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]
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[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.