Profit Mohammed – Academic fired over medieval painting of Prophet Muhammad The firing of a Hamlin University professor over baseless accusations of ‘Islamophobia’ raises concerns about campus freedom
Christian Gruber Christian Gruber is Professor of Islamic Art in the Department of Art History at the University of Michigan
Profit Mohammed
The figure in the center of this painting is the Prophet Muhammad, his face hidden behind a veil. Depicting Muhammad is considered taboo by many Muslims today. (Asian Art Museum of San Francisco, gift of George Hopper Fitch, B87D17. Image © Asian Art Museum of San Francisco.)
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On November 18, Hamlin University’s student newspaper, The Oracle, published an article informing its community members of two recent incidents on campus in St. Paul, Minnesota, one clearly homophobic and the other Islamophobic. Both stories were posted under the heading “stories of hate and discrimination.”
Islamophobia, which includes hate speech against Islam and Muslims and/or physical violence or discrimination against Muslims, has proven to be a real evil in the United States, especially after 9/11, the rise of the militant far right, and the recent rise of white political empowerment. dominance.
The “Islamophobic incident” drew numerous administrative comments and media coverage at the university. Among others, it was the subject of a second Oracle article in which a faculty member added a session on Islamic art to his global study of art history, offering an optional visual analysis and discussion of a well-known medieval Islamic painting. Prophet Muhammad. The student complained about the image being included in the course and tried to get back at the administrators. The university’s vice-president for inclusive excellence (AVPIE) then declared the classroom exercise “unrecognizable, disrespectful and Islamophobic”.
Neither before nor after these declarations have the faculty been given a public platform or forum to explain classroom lecture and practice. To fill this gap, an essay by Hamlin, a professor of religion who teaches Islam, was published on December 6 at The Oracle, explaining the story in historical context and the aesthetic value of Islamic images of Muhammad. The essay was removed two days later. A day later, Hamlin’s president and AVPIE sent a message to all staff saying that “respect for observant Muslim students in that classroom should have come at the expense of academic freedom.” The censorship of the essay and the subsequent email from two top university administrators raise serious concerns about free speech and academic freedom at the university.
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The instructor was dismissed from teaching at Hamlin for the spring semester, and his AVPIE note reads: “We have decided it is best that this instructor no longer be a member of the Hamlin community.” In other words, an instructor who showed an Islamic painting during a visual analysis—a basic exercise for teaching art history—was publicly accused of hate speech and then fired without due process.
These events, statements and actions at Hamlin are for further investigation by others. As a scholar specializing in Islamic representations of Muhammad, it is my duty to share accurate information about the painting at the heart of the controversy. I recreate the Hamlin instructor’s classroom activity and provide a visual analysis and historical explanation of the image in question. I then examine these forms of depiction over six centuries with the goal of answering one central question: Is the image of Islam at the heart of Hamlin’s argument really Islamophobic?
This photo is one that is at the center of a discussion in Hamlin’s classroom. It is contained in a historical text written by Rashid al-Din, a famous 14th-century Muslim minister and historian. (Edinburgh University Library, or Ms. 20)
The Islamic image at the center of Hamline’s class discussion depicts Muhammad’s first revelation from the Qur’an through the angel Gabriel. It is considered by scholars, curators and art collectors to be a masterpiece of Persian manuscript painting. It is often taught in Islamic art history classes at universities around the world, including in the United States, Europe, the Arab world, Turkey, and Iran. In addition, because of broader efforts to diversify and “decolonize” global studies of art history, scholars of European, American, and Asian art are increasingly including these and other Islamic arts in their university courses.
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A photograph is a true and irreplaceable work of art. It is considered one of the earliest Islamic illustrated histories, often depicting the life of Muhammad and other historical events. The Edinburgh University Library, which houses the early 14th-century manuscript, considers it a masterpiece of Persian book painting and its “greatest treasure of the Oriental people”. Scholars of Islamic history and art, as well as interested public audiences, can easily browse his folios online. A second illustrated copy is held in the Khalili Collection in London. Both manuscripts have been studied and published, the latter the subject of a book by Sheila Blair, a prominent scholar of Islamic art.
More specifically, the image is contained in a text written by Rashid al-Din, a prominent 14th-century Ilkhanid statesman and scholar. The chapter in which it is described describes the beginning of the revelation of the Qur’an to Muhammad, as well as his call to prophethood. In the surrounding verses, Rashid al-Din deals with determining the exact time and place of the first “revelation” of God’s holy word and the circumstances surrounding Muhammad’s appointment as the “Messenger of God” (“Rasul Allah”). He, like other scholars before and after him, concludes that the first verse of the Qur’an was revealed in the month of Ramadan in the cave of Hira, located on Mount Nur (Jabal Nur) near Mecca.
The artist who paints the picture describes the scene, while following the details suggested by the surrounding text. The mountainous landscape of Mecca, painted in brown and gray pigments, includes the Cave of Hira, probably the rocky sweep that surrounds Muhammad’s body and head. The angel Gabriel accompanies Muhammad, and his physical appearance is also mentioned in the surrounding text. The crowned angel is characterized by his ethereal nature in human form, with large feathery wings growing from his arms. Gabriel is also shown pointing his finger at Muhammad, a command to him to recite the Qur’anic verse (96:1) “Recite in the name of your Lord” (96:1).
In sum, this medieval Islamic painting depicts the beginning of Islam’s holy book and the beginning of Muhammad’s divinely appointed apostleship—two topics that the manuscript’s royal Muslim patron and other members of his elite circle were eager to learn about and commemorate each year. “Night of Power” (“Laylatul-Qadr”) Ramadan itself is considered the holiest day in the traditional calendar of Muslims. The painting was undoubtedly created to celebrate Muhammad’s prophethood and Quranic revelations, making it Islamophile art for its artist and viewers. Thus, the image corresponds to the other side of the coin of Islamophobia, both in intent and impact.
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The painting is not unique in the history of Islamic art. On the contrary, it belongs to the corpus of images made mostly in Persian, Turkish and Indian lands in the 14th-20th centuries. In addition to other illustrated manuscripts and single-page images, posters and postcards extended this particular iconographic tradition into the modern era through technological innovation.
Muhammad’s appointment as a prophet and the revelation of the Qur’an were central themes in other illustrated Islamic histories. For example, the 15th-century Timurid historian Hafiz-i Abru described these events in his Quintessence of Histories, a universal history covering the pre-Islamic prophets, Muhammad, and subsequent Islamic dynasties up to the early 15th century. An illustrated manuscript updating and expanding Rashid al-Din’s original text was published in 1425. It also included a textual description and a visual description of the same event. This painting, now housed at the Metropolitan Museum of Art, not only resembles its predecessor, but also features interesting changes, such as a lighter color palette and flattening of the mountain background. Most interestingly, the artist decided to depict both Muhammad and the angel Gabriel with a flaming golden halo. This iconographic structure can be found in artistic traditions, including Christian depictions of the haloed Jesus, where it represents the divine substance of the prophet (Christ) or the human closeness to the saint (Muhammad).
In the 16th century, Islamic depictions of Muhammad placed more emphasis on his radiant nature – the so-called “Light of Muhammad” – and his special attributes. These depictions, which include a small veil to hide the features of his face, reflect to some extent the rise of Sufism, a spiritualized approach to Muhammad and his ontological origin in the sacred realm of God. Artists working for the Sunni Ottoman ruler Murad III, who commissioned a multi-volume biography of the Prophet, incorporated these two iconographic designs into many of the manuscript’s images, including one depicting the Prophet Muhammad receiving revelation.
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