[ by Charles Cameron — oh, but it’s just a backdrop ]
When ABC News describes the room in which President Trump addressed King Salman of Saudi Arabia and the leaders of 50 Muslim nations in Riyadh this morning, they mentioned that it was “an ornate room that featured 11 chandeliers and six giant video screens.” Okay, but to my eye the scene was dominated by a great black and gold panel of the Kiswah [above], the ornate cloth, renewed once yearly, which covers the Kaaba in Mecca, the point in this turning world to which all Muslims turn in prayer, and around which they revolve in pilgrimage.
I spent some time searching for a decent press photograph or media mention of this Kiswah panel, without success — the chandeliers are clearly more important to media sensibilities than the veil of Islam’s most central shrine, to which all mosques are oriented.
I am reminded of Tim Furnish‘s comment yesterday, pointing out that the Time magazine cover showing the Kremlin (below) had airbrushed out the crosses atop the onion domes of St. Basil’s Cathedral —
— domes which Time referred to, in a further display of ignorance, as minarets.
Why are we so appallingly oblivious to religious symbolism, when it plays so major a role in communicating meaning? What tells us more about a cathedral than the cross which surmounts it? Which more completely dominates that conference chamber in Riyadh — the colorful array of flags, or the great panel of the Kiswah mounted above them?
Why do we so consistently airbrush religion out of the picture?