Analysis: Monster & Object

Aside from their added beauty, the chosen objects succeed in contributing to better understanding of the genie’s uncontrolled identity through their ability to bring the text to life. No object does this better than the blue ceramic jar, one that aligns very closely with the description given by the genie of the jar he was trapped in. Both have elements of brass, arrive from the same origin, and have an inscription. Looking at the object truly feels like taking a step into the book. But how does this speak to the characteristics of the genie? Well, as described in the literary analysis section, the jar is a great indicator and contributor to the assertion of the genie of his strength and power. Still, over the years, the idea of what exactly “genie” means has become blurred with popularization. Adaptations of musicals such as Aladdin, presenting the story of a young and poor man helped by a genie in a lamp, can at times be inaccurate (although enjoyable). Whereas these stories present the magic vessel of the genie to be an adorned, golden prison - benefitting to an unfair association with moral righteousness within the genie, truth is that even in the older story of Aladdin the lamp was a more common, tougher tool put up for sale (Marzolph, 2019). Seeing the jar and its hard, controlling materials reflective of the personality it was built to contain helps modern readers detach from biases they may hold after seeing so many bright genie representations in the media, and truly anchor on the focus of what the moral compass of the monster entails. Aside from this, the rich blue colour of the jar in combination with its regal appearance can also go hand in hand with the personality the genie brings across - mighty, large, and collected - although in contrast with common knowledge and as can be seen in the painting talked of below, most likely not blue. 

Moving on to the next side-object part of the exhibit, the British Museum jinn painting, a few elements worth mentioning come to mind. The painting was created a couple hundred years after the jar, and its origin is estimated to have been India rather than the Middle East. Still, this object holds much relevance when considering the cultural spread and influence genies have had on myths worldwide rather than in just one place. This could potentially be because of their more estranged personalities, ones that make them into creatures of fascination in different contexts. The spread of the stories of the genie from the Middle East to other areas such as India can be explained at part with consideration of both religious and economical elements. Traders and travellers would bring stories with them on the road, and many of Middle Eastern origins would eventually settle in different areas around Asia and Europe, contributing to the spread alongside other larger political influences (Bottigheimer, 2014). 

The artwork in the painting is also worth mentioning considering the jinn heads being displayed as animals can be taken as another sign of moral ambiguity, the split between animal and human possibly signifying confusion at exactly what the genie is (is it truly a monster if it can so eloquently rationalize?). This is very similar to the distinction being made in the inscription of the amulet, separating the genies from humankind (“...of men - of jinn and men”). Relating to the style of the artwork and to the inscription on the amulet coin as well, different types of art carried through regions in similar ways to stories, with many cultures being influenced by one another (Irwin, 1946). Although at the time of the creation of some of these objects the 1001 Nights may not have been a widespread piece of reading material throughout all of Europe and Asia, many stories and monsters did find their way into global tales.