Postcards: Paris, France

Postcards: Paris, France

Jewel Goode Paris France Montmartre
Paris, France. Montmartre © Jewel K. Goode. All Rights Reserved.

Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, Photographer

La Fondation Louis Vuitton: A Strategic Maneuver

La Fondation Louis Vuitton: A Strategic Maneuver 

Jewel Goode Paris, France Fondation Louis Vuitton
Paris, France. Fondation Louis Vuitton © Jewel K. Goode, All Rights Reserved.

Bernard Arnault, President and CEO of luxury goods conglomerate LVMH, collaborated with Canadian-American architect, Frank Gehry, to create a new museum in the Jardin d’Acclimation.  Extensive and costly renovations were estimated to be approximately 158 million Euros.  The French cultural center has been dedicated to artisanal crafts and traditions, and is located in the Bois de Boulogne in the former Musée des Arts et Traditions Populaires (MATP), an ethnographic museum which has been classified as an historical site.  Since the MATP is classified as an historic site, it cannot be sold.  The city of Paris struggled to find a new tenant willing to undertake massive renovations of the defunct building.  Therefore, Arnault has agreed to a 50-year lease at 150,000 Euros per year in order to create a new museum, which is housed in a building adhering to sustainable development codes.

The building is located just 300 meters from Arnault’s Fondation Louis Vuitton.  Inaugurated in 2014, it was also designed by Gehry.  By transforming the MATP into a lucrative asset, Arnault has increased visibility of the Fondation Louis Vuitton.  For example, welcomed more than 1,200,000 visitors to its Chtchouckine collection.  It has also strengthened awareness for the LVMH brand universe, further highlighting the importance of artisanal work and exceptional craftsmanship inherent to the brand’s DNA.  Over a three year period, the MATP will be subsequently renamed La Maison LVMH / Arts – Talents – Patrimoine.  The 13,600 square-meters of usable space includes exhibition rooms, gallery spaces, an artisanal workshop welcoming resident artists, an event hall, and a rooftop restaurant.

The collaborative efforts between Arnault and the city of Paris could be viewed as a strategic maneuver. Geographical expansion of the mogul’s empire would not be farfetched, especially after its aggressive and failed attempts to acquire Hermès in 2010.  Designed by architect Jean Dubuisson (1914-2011) in collaboration with Michel Jausserand and Olivier Vaudou, Georges-Henri Rivière’s MATP officially closed its doors to the public in 2005, and its 250,000 art objects were transferred to the Musée des civilizations de l’Europe et de la Méditéranné (MuCEM) in Marseille. Since its closing, the MATP has fallen into a state of disrepair due to conflicts with the city of Paris and the Ministry of Culture.  The city of Paris hopes to decrease its debt burden with these recent collaborative efforts between Arnault and Gehry.

Jewel Goode Paris, France Fondation Louis Vuitton
Paris, France. Fondation Louis Vuitton © Jewel K. Goode, All Rights Reserved.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer 

Silk Roads Series: Madrasas

Jewel Goode Silk Roads Madrasas

The Medina mosque, built in the 7th century by the Prophet Mohammed, is considered to be the first educational institution of the Muslim world.  During this era, mosques served as the primary environments for learning.  However, as societies evolved, learning circles expanded to include royal settings, as well as informal gatherings in market places.  By the Abbasid period (750 – 13th century), religious education assumed a certain significance.  It was not uncommon for some educators to specialize in the teachings of the Qur’an, theology, and law, while the emphasis for others was on history, the Arabic language, and literature.

Learning circles and study groups gradually increased in number, serving as the foundation of what were to become “madrasas”, or colleges, intended for adults who had completed their primary education in mosques or private schools.  During the 10th century, madrasas emerged as independent institutions, distinct from mosques, which helped to create a new type of educational system.  As a result, these madrasas became centers for religious and secular learning, as well as places where officials were educated according to Muslim orthodoxy.  Documentary evidence and architectural remnants trace the origin of these madrasas to Khurasan and Transoxania in the 10th century, as well as in the region now known as northern Iran.

Educational stratification was the direct result of the emergence of these madrasas.  They provided higher religious and secular education, while elementary education was provided by the “maktabs”.  It was during this era that the term “madrasa-mosque”, prevalent in the Middle Ages, was pervasive, thus reinforcing mosques’ positioning as important social, educational, and cultural centers along the Silk Roads.  In addition, madrasas containing libraries appeared in Bukhara, Khwarazm, Merv, Ghazna, and Nishapur between the 10th and 12thcenturies.  There was a tendency to build architectural ensembles that often included a mosque, a madrasa, a mausoleum, and public “garmabs” (baths), at major urban sites.

Despite the 13th-century Mongol invasion, which severely destabilized learning, thereby disrupting the continuity of culture and creativity, madrasas continued to be the highest form of educational institution, spreading throughout the eastern Caliphate in the 15th century and 16thcenturies.  After the successful introduction of monetary reform under the Mongols, economic life soon revived throughout modern-day Iran and Transoxania.  Moreover, madrasas were also established on the Indian subcontinent as early as the thirteenth century.  An example is the madrasa at Gwalior, whose architectural structure resembles that of some Buddhist “viharas” (monasteries).  During this period of cultural renaissance, madrasas underwent significant changes, with preference given to its organizational role as a promoter of scientific and literary thought.

Although subject to periods of growth and decline, madrasas flourished and were considered universal centers of education and intercultural exchange amongst diverse populations. They provided a range of curricula including theology, science, history, and philosophy, as well as language, literature, philology, music, and the teaching of “adab”, or polite culture.  Leading scholars recognized that the secular sciences would ensure the dynamic development of society.  These teachings would later be challenged in medieval times, subjected to strict Islamic theological traditions. However, during this period, madrasas in Samarkand and Herat were highly-esteemed cultural centers for science, mathematics, astronomy, and medicine.  An example is Samarkand’s renowned 15th century Ulugh Beg madrasa in the Registan square for scholars such as Ghiyath al-Din Jamshid and Qadizada Rumi.  Furthermore, madrasas were established for the specialization of medicine in Herat.  Madrasas such as these were not only centers for education and culture, but they also housed the poor, especially “mustahiqqs” (students), who received room and board during their studies, eventually sharing their knowledge and expertise with future generations.  Over time, madrasas that first appeared along the Silk Roads in Bagdad continued to flourish, spreading throughout the current eastern Chinese regions and beyond.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer

image © Sergey Dzyuba

sources provided upon request

Silk Roads Series: Kushan Art

Silk Roads: Kushan Art by Jewel K. Goode

The expansive Kushan territories (1st – 4th centuries AD), encompassed a vast range of artistic cultures, unified under one administration.  These cultures can be divided into four broad regions: 1. Bactria, 2. Mathura (India), 3. Arachosia and Nagarahara, and 4. Ancient Gandhara. Both Arachosia and Nagarahara, as well as Ancient Gandhara, are situated in areas which are now known asmodern Afghanistan and Pakistan.  Despite regional variations, artistic production reflected the legacy of a common cultural heritage of the Silk Roads.   Gandhara served as a major crossroads from which Kushan art was disseminated to Afghanistan, Central Asia, and Indian towns such as Mathura, Devnamori, and Amaravati.  In addition, excavations in Begram, Pushkalavati, Taxila, Mathura, and Surkh Kotal revealed that some Gandhara art displays elements that are characteristic of the Hellenistic period.  Due to external influences, Kushan art was constantly evolving.  It absorbed earlier Graeco-Bactrian traditions, and was also receptive to Western trends through international trade and commerce. However, it always retained its individuality, reflecting the sociocultural aspirations of its people, as well as the importance of local craftsmanship.  Artistic Kushan jewelry design reflects a variety of styles, techniques, and materials.  While the Taxila collection is predominately Graeco-Roman in character, Gandhara jewelry generally reflects a range of classical Iranian, Sarmatian, and Indian savoir-faire typical of Gandhara art.  It also displays a mastery of goldsmith techniques borrowed from Western Asia.  Gems, precious and semi-precious stones, shell, bone, ivory, glass objects, and beads were all used in jewelry design.  Examples include necklaces, bracelets, anklets, hairpins, and finger rings, sometimes with encrusted gems and impressions.  Decorative items such as brooches, turban pins, and miniature gold figures of Cupid, Psyche, animals, birds, and flowers can be found in the Taxila collection. Moreover, elaborate ornamentation was a reflection of elevated social status.  Bodhisattvas, nobility, and deities are always depicted wearing jewelry. Conversely, those of lower social status wore replicas, or none at all.  Kushan art, artifacts, jewelry, and craftsmanship are a direct reflection of those who were living within its expansive territories. Economic prosperity and peace remained the basis for the popularity and development of this art along the Silk Roads.  These objects are visible remnants of the global, transnational fluidity of culturally embedded concepts that are passed down through generations. They also reveal the subtle intricacies of pluralistic identities, intercultural dialogue, and communicative exchange amongst diverse populations.

Author: Jewel K. Goode.  Global Communications Consultant, Writer, Art Curator, and Photographer

image © Ashwin.  Sources provided upon request

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