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 appeared in other media, such as lithographs or photographs. Inspired by the respect for Muslim saints inherent in Sufi practices, the widespread desire to display portraits in one's home and for one's personal devotional practices made this genre indispensable. Rather than concentrating on any one medium, this essay focuses on the theoretical and formal interaction among chromolithographs, photographs, and glass paintings, and the migration of images across the three between the 1910s and the 1950s.

中文翻译：

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关于伊斯兰教和肖像画：塞内加尔的光刻、玻璃绘画和摄影

几十年来，学者们一直在挑战流行的信念，即伊斯兰教本质上和无情地敌视拟人艺术。根植于这些文献，这篇文章认为伊斯兰教负责在塞内加尔普及肖像画，而以前没有肖像画。随着 1880 年代穆里迪亚（Mouridiyya）等当地苏菲兄弟会的成立，宗教领袖的声望对他们的肖像画提出了前所未有的需求。玻璃绘画成为复制出现在其他媒体（如石版画或照片）中的图像的特权媒介。受到对苏菲派实践中固有的穆斯林圣徒的尊重的启发，人们普遍希望在家中展示肖像和个人的虔诚实践，这使得这一流派变得不可或缺。与其专注于任何一种媒介，