A special issue guest edited by Kambiz GhaneaBassiri and Anna Bigelow. 

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  Object Narratives

  Ayat Al Kursi Round

  Max Johnson Dugan

  Crowned by the word “Allah,” a dense piece of Arabic calligraphy carved out of stainless steel wraps around an embellished center. The text is the ayat al-kursī, or “The Throne Verse,” a portion of the Qur’an (2:256) often recited before sleep or travel because of its reputation for spiritual and physical protection. While the Illinois-based company Modern Wall Art produces the above “Ayat Al Kursi Round,” at least six other businesses manufacture their own ayat al-kursī pieces in the same circular visual style. These pieces of Islamic decor appeal to different tastes in spite of the repetitiveness of their visual content. By attending to the specific production method and branding of “Ayat Al Kursi Round,” we can identify how the materialization of God’s words in wall art entangles Islamic ethics and the aesthetics of class formation.

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  Object Narratives

  The Black Cross

  Jonathan Homrighausen

  Donald Jackson’s The Black Cross illustrates some of the ways contemporary calligraphic art engages sacred writ: through the interplay of word and image, recording the artist’s physical gestures, and making visible the divine.

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  Object Narratives

  Photographic Postcard Commemorating Antonio Verástegui

  Lucy O'Sullivan

  A postcard commemorating a young “martyr” of Mexico’s Cristero War named Antonio Verástegu engages the spectator in an act of witnessing that entails both religious and political consequences.
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  Object Narratives

  Moses Jacob Ezekiel, Eve Hearing the Voice

  Samantha Baskind

  In 1876, Moses Jacob Ezekiel, the first Jewish American artist of international stature, sculpted the world’s first woman, to which he gave the title, Eve Hearing the Voice.

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  Object Narratives

  Mural Paintings, Church of the Summer Residence of the Maronite Patriarch, Diman

  Alessandra Amin

  Since its construction around the turn of the twentieth century, Our Lady of Diman has served as the summer residence of the Maronite Catholic Patriarch. The prestige of the building is everywhere apparent: in the inlaid marble floor, in the gold and blue panes of the stained-glass windows. The church’s most remarkable feature, however, is the ceiling over its nave, with frescoes completed in the late 1930s by celebrated Lebanese painter Saliba Douaihy (1913-1994).
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  Object Narratives

  A Stick of Wood, a Tree of Life

  Jonathan Boyarin

  This Ets Chayim, a Tree of Life, is obsolete, redundant, out of time and out of place. It is detached both from the Torah scroll for which it was made, and from its mate that once served that scroll’s other end. It is not supposed to be here anymore—here, that is, in a transformed, glass-sheathed, twenty-first-century Lower East Side, where the traces of immigrant life have been erased, sanitized, and gathered into museums, or commodified as “atmosphere” for an urban playground. Perhaps the act of marking it—noting its persistence beyond obsolescence, shorn of the text to which it was once an auxiliary, bereft of the hands that once grasped it and the congregation that once stood as it was lifted up—is a minor act of resistance in itself.
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  Object Narratives

  Fernando Brito and Héctor Parra, Judío

  Didier Aubert

  In Judío, photographer Fernando Brito attempts to find an ad-hoc visual representation for the Yoremem or Mayo Indians in his native state of Sinaloa, Mexico. This portrait pays tribute to the foundational value of the community’s ritual, which combines indigenous cosmology with seventeenth-century Jesuit influence, as crucial to its survival and cohesion.
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  Object Narratives

  A Dying House in Samarkand’s Jewish Neighborhood

  Alanna E. Cooper

  Pagiel Leviyev’s house is very sick. Built in Samarkand over a century ago, the structure was designed as a mansion for a wealthy mercantile family. Today, it stands as a crumbling reminder of the Jewish community’s long and complex history in this unexpected spot of the world.

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  Object Narratives

  Miki Kratsman, Diptych from The Resolution of the Suspect

  Laura S. Levitt

  In The Resolution of the Suspect, photographer Miki Kratsman builds on the reliquary nature and the transitive qualities of the carte-de-visite, creating a diptych: the historic image on one page of the centerfold and his own photograph of the bloody garment of a single unnamed Palestinian martyr on the other.
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  Object Narratives

  Georgia O’Keeffe, Black Cross with Stars and Blue

  Jeffrey Richmond-Moll

  In 1929, on her first visit to New Mexico, the American artist Georgia O’Keeffe (1887-1986) observed the animate potential of the region’s religious material culture.

MAVCOR began publishing Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion in 2014. In 2017 we selected a new name, MAVCOR Journal. Articles published prior to 2017 are considered part of Conversations and are listed as such under Volumes in the MAVCOR Journal menu.

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  Object Narratives

  An American Sufi Shrine, Bawa’s Mazar in Coatesville, Pennsylvania

  M. Shobhana Xavier

  An ethnically and religiously diverse spiritual community near Philadelphia founded by a Tamil teacher from Sri Lanka.
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  Object Narratives

  From Illuminated Rumi to the Green Barn: The Art of Sufism in America

  M. Shobhana Xavier

  The role material culture has played in the introduction of non-Christian forms of spirituality into the United States as examined through Sufi art.