Religious Emblems Find Unusual Niche A New Museum in Glasgow Aims to Reflect the Significance of Religion in Human Life - and Finds Mixed Reactions
Christopher Andreae, writer of The Christian Science Monitor, The Christian Science Monitor
RELIGIOUS life and art. It is, perhaps, hardly the most expected theme to which a new museum might be devoted in the secular 1990s. Yet that is exactly what Glasgow opened in April. With about 90,000 visitors to date, the St. Mungo Museum of Religious Life and Art is living up to the expectations of its organizers. It is a success.
It has also already been the focus of controversy: criticism for inaccuracies by the Moderator of the General Assembly of the Church of Scotland; a feminist protest about a photograph displayed in a section dealing with coming-of-age ceremonies of a young Egyptian woman undergoing a barbaric circumcision ritual; a protest from a Muslim man objecting to the sale of alcohol in the museum cafe; vandalism inflicted on a large bronze of the Hindu Shiva as Nataraja (Lord of the Dance); and objection by the David Livingstone Centre to a caption they felt suggested the renowned missionary was a colonialist - it has since been altered.
The aim of the museum is not, in fact, to cause offense. Its purpose, according to the city's Museums Director Julian Spalding, is "to reflect the central importance of religion in human life."
The museum is housed in a neo-medieval sandstone building of doubtful taste near Glasgow's fine (and genuinely Gothic) cathedral. The new building was designed as a visitor center for the cathedral, but funds ran out. The galleries it now contains divide into four functions: first, an art gallery showing objects connected with some of the world's religions; second, a gallery tracing the human life cycle as viewed and celebrated by various religions; third, a gallery giving a cursory glance at aspects of religion as it impinges on the lives of Scottish people. Fourth, a temporary exhibition gallery, at the moment displaying modern aboriginal art.
Judging from visitor comments, the museum seems to ruffle feathers however unprejudiced it claims to be. Some ask why atheism isn't represented. Others wonder why women are given short shrift, particularly as they are the ones who usually hand down religion to the next generation. Some feel Christianity is given too much attention.
The exhibits seem to have been selected and arranged not by religious historians so much as by sociologists and museum curators. Socially, religions are shown to inform the convictions, but also the superstitions, of vast numbers of people with regard not only to the invisible and moral powers of good and evil, but in matters of politics, sex, mythology, history, birth, death, burial, and after-life.
Each section in the gallery about religious life contains fascinating - and rather individualistic - quotations from ordinary individuals belonging to different religions - Muslims, Sikhs, Hindus, Jews, Christians, and Buddhists.
The museum's scope is rather generalized. …