The geometric patterning in Islamic tiles, carpets and textiles bespeak the Chief Architect, and how He brings forth the beauty of the physical world through eternal shapes. Implicit in these designs are dualities, heaven and earth, light and shadow, and of course male and female. The curating tradition of museums focuses on the male element in Islamic art. From the great monarchs like Iran’s Shah Abbas, Turkey’s Suleyman the Magnificent and India’s Shah Jahan, museums display their silk ceremonial gowns, jade-handled swords and brocaded riding boots. Objects made by or for women rarely figure in the exhibit cases.

The names given to early museums provide a clue to their original function: Peter the Great had his Wunderkammer, the Shah of Iran had his Ajayeb-khane, the Pasha of Egypt his Muthaf. All these words mean a home for marvels. The original museums did not contain paintings or sculpture. These were admired in palaces, homes or churches. The wonderful and rare, which had no place in the decoration of familiar spaces, required special locations, designated accordingly.

Maung Shwe Yon was a highly acclaimed 19th-century master silversmith from Rangoon. Harry L Tilly, the aforementioned British expert on Burmese art, was effusive in his praise for Maung Shwe Yon. He described one of his pierced bowls as ‘the best example of this kind of work ever produced’ in his 1902 monograph, The Silverwork of Burma.