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+The Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Arts of Persia
+       & Other Countries of Islam
+
+Author: H. Kevorkian
+
+Release Date: August 28, 2008 [EBook #26473]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ARTS OF PERSIA ***
+
+
+
+
+Produced by Fritz Ohrenschall, Linda Cantoni, and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+[Transcriber's Note: The main text in this book is interspersed with
+numerous illustrations and accompanying text. In this e-book, the
+illustrations and accompanying text are set off from the main text by
+lines of asterisks. For the reader's convenience, where the original
+indicates that the main text is continued on another page (e.g.,
+[CONTINUED ON PAGE THREE]), the page on which it is continued is marked
+with a page number, e.g., [PAGE 3].]
+
+
+
+
+SPECIAL EXHIBITION
+
+
+THE ARTS OF PERSIA
+
+& OTHER COUNTRIES OF ISLAM
+
+
+H. KEVORKIAN COLLECTION
+
+[Illustration]
+
+FROM THURSDAY, APRIL TWENTY-SECOND
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE
+ON THE ENTIRE THIRD FLOOR
+
+
+THE ANDERSON GALLERIES
+489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK
+1926
+
+
+THE ENTIRE THIRD FLOOR GALLERIES
+FROM THURSDAY, APRIL TWENTY-SECOND
+TO SATURDAY, MAY FIFTEENTH, INCLUSIVE
+[OPEN WEEK-DAYS, 9-6; SUNDAYS, 2-5 P.M.]
+
+       *       *       *       *       *
+
+[Illustration: STUCCO BAS-RELIEF, PAINTED IN POLYCHROME. EXCAVATED AT
+RAY (RHAGES) ANTERIOR TO THE XIITH CENTURY]
+
+This exhibition has been arranged with a desire to meet the
+convenience of those who are interested in manifestations of the arts
+of different countries over which ISLAM held sway at one time or other
+in the past. An effort has been made to show under one roof
+representative examples of works produced at different epochs and
+stages of the civilizations referred to, so that they may be seen, and
+perhaps studied, with the minimum expenditure of time.
+
+Fine examples of many branches of the arts of these peoples are in
+permanent exhibitions at the Metropolitan Museum, New York, and the
+museums of great cities throughout the country. It is difficult to
+find adequate words to describe the enchanting atmosphere of the halls
+at the Metropolitan Museum where Near Eastern art is installed; and
+the same can truly be said of the Museum of Fine Arts, Boston, and the
+University of Pennsylvania Museum, Philadelphia. These exhibitions
+must inevitably contribute to the enjoyment and education of countless
+visitors to these institutions, and will continue to do so in
+increasing degree to the enjoyment of generations to come.
+
+The present exhibition does not comprise a vast number of objects. Its
+claim to attention lies in the fact that it includes an important
+series of really first class works which are also of great historical
+importance. There will be on view as well some comparatively new types
+of objects of aesthetic and archaeological interest, obtained as the
+result of recent excavations.
+
+The briefness of time available precluded the possibility of compiling
+a catalogue, as was at first intended. The present booklet is issued
+to explain the scope of the exhibition, and extend a cordial
+invitation to visit it.
+
+H.K.
+
+       *       *       *       *       *
+
+[Illustration: MUHAMMAD (THE PROPHET) WITNESSES ALI (HIS SON-IN-LAW
+AND SUCCESSOR) DEFEAT AMR BEN ABDWAD]
+
+One of the eight illustrations for a XIIIth Century Persian Manuscript
+entitled, "HISTORY OF TABARI", compiled A.H. 310 (A.D. 922). The
+present copy is a subsequent one of the Persian version, translated by
+AL B'ALA'MI, A.H. 352.
+
+It is interesting to note that TABARI records in the book here
+referred to, that three messages were sent by MUHAMMAD to KHUSRAW
+PARNIZ, imparting the divine warnings. One of the messages, as
+recorded in an old Manuscript entitled NIHAYAT UL-IRAB, reads:
+
+"In the name of God, the merciful, the compassionate. From MUHAMMAD
+the Apostle of God to KHUSRAW son of HURMAZD. But to proceed. Verily I
+extol unto thee God, beside whom there is no other God. He it is who
+guarded me when I was an orphan, and made me rich when I was
+destitute, and guided me when I was straying in error. Only he who is
+bereft of understanding, and over whom calamity triumphs, rejects the
+message which I am sent to announce. O KHUSRAW, submit and thou shalt
+be safe, or else prepare to wage with God and with his Apostle a war
+which shall not find them helpless. Farewell."
+
+       *       *       *       *       *
+
+[Illustration]
+
+The rise of ISLAM and its rapid advent to power, is perhaps the most
+surprising chapter of the history of mankind. The great empires,
+Persian and Byzantine, which were subjected to the urgent onslaught of
+this rising power may have been in an enfeebled condition as a result
+of excess of despotism and internal dissensions, as historians affirm;
+but that the element of the power must have been in the rationality of
+the principles contained in the teaching, there can be no doubt.
+
+"It was undoubtedly to ISLAM, that simple yet majestic creed of which
+no unprejudiced student can ignore the grandeur, that Arabs owed the
+splendid part which they were destined to play in the history of
+civilization. In judging of the Arabian Prophet, western critics are
+too often inclined to ignore the condition from which he raised his
+country, and to forget that many institutions which they condemn were
+not introduced but only tolerated by ISLAM. The early Muslims were
+very sensible of the immense amelioration in their life effected by
+MUHAMMAD'S teachings. What this same amelioration was is well shown in
+the following passage from the oldest extant biography of the
+Prophet," says Professor G. Browne in his memorable work on Persia,[1]
+and quotes IBN HISHAM (A.H. 213: A.D. 828) in support.
+
+[Footnote 1: "Literary History of Persia," by Edward G. Browne, M.A.,
+M.B., Vol. I, page 186.]
+
+"During the first half of the seventh century," says DOZY in
+
+[CONTINUED ON PAGE THREE]
+
+       *       *       *       *       *
+
+[Illustration: ACCESSION AT KUFA, A.D. 749, OF ABU'L-ABBAS ABDULLAH
+AS-SAFFAH FIRST CALIPH OF THE HOUSE OF ABBAS]
+
+One of eight illustrations for a XIIIth Century Manuscript entitled,
+"HISTORY OF TABARI", compiled A.H. 310 (A.D. 922). The present copy is
+a subsequent one of the Persian version, translated by AL B'ALA'MI,
+A.H. 352.
+
+"It was a dynasty abounding in good qualities, richly endowed with
+generous attributes, wherein the wares of science found a ready sale,
+the merchandise of culture was in great demand, the observances of
+religion were respected, charitable bequests flowed freely ... and the
+frontiers were bravely kept."--AL-FAKHRI (historian of fame of the
+XIIIth Century) on the ABBASID Dynasty.
+
+       *       *       *       *       *
+
+[PAGE 3]
+
+his excellent work on ISLAM,[2] "everything followed its accustomed
+course in the Byzantine as in the Persian Empire. These two states
+continued always to dispute the possession of western Asia; they were,
+to all outward appearance, flourishing; the taxes which poured into
+the treasuries of their Kings reached considerable sums, and the
+magnificence, as well as the luxury of their capitals had become
+proverbial. But all this was but in appearance, for secret disease
+consumed both empires; they were burdened by a crushing despotism; on
+either hand the history of the dynasties formed a concatenation of
+horrors, that of the state a series of persecutions born of
+dissensions in religious matters. At this juncture it was that, all of
+a sudden, there emerged from deserts hardly known and appeared on the
+scene of the world a new people, hitherto divided into innumerable
+nomad tribes, who, for the most part, had been at war with one
+another, now for the first time united. It was this people,
+passionately attached to liberty, simple in their food and dress,
+noble and hospitable, gay and witty, but at the same time proud,
+irascible, and, once their passions were aroused, vindictive,
+irreconcilable and cruel, who overthrew in an instant the venerable
+but rotten empire of the Persians, snatched from the successors of
+Constantine their fairest provinces, trampled under their feet a
+Germanic kingdom but lately founded, and menaced the rest of Europe,
+while at the same time, at the other end of the world, its victorious
+armies penetrated to the Himalayas. Yet it was not like so many other
+conquering peoples, for it preached at the same time a new religion.
+In opposition to the dualism of the Persians and a degenerate
+Christianity, it announced a pure monotheism which was accepted by
+millions of men, and which, even in our own time, constitutes the
+religion of a tenth part of the human race."
+
+[Footnote 2: Translated into French by Victor Chauvin under the title
+of "Essai sur l'Histoire de l'Islamisme" (Leyden and Paris, 1879).]
+
+The teachings of MUHAMMAD were not of a nature to arouse
+
+[CONTINUED ON PAGE FIVE]
+
+       *       *       *       *       *
+
+[Illustration: POLYCHROME ENAMELLED GLASS MOSQUE LAMP OF THE XIIITH
+CENTURY]
+
+Very few examples of this highly advanced art survive. They represent
+an extremely aristocratic manifestation of art and were executed by
+order of MAMELUKE CALIPHS of Egypt, and dedicated by them to their
+great Mosques, individually inscribed in magnificent calligraphy.
+
+       *       *       *       *       *
+
+[PAGE 5]
+
+intolerance.[3] History does not record the practice of compulsory
+conversion in the scheme of conquest of early converts. "It is often
+supposed," says Professor BROWNE, "that the choice offered by the
+warriors of ISLAM was between the QUR'AN and the SWORD; this, however,
+is not the fact." There are innumerable evidences to the contrary
+which history records.[4] It appears that the exemplary behavior of
+the Arabs, under their newly acquired faith, was the main factor not
+only in the success of their scheme of conquest, but also in the
+impression which it made on the defeated in determining them to adopt
+the faith which produced such upright warriors.
+
+[Footnote 3: "Righteousness is not that ye turn your faces to the East
+and to the West, but righteousness is this: Whosoever believeth in
+God, and the last day, and the angels, and the book, and the prophets;
+and whoso, for the love of God, giveth of his wealth unto his kindred,
+and unto orphans, and the poor, and the traveller, and to those who
+crave alms, and for the release of the captives; and whoso observeth
+prayer and giveth in charity; and those who, when they have
+covenanted, fulfil their covenant; and who are patient in adversity
+and hardship, and in times of violence: these are the righteous and
+they that fear the Lord."--QUR'AN, SURA II.]
+
+[Footnote 4: The treaty concluded by HABIB B. MASLAMA with the people
+of DABIL in Armenia ran as follows: "In the name of God the merciful,
+the clement. This is a letter from HABIB B. MASLAMA to the people of
+DABIL, Christians, Magians, and Jews, such of them as are present and
+such of them as are absent. Verily I guarantee the safety of your
+lives, properties, churches, temples and city walls; ye are secure,
+and it is incumbent upon us faithfully to observe this treaty so long
+as you observe it and pay the poll-tax and the land-tax. God is
+witness, and he sufficeth as a witness."--QUR'AN, V. 104. Concerning
+the acceptance of the Poll-Tax from ZOROASTRIANS, as well as from Jews
+and Christians. A. VON KREMER'S "Kulturgeschichte d. Orients," Vol. I,
+page 59.]
+
+The tremendous political upheaval that the evolution of ISLAM brought
+in its train to the affairs of the world does not fall within the
+scope of this paper. A highly important fact, however, must not be
+lost sight of, that by consolidating and unifying the tottering states
+a new civilization was founded which knew how to turn to account the
+culture of the ancient states conquered. In this overwhelming
+transformation Persia came in, from the outset, to play the most
+conspicuous and important part. The
+
+[CONTINUED ON PAGE NINE]
+
+       *       *       *       *       *
+
+[Illustration: ROYAL IVORY BOX, WITH METAL MOUNTING. HISPANO-ARABIAN
+ART, XIITH-XIIITH CENTURY DECORATED IN ENAMEL AND GOLD, DEPICTING
+INSIGNIA OF SUCCESSORS OF UMAYYAD CALIPHS OF SPAIN, AND QUR'ANIC
+ROSETTES AND KUFIC CALLIGRAPHY OF THE HIGHEST DISTINCTION]
+
+[Illustration: FAIENCE CYLINDRICAL VASE, WITH RELIEF AND LUSTRE
+DECORATION. FROM FOSTAT (ANCIENT CAIRO), DYNASTY OF FATIMID
+ANTI-CALIPHS (A.D. 974-1171)]
+
+[Illustration: AN EARLY SAFAWID PAINTING (CIRCA A.D. 1525) OF
+EXQUISITE RHYTHM, DEPTH AND DIGNITY]
+
+       *       *       *       *       *
+
+[PAGE 9]
+
+artistic productions of the MUHAMMADAN world that have come down to us
+as living monuments, substantiate this statement without a shadow of
+doubt, which makes it unnecessary to resort to recorded history,
+although its pages abound with incontestable evidences.[5]
+
+[Footnote 5: "Thus it is by no means correct to imply that the two or
+three centuries immediately following the MUHAMMADAN conquest of
+Persia were a blank page in the intellectual life of its people. It
+is, on the contrary, a period of immense and unique interest, of
+fusion between the old and the new, of transformation of forms and
+transmigration of ideas, but in no wise of stagnation or death.
+Politically, it is true, Persia ceased for a while to enjoy a separate
+national existence, being merged in that great MUHAMMADAN EMPIRE which
+stretched from GIBRALTAR to the JAXARTES; but in the intellectual
+domain she soon began to assert the supremacy to which the ability and
+subtlety of her people entitled her. Even the forms of State
+organization were largely adapted from Persian models."--AL-FAKHRI
+(ed. AHLWARDT, page 101), on the organization of the DIWANS or
+Government offices.
+
+"In the finance department not only was the Persian system adopted, but
+the Persian language and notation continued to be used till the time
+of AL-HAJJAJ B. YUSUF (about A.D. 700)."--EDWARD G. BROWNE, "Literary
+History of Persia", Vol. I, page 204.]
+
+It would be difficult to offer an explanation for the underlying unity
+and integrity of character manifest in the artistic expression of the
+MUHAMMADAN countries, of vast geographical range, without a clear
+understanding of the vital force contained in the teachings of the
+Arabian Apostle, and the characteristics of his people, destined to
+carry those teachings from one end of the earth to the other. For this
+reason the foregoing brief survey has been ventured.
+
+There can be no doubt that the pivot around which the artistic
+activities of MUHAMMADAN countries revolved, was Persia.[6] She was to
+attain the function of the SUN, element of
+
+[CONTINUED ON PAGE SEVENTEEN]
+
+       *       *       *       *       *
+
+ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF KINGS) of the
+XVth Century.
+
+Representing TIMUR-I-LANG (A.H. 736-807) attending a festival. The
+name and the full titles of TIMUR appear in excellent Thuluth
+lettering round the border of the rug upon which the monarch sits.
+
+This important Manuscript was presented by the Emperor of Russia to
+the Ambassador of Persia at St. Petersburg, A.D. 1829. The
+Ambassador's autograph inscription reads:
+
+"The SHAHNAMA graciously presented by H.M. the Emperor at my third
+visit--may it be omen of good fortune. MUHAMMAD ALI IBNI GHAFOURI
+Ambassador, 22nd of RAJAB, A.H. 1245."
+
+"TIMUR BEG was seated in a portal, in front of the entrance of a
+beautiful Palace; and he was sitting on the ground.... The lord was
+seated cross-legged, on silken embroidered carpets, amongst round
+pillows. He was dressed in a robe of silk, with white headdress on his
+head, on the top of which there was a spinel ruby, with pearls and
+precious stones round it. As soon as the ambassadors saw the lord,
+they made a reverential bow, placing the knee on the ground, and
+crossing the arms on the breast; then they went forward and made
+another and then a third, remaining with their knees on the ground.
+The lord ordered them to rise and come forward.... Three MIRZAS, or
+secretaries, ... came and took the ambassadors by the arms, and led
+them forward until they stood before the lord.... He asked after the
+King, saying, 'How is my son the King? is he in good health?' When the
+ambassadors had answered, TIMUR BEG turned to the knights who were
+seated around him, amongst whom were one of the sons of TOKTAMISH, the
+former Emperor of TARTARY, several chiefs of the blood of the late
+Emperor of SAMARQUAND, and others of the family of the lord himself,
+and said, 'Behold, here are the ambassadors sent by my son, the King
+of Spain, who is the greatest King of Franks, and lives at the end of
+the world. These Franks are truly great people, and I will give my
+benediction to the King of Spain, my son."--From the Diary of RUY
+GONZALEZ DI CLAVIJO, principal of the embassy despatched A.D. 1404 to
+the Court of SAMARQUAND by Henry III of Castile, Spain.
+
+CLAVIJO describes the beautiful gardens with their tiled palaces where
+banquets were given. The ambassador, who was invited, marvelled at the
+gorgeous tents, one of which "was so large and high that from a
+distance it looked like a castle, and it was a very wonderful thing to
+see, and possessed more beauty than it is possible to describe". It is
+interesting to notice that SHARAF-U-DIN mentions the presence of the
+Ambassadors, "for," he writes, "even the smallest of fish have their
+place in the sea". Truly a delightful touch!--History of Persia, by
+SIR PERCY SYKES, Vol. II, page 133.
+
+[Illustration: ILLUSTRATIONS FOR TITLE-PAGES OF A SHAHNAMA (EPIC OF
+KINGS) OF THE XVTH CENTURY]
+
+"On the extreme of the western side of the royal precincts opening on
+to the CHAHAR BAGH are a garden and building. The Garden was
+previously called "BAGH I BULBUL" (Garden of Nightingales).--LORD
+CURZON, History of Persia.
+
+"Night drawing on, all the pride of SPAHAUN was met in the CHAUR BAUG
+and grandees were airing themselves, prancing about with their
+numerous trains, striving to outdo each other in pomp and
+generosity."--DR. FRYER, recorded A.D. 1677.
+
+CHARDIN, who was at Ispahan at the time of SHAH SULEIMAN'S reign
+(1667-1694), records in his "VOYAGES", Vol. VIII, page 43:
+
+"When one walks in these places expressly made for the delights of
+love and when one passes through all these cabinets and niches, one's
+heart is melted to such an extent that to speak candidly, one always
+leaves with a very ill grace. The climate without doubt contributes
+much towards exciting this amorous disposition, but assuredly these
+places, although in some respects little more than cardboard castles,
+are nevertheless more smiling and agreeable than our most sumptuous
+palaces."
+
+LORD CURZON says (History of Persia, Vol. II, page 37) that "Even
+CHARDIN, enthusiastic but seldom sentimental, was inspired to an
+unwonted outburst by the charms of HASHT BAHISHT".
+
+[Illustration: VIEW OF CHAHAR BAGH (FOUR GARDENS) AND HASHT BAHISHT
+(PAVILION OF EIGHT PARADISES) AT ISPAHAN. CONSTRUCTED BY SHAH SULEIMAN
+SAFAWI ABOUT A.D. 1670. REPRODUCTION FROM "LA PERSE, LA CHALDEE ET LA
+SUSIANE" (1887) BY DIEULAFOY]
+
+PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (Hall of Forty
+Pillars) built by SHAH ABBAS the Great (A.D. 1588-1629).
+
+These are decorated with representations of scenes from the Royal
+Court of the great Shah, painted minutely by Court artists.
+
+"They transport us straight to the Court of the lordly ABBAS and his
+predecessors or successors on the throne.... We see the King engaged
+at some royal festivity enjoying the pleasure of the Bowl."--LORD
+CURZON, History of Persia, Vol. II, page 34.
+
+KER PORTER, who saw the Palace of Chahal Situn in its perfect
+condition, records: "The exhaustless profusion of its splendid
+materials reflected not merely their own golden lights on each other,
+but all the variegated colours of the Garden, so that the whole
+surface seemed formed of polished silver and mother of pearl set with
+precious stones."
+
+LORD CURZON, who visited it soon after its last repair in 1891, quotes
+KER PORTER and by way of contrast says: "The bulk of this superb
+decoration which still remains in the THRONE ROOM behind, to point
+bitter contrast, had on the walls of the LOGGIA been ruthlessly
+obliterated by the brush of the painter, who had left in its place
+pink wash; had I caught the Pagan, I would gladly have suffocated him
+in a barrel of his own paint."--History of Persia, Vol. II, page 33.
+
+[Illustration: PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN (HALL
+OF FORTY PILLARS) BUILT BY SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+[Illustration: RIZA ABBASI, FAVORED COURT ARTIST, PORTRAYS EUROPEANS
+AT THE COURT OF SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+Detail of exquisitely painted woodwork from the Pavilion of CHAHAL
+SITUN (Hall of Forty Pillars), the Palace at Ispahan built by SHAH
+ABBAS.
+
+The young Shah, who was pleased with the leader of the party
+(Europeans), gave him royal gifts, Sir Anthony Sherley records (1598),
+including "forty horses all furnished, two with exceeding rich
+saddles, plated with gold, and set with rubies and turquoises." To
+these he added camels, tents, and a sum of money.
+
+       *       *       *       *       *
+
+[PAGE 17]
+
+her old faith, source of sustaining energy; and continued to radiate
+into these planets of countries and races of the System, her
+all-stimulating cultural beams, the reflection of which is discernible
+in all artistic manifestations of those countries. In the field of
+literature, which is so little known in the western world, the
+influence is even greater than in the visual art with which we are
+concerned. MUHAMMADAN literature, be it Arabic, Turkish, or Persian,
+is PERSIAN in spirit and feeling.[7]
+
+[Footnote 6: "The ascendancy of the Persians over the Arabs, that is
+to say of the conquered over the victors, had already for a long while
+been in course of preparation; it became complete when the ABBASIDS,
+who owed their elevation to the Persians, ascended the throne (A.D.
+749). The most distinguished personages at court were consequently
+Persians. The famous BARMECIDES were descended from a Persian noble
+who had been superintendent of the Fire Temple at BALKH. AFSHIN, the
+all-powerful favorite of the Caliph AL-MUTASIM, was a scion of the
+Princes of USRUSHNA in Transoxiana."--DOZY, "Histoire de
+l'Islamisme".]
+
+[Footnote 7: "With the rise of PERSIAN influence, there opened an era
+of culture, toleration, and scientific research. The practice of oral
+tradition was also giving place to recorded statement and historical
+narrative,--a change hastened by the scholarly tendencies introduced
+from the East."--SIR WILLIAM MUIR, on the rise of the Abbasid
+Dynasty.]
+
+The fusion of MUHAMMADAN doctrine with this Aryan (Persian) culture of
+old,[8] is an important event in the history of Art. For out of this
+fusion came forth into being a new phase of artistic expression
+completely different, in form and spirit, from its predecessors.
+Probably of equal importance is the fact that, although practised by
+divers races and subjected to many developments, fluctuations and
+variations, it has retained throughout the centuries its identical
+characteristics. What was the vital force that brought about this
+cultural evolution and unification? The answer appears to be RELIGION,
+as we shall see.
+
+[Footnote 8: "PERSIAN influence increased at the court of the CALIPHS,
+and reached its zenith under AL-HADI, HARUNU'R-RASHID, and AL-MAMUN.
+Most of the ministers of the last were PERSIANS or of PERSIAN
+extraction. In BAGHDAD, PERSIAN fashions continued to enjoy an
+increasing ascendancy. The old PERSIAN festivals of the NAWRUZ,
+MIHRGAN, and RAM were celebrated. PERSIAN raiment was the official
+court dress, and the tall, black, conical PERSIAN hats were already
+prescribed as official by the second ABBASID Caliph (in A.H. 153: A.D.
+770). At the court the customs of the SASSANIAN Kings were imitated,
+and garments decorated with golden inscriptions were introduced, which
+it was the exclusive privilege of the ruler to bestow. A coin of the
+Caliph AL-MUTAWAKKIL shows us this Prince actually clothed in true
+PERSIAN fashions".--VON KREMER, Streitzuge, page 32.]
+
+The foundation of the MUHAMMADAN EMPIRE was RELIGION. It was to the
+Holy Standard that the nations bent
+
+[CONTINUED ON PAGE TWENTY-THREE]
+
+       *       *       *       *       *
+
+     _"Lips sweet as sugar on my pen bestow,
+     And from my book let streams of odour flow."_
+
+     --J'AMI.
+
+ILLUSTRATED AND ILLUMINATED MANUSCRIPT
+
+The complete volume of "YUSUF-OU-ZALIKHA", the popular poem by the
+famous mystic poet J'AMI, based on the Biblical story of JOSEPH and
+POTIPHAR'S WIFE. The scribe, MIR ALI SULTANI.
+
+The colophon reads:
+
+"Terminated by the sinner, humble MIR ALI SULTANI the penman, may God
+forgive his sins and shelter his faults. Terminated in the month of
+MOHARRAM AL HARAM in the year A.H. 944 (in letters) (A.D. 1537) in the
+glorious city of BUKHARA."
+
+The Dedication in the handwriting of the scribe, in ornate gold
+lettering, reads:
+
+"For his majesty, the AUGUST, the just, the possessor of virtues, the
+great KHAGAN GHAZI ABD-UL-AZIZ BAHADUR KHAN, may his domain last
+forever."
+
+The autograph of the Emperor SHAH JAHAN, the "GREAT MOGUL", on the
+magnificently decorated mount reads:
+
+"In the name of God compassionate and merciful this YUSUF-OU-ZALIKHA
+treasured on the occasion of BLESSED ACCESSION." (A.D. 1627)
+
+In confirmation of the foregoing, it is of great interest that
+JAHANGIR makes special reference in his memoirs (Tuzuk-i-Jahangiri) to
+an incident, as of highest importance, that he was presented by
+ABD-AL-RAHIM KHAN, KHAN-I-KHANAN, with a superb copy of J'AMI'S poem
+YUSUF-OU-ZALIKHA, transcribed by MIR ALI SULTANI, "Prince of Penmen",
+and that the gift was appraised at "a thousand Muhr".
+
+[Illustration: COMPLETE ILLUSTRATED AND ILLUMINATED MANUSCRIPT OF
+"YUSUF-OU-ZALIKHA", BY THE FAMOUS MYSTIC POET J'AMI]
+
+ONE OF THE ILLUSTRATIONS TO THE MANUSCRIPT YUSUF-OU-ZALIKHA
+
+ZALIKHA in old age, broken and in poverty, meets YUSUF in the market
+place in Egypt.
+
+     _"Where is thy youth, and thy beauty, and pride?"
+     "Gone, since I parted from thee," she replied.
+     "Where is the light of thine eye?" said he.
+     "Drowned in blood-tears for the loss of thee."
+     "Why is that cypress tree bowed and bent?"
+     "By absence from thee and my long lament."
+     "Where is thy pearl, and thy silver and gold,
+     And the diadem bright on thy head of old?"..._
+
+     --Quotation from YUSUF-OU-ZALIKHA (J'AMI).
+     Translation of R.T. GRIFFITH.
+
+[Illustration]
+
+[Illustration: CHISELLED SILVER BOWL, DECORATED IN FILIGREE AND
+POLYCHROME ENAMEL. PERSIAN WORK OF THE XVITH CENTURY, PROBABLY
+EXECUTED IN ASIA MINOR FOR A PRINCELY OTTOMAN PATRON]
+
+       *       *       *       *       *
+
+[PAGE 23]
+
+and professed unqualified allegiance. A powerful political unity came
+into existence and continued for a period of SIX centuries
+uninterrupted. The nations of this united kingdom of ISLAM were thus
+merged into one unit, under the stimulus of one formal religion,
+freely transmigrating local ideas. Arts and culture were transformed,
+but the evolution thus caused by the Religion was essentially
+political in nature.
+
+"There is no God but GOD," said the APOSTLE OF ARABIA, but the poet
+reflected awhile, and his rejoinder was: "The Ways of God are as the
+number of SOULS OF MEN."
+
+The Prophet's religion was rational, its principles attainable; it
+secured for the poet social amelioration and physical comfort, but
+there was a voice from the depth of his soul that he could not
+silence. It was the voice of mystery; he was concerned with the
+problems of the "Wherefore, the Whence, and the Whither".... Was he
+not a Son of the land which PLOTINUS visited to learn mystery of the
+Orient of Old?[9]
+
+[Footnote 9: "Il prit un si grand gout pour la philosophie qu'il se
+proposa d'etudier celle qui etait enseignee chez les Perses et celle
+qui prevalait chez les Indiens. Lorsque l'empereur Gordien se prepara
+a faire son expedition contre les Perses, Plotin, alors age de
+trente-neuf ans, se mit a la suite de l'armee. Il avait passe dix
+annees entieres pres d'Ammonius. Gordien ayant ete tue en Mesopotamie,
+Plotin eut assez de peine a se sauver a Antioche."--PORPHYRY ON
+PLOTINUS: Translation of the Enneads of Plotinus (Bouillet; Paris,
+1857).]
+
+We have to look therefore to the RELIGION, "The Ways" of whose God
+"are as the number of Souls of Men", to perceive the true nature of
+the evolution of the artistic expression of these people.
+
+Souls with irresistible cravings for Mysticism, poets, artists,
+philosophers and the like, discovered for the first time from
+MUHAMMAD'S formal teachings, which contained certain esoteric
+elements, that the senses, unreal and phenomenal, have yet an
+important mission to fulfill in the task which aims to escape from
+SELF (which is an illusion and the root of SIN, PAIN, and SORROW) and
+to attain the height where the eternal beauty,
+
+[CONTINUED ON PAGE TWENTY-SEVEN]
+
+       *       *       *       *       *
+
+"PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF FORTRESS, BY
+RAMDAS"--A.D. 1630.
+
+A leaf from the National Portrait Album conceived by the Emperor
+AKBAR, and amplified and executed by JAHANGIR and SHAH JAHAN. The
+volume consists of portraits of the Royal Family of the GREAT MOGULS
+and their principal supporters. These historic personages are
+represented in the centre as single individuals, with their chief
+officials and retainers in the border around them.
+
+RAMDAS, a Hindu artist, was one of AKBAR'S artists who worked under
+JAHANGIR and SHAH JAHAN. His signed works include the following:
+
+BABURNAMA in the British Museum and South Kensington Museum.
+AKBARNAMA in South Kensington Museum.
+RAZMNAMA in the State Library, Jaipur, India.
+TIMURNAMA in the Oriental Public Library, Bankipur, India.
+
+[Illustration: "PORTRAIT OF MEHDI ALI GULI KHAN, COMMANDER OF
+FORTRESS, BY RAMDAS"--A.D. 1630]
+
+[Illustration: SILK FABRIC--A RARE EXAMPLE OF THE KIND PRODUCED BY THE
+ROYAL LOOMS AT ISPAHAN, WHICH FLOURISHED UNDER THE DIRECT PATRONAGE OF
+SHAH ABBAS THE GREAT (A.D. 1588-1629)]
+
+"Oct. 18th, 1666.--To Court. It being ye first time his Ma'ty
+(CHARLES II of England) put himself solemnly into Eastern fashion of
+vest, changeing doublet, stiff collar, bands and cloake, into a comley
+dress, after ye Persian mode. I had sometime before presented an
+invective against our so much affecting the French fashion, to his
+Majesty, in which I took occasion to describe the comelinesse and
+usefulness of the Persian clothing, in ye very same manner his
+Ma'ty now clad himself."--JOHN EVELYN (A.D. 1666), celebrated
+historian and diarist.
+
+       *       *       *       *       *
+
+[PAGE 27]
+
+which is but ONE, reveals itself through countless phenomena which are
+but reflections of ONE. "The PHANTASMAL is the BRIDGE to the REAL,"
+says the mystic, and the immortal lines of J'AMI read:
+
+     _"Though in this world a hundred tasks thou tryest,
+     'Tis Love alone which from thyself will save thee.
+     Even from earthly love thy face avert not,
+     Since to the real it may serve to raise thee.
+     Ere A, B, C, are rightly apprehended,
+     How canst thou con the pages of the_ QUR'AN?
+     _A sage (so heard I) unto whom a scholar
+     Came craving counsel on the course before him,
+     Said, 'If thy steps be strangers to love's pathways,
+     Depart, learn Love, and then return before me,
+     For, shouldst thou fear to drink wine from form's Flagon,
+     Thou canst not drain the draughts of the Ideal.
+     But yet beware, Be not by form belated,
+     Strive rather with all speed the bridge to traverse.
+     If to the bourn thou fain wouldst bear thy baggage,
+     Upon the bridge let not thy footsteps linger."_[10]
+
+[Footnote 10: "Religious Systems of the World" (Swan Sonnenschein,
+1892).]
+
+The unreality of things material, the illusion of Self and desires,
+the perception that all living things and apparent phenomena reflected
+but one all-embracing GOOD and BEAUTY, was the philosophy of Hindu and
+all Oriental mystics of old; but they attempted to destroy the self
+and desires (Source of Sin) uncompromisingly and unreasonably. It was
+a philosophy "cold" and "bloodless", as Professor BROWNE points out,
+in trenchant terms. The MUHAMMADAN mystic became conscious that the
+stream cannot be crossed without the aid of the BRIDGE constructed for
+this purpose.
+
+Here (as it seems to us) lies the KEYNOTE, the mainspring of
+inspiration of artistic expression, which (for the lack of better
+designation) might be termed MUHAMMADAN ART: A merging of physical and
+spiritual, of worldly magnificence and eternal bliss.
+
+[CONTINUED ON PAGE THIRTY-ONE]
+
+       *       *       *       *       *
+
+THE PRINCES OF THE HOUSE OF TIMUR
+
+EMIR TIMUR (TIMUR-I-LANG) on the throne (A.D. 1335-1405)
+
+On the right of the throne:
+
+BABUR A.D. 1526-1530
+HUMAYUN A.D. 1530-1556
+AKBAR A.D. 1556-1605
+JAHANGIR A.D. 1605-1627
+SHAH JAHAN A.D. 1627-1658
+
+On the left are three sons of SHAH JAHAN:
+
+DARA SHIKOH
+SHAH SHUJA
+AURENGZIB
+(who succeeded Shah Jahan)
+
+MUGHAL Painting from the Imperial Library of DELHI, A.D. 1640
+
+[Illustration: THE PRINCES OF THE HOUSE OF TIMUR
+
+MUGHAL PAINTING FROM THE IMPERIAL LIBRARY OF DELHI, A.D. 1640]
+
+TALAR (HALL OF AUDIENCE) RUG
+
+From the looms of ISPAHAN or the adjoining city of JOSHAGAN. Made
+during the reign of SHAH SULEIMAN (A.D. 1667-1694), upon the model of
+CHAHAR BAGH Royal Garden at ISPAHAN, on the grounds of which the Royal
+Pavilion of HASHT BAHISHT (Eight Paradises) stands. The Rug measures
+29 feet by 9 feet 5 inches.
+
+LORD CURZON in his History of Persia, Vol. II, page 38, gives the
+following description of the Garden of CHAHAR BAGH:
+
+"At the upper extremity a two storeyed PAVILION connected by a
+corridor with the SERAGLIO of the palace, so as to enable the ladies
+of the harem to gaze unobserved upon the merry scene below, looked out
+upon the centre of the avenue. Water conducted in stone channels ran
+down the centre, falling in cascades from terrace to terrace, and was
+occasionally collected in great square or octagonal basins where cross
+roads cut the avenues. On either side of the central channel was a row
+of chenars and a paved pathway for pedestrians, then occurred a
+succession of open parterres, usually planted or sown. Next on either
+side was a second row of chenars, between which and flanking walls was
+a raised causeway for horsemen. At intervals corresponding with the
+successive terraces and basins, arched doorways with recessed open
+chambers overhead conducted through these walls into the various royal
+or noble gardens that stretched on either side and were known as the
+gardens of the throne; nightingale, vines, mulberries, Dervishes, etc.
+Some of these pavilions were places of public resort and were used as
+coffee houses, where when the business of the day was over the good
+burghers of Ispahan assembled to sip that beverage and inhale their
+Kalians the while. At the bottom quays lined the banks of the river
+and were bordered with the mansions of the nobility."
+
+[Illustration]
+
+       *       *       *       *       *
+
+[PAGE 31]
+
+A desire to reach to our higher instincts through the vehicle of our
+senses is apparent in all forms in which these masters sought to
+express themselves; we feel that, in their entrancing rhythmical
+compositions, in their incomparable poetry of flowing melodious words,
+in all their literature, in the inimitable colors and lyrical lines of
+all branches of representation of visual art. We feel the presence of
+an element prevailing throughout, and underlying every form of
+expression, an element which may be described in a word, "HUMAN".
+
+It is stated that the PERSIAN spirit and feeling were reflected in all
+forms of artistic expression of the MUHAMMADAN world. It is not,
+however, intended that other nations and countries over which ISLAM
+held sway, contributed nothing in the building of the influences of
+each were felt in varying degrees in the transmigration of ideas
+continued to take place between the nations, and the influences of
+each were felt in varying degrees in the transformation that resulted.
+In the fusion referred to, the influence of the PERSIAN culture was
+predominant, a fact so transparent, as to require (we may assume) no
+emphasis.
+
+It is not intended to deal here with particular aspects or divers
+branches of arts in which the genius of these artists found
+expression. In offering briefly these lines as to the general aspect
+of the Art of the MUHAMMADAN world, the intention is to offer an
+explanation to those who may not be familiar with its history.
+
+H. KEVORKIAN
+
+[Illustration]
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Arts of Persia, by H. Kevorkian
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