Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-03-14
TALKS OF PERSIAN ART
LECTURE By
MIRA ALI-KULI KHAN.

The Arts of Persia was the theme
with which Mira Al-Kuli Khan, Per-
sian poet and scholar held the interest
of large and fashionable audience at
the Arlington Hotel yesterday afternoon.
The beautiful collection of art treasures
belonging to the Persian minister. Gen.
MorteZa Kahn. furnished the objective
feature and enabled the distinguished lee
turer to unfold to his hearers the signs
and symbolism of Persian art He di-
rected attention to each of the precious
articles in turn. including rugs of silk
and cotton weave. kashmir and kirman
shawls, embroideries, some of them said
to be thousand years old; silver and
gold work. fiiigree. lacquer work. book
covers. enameled thing. mosaics and
everything else within the range of the
large and magnificent collection of the
Persian minister.
BY many. said the lecturer. il is said
that Persia borrowed her art from Baby
Ion. but there are those of our own his
torians who declare that art in Persia
existed before Babylon was ever known
or dreamed of. The .'swastika,' which Is
SO common as an ornament in the pres
ent day. is said to be a symbol of the
supreme deity of the Aryan people. 1t
has six points, representing the six d.
rections-right. left, front back. up and
down-and Is perhaps the oldest known
luck charm in the world.
AS each of the lines of the "swastika"
represents certain principles. so each one
of the many mysterious figures and lines
of genuine Persian rug represent lofty
thoughts and virtues and their contra sting
opposites. Each rug represents the ideal
of it's maker. for 1t is a living poem in
which is embodied the soul thoughts OF
the one who creates it. This is why the
finest Persian rugs are so valuable and
rare. Their creation was not due to
commercialiSm. AS a rule they were
made as tribute to the shah. and there
fore are obtainabe only as gifts, never
by purchase.
The Silk Weaves.
OF the silk weaves only one rug, per-
haps. in three or four dozen turns out to
be firm in texture and therefore perfect.
Some have as many as 900 tiny knots to
the square inch. The ancient Phoen-
clans used purely animal dyes; the Per-
sian both animal and vegetable, but not
aniline dyes in the making of the fine
rugs for which the country is famous.
Then again, said the lecturer, the making
of beautiful rug is not mechanical.
One would be amazed at the crudeneSS of
the looms employed. yet even the skill of
the weaver is not all. for the wonderful
color blending requiring the highest and
most artistic sense of color is what ere
ates the beauty of the rug.
Red and blue ire the prevailing cOlors,
the one representing the divine the other
the national color. Red is the sacred color
representing the sun. which, as a symbol
of the deity, entered so closely into the
earlier religion of the Persians. The palm
is a symbol of reverence, which embodies
the personality of all beings. 1t is the
sheen and brilliancy that distinguish the
genuine Persian rug; the commercial rug
is distinguished by its gaudiness. In the
Persian art the flora and fauna of the
country enter largely. said the lecturer.
The dragon represents the spirit of evil.
while the lion stands for that well-devel-
oped faith in God by which victory over
evil is gained.
The speaker then referred TO the art
creations of the Shah Abbas, who made
Ispahan the capital of the nation and
drew to admire its beauties artists from
all over the world. By him the art of TIL
ing was rejuvenated.
So throughout the magnificent collection
the lecturer ranged pointing out its beau
ties and it's significance and providing his
hearers with an instructive and very de-
iightful entertainment.