Decolonizing Owen Jones’ The Grammar of Ornament: Contemporary Efforts

Owen Jones’ “The Grammar of Ornament,” published in 1856, was a seminal work that compiled various visual languages from diverse cultures based on Jones’ explorations in Greece, Egypt, Constantinople, and India. While influential, the book was emblematic of British imperialist attitudes, categorizing and diminishing the rich traditions of colonized cultures through a Eurocentric lens. This historical context is essential in understanding contemporary efforts to decolonize and reinterpret these patterns in today’s pluralistic society.

The Colonial Context of “The Grammar of Ornament”

Jones’s work was published at the height of the British Empire, a period marked by the subjugation and categorization of non-European cultures. Jones’ terminology and categorization reflect the imperialist mindset of his time. Cultures and traditions were often reduced to simplistic and derogatory terms, stripping them of their individuality and subjectivity.

Reinterpreting Patterns in Contemporary Times

In 2019, curators Priya Khanchandani and Sam Jacob revisited Jones’ work critically, leading to the creation of “Pattern as Politics.” This project, part of the Lisbon Architecture Triennale’s exhibition “What is Ornament?”, invited 15 contemporary architects, designers, and artists to reimagine Jones’ patterns from a modern, decolonized perspective.

Participants and Contributions

The exhibition featured a diverse array of contributions from global talents, including:

• Adam Nathaniel Furman: Renowned for his vibrant, pattern-rich designs.
• Farshid Moussavi Architects: Known for integrating cultural narratives into modern architecture.
• Lubna Chowdhary: Celebrated for her intricate ceramic works that blend traditional and contemporary motifs.
• Marina Tabassum Architects: Famed for their work in sustainable and context-sensitive architecture.

The Exhibition: A Pluralistic Approach to Ornamentation

“Pattern as Politics” showcased a variety of mediums, from two-dimensional A3 pieces to textiles and animations, emphasizing a pluralistic approach to ornamentation. The exhibition’s layout juxtaposed contemporary works with original plates from “The Grammar of Ornament,” creating a dialogue between past and present. This setup highlighted the ” decoding ” of Jones’ work, inviting viewers to reconsider and challenge the historical canon.

Decolonizing the Decorative Arts

The project underscores the importance of decolonizing the decorative arts by recognizing and valuing the cultural specificity and subjectivity of patterns from various cultures. It aims to dismantle the rigid categorizations imposed by Jones and other imperialist thinkers, instead promoting a more inclusive and respectful appreciation of global design traditions.

The Political Dimensions of Pattern Making

As Sam Jacob noted, pattern-making is inherently political. By revisiting and reinterpreting historical patterns, contemporary designers can address and challenge the socio-political contexts in which these patterns were created. This approach enriches the visual language of design and promotes a more equitable and inclusive understanding of cultural heritage.

Conclusion

“Pattern as Politics” powerfully reminds us to continually reassess and reinterpret historical works within their broader cultural and political contexts. By decolonizing the standards set by figures like Owen Jones, contemporary designers can create more inclusive and representative visual languages that honour the diversity and richness of global cultures.