Abstract:Scholars have for decades challenged the popular belief that Islam is intrinsically and implacably hostile to anthropomorphic art. Rooted in this literature, this essay argues that Islam was responsible for popularizing portraiture in Senegal, which previously featured none. With the founding of local Sufi brotherhoods such as the Mouridiyya in the 1880s, the eminence of religious leaders led to an unprecedented demand for their portraits. Glass painting became the privileged medium for reproducing images that… Show more
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