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SPECIAL EXHIBITION

THE ARTS OF PERSIA

& OTHER COUNTRIES OF ISLAM

H. KEVORKIAN COLLECTION

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

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.

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."

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, and quotes IBN HISHAM in support.

"During the first half of the seventh century," says DOZY in

"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 on the ABBASID Dynasty.

his excellent work on ISLAM, "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."

The teachings of MUHAMMAD were not of a nature to arouse

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.

intolerance. 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. 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.

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

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.

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. She was to attain the function of the SUN, element of

Representing TIMUR-I-LANG 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."

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.

"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" .--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.

"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 that "Even CHARDIN, enthusiastic but seldom sentimental, was inspired to an unwonted outburst by the charms of HASHT BAHISHT".

PAIR OF DOORS FROM THE PAVILION OF CHAHAL SITUN built by SHAH ABBAS the Great .

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.

Detail of exquisitely painted woodwork from the Pavilion of CHAHAL SITUN , the Palace at Ispahan built by SHAH ABBAS.

The young Shah, who was pleased with the leader of the party , gave him royal gifts, Sir Anthony Sherley records , 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.

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.

The fusion of MUHAMMADAN doctrine with this Aryan culture of old, 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.

The foundation of the MUHAMMADAN EMPIRE was RELIGION. It was to the Holy Standard that the nations bent

ILLUSTRATED AND ILLUMINATED MANUSCRIPT

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 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."

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