The Arts of Persia Part 3

On the left are three sons of SHAH JAHAN:

DARA s.h.i.+KOH SHAH SHUJA AURENGZIB (who succeeded Shah Jahan)

MUGHAL Painting from the Imperial Library of DELHI, A.D. 1640

[Ill.u.s.tration: 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 JOs.h.a.gAN. 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 un.o.bserved 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 hors.e.m.e.n. 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 n.o.ble 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 a.s.sembled 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 n.o.bility."

[Ill.u.s.tration]

[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 a.s.sume) 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

[Ill.u.s.tration]