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The alert among us are conscious that it neatly represents the decline of the Western Christian worldview and its replacement first with the titanic fantasies of the Renaissance, those absurd nude figures urging us to consider the human creature as sufficient unto himself; and then, when two world wars convinced the Western elite that the human creature left to his own devices was unlikely to create his own paradise on earth, the grotesqueries of the modern period.
Today, one of the best-known of British artists is Damien Hurst, famous for exhibiting a sheep floating in formaldehyde. Hardly less famous are Gilbert and George, two middle-aged homosexuals in grey Marks and Spencers suits, who paint vast canvases using their own body fluids.
The winner of the Turner Prize, the most prestigious gong in the British art world, was painted with the excrement of an elephant. Perhaps this is why we Muslims find modern Western art particularly disagreeable and resistant to our contemplation: if art is the crystallisation of a civilisation, then to amble along the corridors of the Tate Gallery is to be confronted with a disturbing realisation.
Christianity, when it was taken seriously by the cultural elite, produced significant works, which Muslims can recognise as beautiful, despite the inherent dangers of its love of the graven image. Christianity was sapped by the so-called enlightenment; and now that the enlightenment itself has run its course, the Western soul, as articulated by its most intelligent and most respected artistic representatives, has shifted its concerns to the human entrails. From the spirit, to the mind, to the body - and now to its waste products: a depressing trajectory, and one from which we avert our gaze.
