Thursday, February 25, 1999
Epoch Proportions
EXHIBIT: An exhibit of life-size paintings spans over
a century of royal Persian artwork and history
By Michael Rosen-Molina
Daily Bruin Contributor
The first major exhibition devoted to to the visual arts of
Persia during the Qajar period opens today at the UCLA Armand
Hammer Museum and runs through May 9.
"Royal Persian Paintings: The Qajar Epoch 1785-1925"
concentrates primarily on life-size figural painting, a traditional
ceremonial art associated with Persian royalty.
Despite this connection, the practice was largely destroyed with
the introduction of Islam in A.D. 637. The advent of the Qajar
regime revived the long-forgotten custom and used it to create
spectacular propaganda portraits. Presented chronologically, the
exhibit follows the development of the art form from its rebirth to
modern times.
Organized by Dr. Layla S. Diba, the Hagop Kevorkian curator of
Islamic Art at the Brooklyn Museum of Art, and Dr. Maryam Ekhtiar,
senior research associate, the presentation includes more than 100
pieces from over 36 collections in seven countries.
"This art has never been written about or comprehensively
presented for a wide audience," says Diba. "It’s the first
exhibition on Iranian art to come to Los Angeles in ten years, and
I doubt it will take place again."
Sent as diplomatic gifts to European and Russian rulers, the
brilliant portraits of the second Qajar ruler Fath ‘Ali Shah
present prime examples of wall painting at its best: formal and
stylized, yet intricately detailed. Besides the shah, other Qajar
nobles depicted include his 43rd son Prince Yahya, who became the
governor of Gilan at age 5.
A striking contrast to the opulence of Fath ‘Ali Shah is the
modesty of Karim Khan Zand. Although he was the subject of numerous
portraits, the unpretentious ruler refused to be painted wearing
his crown or kingly garments. Pictures such as "Karim Khan Zand and
his Kinsmen" present the king as an ordinary man, casually smoking
a traditional waterpipe and relaxing with some relatives.
More than just royal propaganda, Qajar court art also displays
majestic enthronement portraits, religious images and stirring
battle scenes. Mirza Baba’s "A Tipsy Lady" and supposed Muhammad
Sidiq work, "Embracing Lovers," prove that art of the period can
also be about more everyday subjects.
Many works show evidence of increasing interaction with
Europeans during the Qajar regime, combining the flat planes and
intricate detailing of Persian art with the deep perspective and
increased realism of European schools. An immense two-part oil
painting from the State Hermitage Museum in St. Petersburg depicts
both Fath ‘Ali Shah’s imperial military review and also the Shah’s
son, Prince ‘Abbas, defeating Russian forces in the Perso-Russian
wars of the early 19th century.
Such multi-panel narrative works are representative of the
period. This tradition is continued in a 20th century newspaper
caricature, a biting depiction of Asian leaders as dogs eating out
of the hands of imperial Russian and British rulers.
Almost as impressive as the works themselves are some of the
techniques used to produce them. For example, two portraits of a
man and woman from a pictorial cycle were created using
reverse-glass technique, or eglomise, a method in which the picture
is painted backward on the back of a sheet of glass. Mounted behind
elaborate carved frames crawling with birds and dragons, the subtle
details of the subjects’ faces are rendered all the more amazing
when one considers the difficulties the artist faced.
Also on display are an elaborately scripted Qu’ran, numerous
ornate mirror cases and caskets, and a lavish dagger of solid gold
inlaid with diamonds and rubies. Also set up to dazzle visitors are
a replica of a traditional Persian coffeehouse, and a carpeted room
where nobles could gather to relax, drink tea, write poetry or play
chess or backgammon. It’s enough to make visitors wish they had one
in their own house.
"Qajar Art" challenges notions of Persian art as a static,
unchanging entity and instead proves it is a dynamic force,
constantly changing.
"Our approach is to talk about image and its function in Iranian
society," Diba says about her purpose. "It’s a culmination of a
distinctive indigenous tradition enriched by contact with
Europe."
EXHIBIT: "Royal Persian Paintings" opens today and continues
through May 9 at the UCLA Armand Hammer Museum, located at 10899
Wilshire Blvd. General admission is $4.50, $1 for UCLA students
w/ID. Admission is free Thursday evenings from 6 to 9 p.m. For more
information, call (310) 443-7000.
Nasir al-Din Shah is shown seated in a chair in one of the
pieces on display at the museum.
Photos courtesy of Armand Hammer Museum
Mihr ‘Ali signed this portrait of second Qajar ruler, Fath ‘Ali
Shah. "Qajar Art" runs through May 9 at the UCLA Armand Hammer
Museum.
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