Heritage: Connecting cultures through creativity
The majestic Aga Khan Museum, not far from downtown Toronto is a reflection of the unique multiculturalism of Canada. What an apt celebration of its cultural and social diversity, especially in presenting and sharing the rich expanse of artistic and creative development of Muslims. The transformative power of a museum, especially one such as this is significant, as it envisions a look into the historical richness of aesthetics of the past cultures of many Canadians, and draws from the contemporary arts of many a distant context; it also looks into the future by connecting the pool and expertise of local and international communities.
The Museum stands as an architectural marvel, different from the typical high rises and basic cube-like office buildings in North American suburbs. His Highness, the Aga Khan, suggested to its architect, Fuimihiko Maki, that the Museum should be designed around the concept of light. The building is designed ensuring the maximum entry of natural light to all parts through the course of the day. The approach to the main building is designed to reflect harmony through a symmetrical placement of square water ponds, trees planted in a grid like distribution in the surrounding gardens and park. An overall sense of tranquility prevails around the massive structure, which appears light, pristine in its minimalist form, enhanced by the glow of the Brazilian white granite in the facade.
Aisha Khalid’s striking red and black Persian style carpet titled, ‘Your way begins on the other side’ welcomes you in the main foyer. This six-metre long carpet comprises intricate patterns exploring the motif of the Mughal garden, with 1.2 million pins in the Gunga Jamini, or silver and gold traditional design combination of the subcontinent. Khalid has placed each pin by hand, replicating age-old traditions of embroidery. Like many of her contemporaries practising Pakistani miniature art, she inverts the notion of tradition by deconstructing and reconstructing. Instead of the handmade vasli paper, and a size that goes beyond the ‘miniature’ art of painting, Khalid’s carpet with sharp pins jutting out from one side, explores the notions of colonisation, marred by the politics of conflict.
This museum ties the historical richness of the past cultures of many Canadians to the expertise of local and international communities
“We don’t want to typecast; for us it is very important to explore diversity, not only in the visual arts but performing arts. What it depicts is a larger vision of Muslim culture and people realise that it lives and breathes day-to-day in many different countries,” explains Henry Kim, the Museum Director in a recent conversation. Khalid’s carpet was part of the Museum’s inaugural show titled, The Garden of Ideas, which was juxtaposed with a parallel show on largely Indian and Persian miniatures and court paintings from the 16th and 17th centuries. Thus, the Museum and curators navigate between the present and its past.