DETROIT — Food has always played a vital role in fostering and maintaining community. It’s a key component of cultural heritage: How food is prepared, served, and shared is oftentimes communal and ritualistic. Food tells us stories — be they personal, historical, or social. And food culture is a form of art. The Art of Dining: Food Culture in the Islamic World, currently on view at the Detroit Institute of Arts, transforms meals into narrative experiences, showing how food connects people not only to their roots, but also to each another. The exhibition showcases almost 230 pieces, spanning centuries and ranging from cooking vessels to paintings, from 30 public and private collections across the world.
Our introduction to this realm comes initially from a map of the Southwest Asia and North Africa (SWANA) region, which greets the visitor as they enter the show. Several cities are highlighted on this map: Istanbul, Cairo, Mecca, Baghdad, Isfahan, and Delhi. The captions explain that these sites have been significant for trade, artistic production, and pilgrimage. They were also both culturally and historically important for Islam, the exhibition posits, and they hold a special place for the food culture that was nurtured in historically Muslim-majority regions of the world.
What makes this show truly commendable is its expansive perspective on food. The works on view emphasize everything associated with the craft of dining. Steel fruit sculptures (pear, quince, melon) made for the processions commemorating the martyrdom of Al-Ḥusayn ibn ʿAlī (626–80), a grandson of the Prophet Muhammad and the third Shia imam, are on display. The exhibit also features different types of spice dishes, tin-glazed plates with peacock feather patterns, glazed porcelain bowls, copper alloy cauldrons, flasks, and drinking vessels. It draws our attention to the processes of preparation, presentation, and enjoyment associated with food culture, such as the hospitality of hand washing, demonstrated via an ewer from Iran or Iraq circa the 1200s; a basin from Egypt dating from the 1300s; and even a description of dining etiquette from the Sunni polyhistor and mujaddid (or “one who brings renewal to the religion”) Al-Ghazali (1058–1111).
The Art of Dining also explores the etiquette of eating across this realm. In one large room, a table invites us to a digitally created sufra (floor spread) meal where adapted historical dishes, prepared by chef Najmieh Batmanglij, are projected at the center of each plate. There is even a cooking display with multiple televisions where you can watch the preparation of different dishes live on a screen. Cookbooks, handbooks for health, and a glimpse into the kitchens and pantries that supported food culture throughout the Islamic cultures emphasized in the show are dispersed throughout the galleries.
Stories around food further narrate the visitor’s journey. Medieval illuminated manuscripts draw attention to images of picnics; depictions of scenes known as maqama (meaning “assembly” in Arabic) that would have been read out loud at social gatherings; and banquet scenes from a copy of the Shahnama (Book of Kings) of Firdawsi. Together, these works foreground the importance of hospitality in class and political power. They illustrate how culinary traditions and communal meals serve as vital expressions of identity and social cohesion within various cultural and class contexts.
These books are placed alongside musical instruments — a kamancha made from fish skin from the 1800s, the taus (meaning “peacock” in Persian) from 19th-century India, the oud of the Greek Maol (Emmanuel Venios) — calling to mind the practices of entertainment present in these cities and in Islamic courts. At one point, the viewer is also invited to join the table by sharing on circular, blank white pages “how food connected you to people, places, and memories.”
The exhibition ends with a contemporary multimedia installation by Iraqi-born artist Sadik Kwaish Alfraji titled “A Thread of Light Between My Mother’s Fingers and Heaven.” This captivatingly layered piece is influenced by the artist’s memories of his mother and the bread she baked as they gathered as a family around their table in Baghdad. The black and white sketched animations reflect how memories and food intertwine to create a tapestry of shared experiences, evoking nostalgia and a profound sense of identity that transcends time and place.
Though not all the objects on display serve religious functions, the show paints a well-rounded picture of food culture in Islam. The Art of Dining was originally organized and displayed by the Los Angeles County Museum of Art. For the DIA iteration, the curators made modifications in response to feedback that called for a more multicultural perspective, as opposed to one that overly homogenizes what’s referred to here as the Islamic world. This approach is evident as the exhibition acknowledges how the everyday lives of different ethnoreligious cultures in these regions were informed by different or varying practices.
While looking at food cultures through the lens of intercultural connection added complexity that was presumably lacking in the LACMA version, the DIA’s presentation would have been made stronger by recognizing the non-Islamic peoples who lived in these cities and across the SWANA region. Although these communities — for example, Greek, Chaldean, and Armenian — may not have practiced the Islamic faith, their customs around food were influenced by these same practices. Though a section of the exhibit acknowledges shared cultures in tableware from this region, identifying Chinese porcelain, Ottoman ceramics, and Italian pottery as points of connection, there are many other examples of commonalities around food that could have helped represent links between communities across these geographies.
The city of Istanbul — with its far-reaching Byzantine, Cilician Armenian, Jewish, and Parthian presence — is one such example where multiple influences collectively shaped the cultural identity of its premodern history. Using the term “Islamicate,” coined by historian Marshall Hodgson, could have alluded to the importance of Islam as a cultural force that influenced non-Muslims in the region, while also acknowledging their presence and contribution to the development of a sociopolitical and economic cosmos there. Doing so would have also reinforced the exhibit’s already strong foundation by showcasing Islamicate civilization as an integral component of world history and Islam’s influence upon it — especially through the exquisite ways in which it highlighted the history of food culture as a unifying element within this narrative.
The Art of Dining: Food Culture in the Islamic World continues at the Detroit Institute of Arts (5200 Woodward Avenue, Detroit, Michigan) through January 5, 2025. The exhibition was organized by the Los Angeles County Museum of Art.
