Orient, with special reference to ceramics, 1851-1914. PhD thesis The Open University.

DOI: https://doi.org/10.21954/ou.ro.0000ff36

Abstract

This dissertation investigates British cultural and aesthetic relationships with Islamic design and decoration between 1851-1914, with the greatest emphasis on ceramics. It begins with the hypothesis that the concept of 'Orientalism' in the eponymous book by Edward Said is not a satisfactory theoretical framework to analyse British decorative arts during this period. Said asserts unequivocally that the Islamic East was viewed by the West as its ultimate 'other'. He argues that the West's cultural hegemony during the nineteenth century enabled the production of a discourse in which the East was viewed as a single entity containing only stereotypical, uncivilised qualities. Using Michel Foucault's model of truth as a construct, Said argues that 'Orientalism' became a 'truth' which displaced reality.

Said has been criticised for under-emphasising complexities and counterhegemonic activity within East-West relationships. Little scholarly research has been undertaken however on whether Said's theories are applicable to decorative art history or as an approach to non-textual sources iike ceramics. This dissertation explores several aspects of this subject. Nineteenth century British attitudes to Islamic races and their arts are discussed, the latter in the context of contemporary design reform, in which Islamic design played an important role. Islamic ceramics were particularly admired, frequently being considered superior to their Western counterparts. Islamic influences, in decoration, form or technique are found in British ceramics, in the productions both of industrial manufacturers and of 'art potteries' which worked directly towards goals of design reform. This dissertation explores whether Saidian 'Orientalism' formed part of the rationale for Islamic ceramic collection, exhibition and historiography between 1851-1914 and considers its possible role in British use of Islamic ceramics. Finally it questions, once British potters had access to Islamic arts, the criteria which governed their use, whether 'Orientalism' coexisted with the evidence of emulation which examination of ceramic artefacts provides.