 "Photo: The Art Institute of Chicago")
Persian art is contradiction personified. An irreproducible intermingling of the East and West, the aesthetic and the utilitarian, the meticulous and the organic, the Art Institute of Chicago spotlights these uncommonly self-juxtaposing pieces in its new exhibit, Arthur Pope and A New Survey of Persian Art.
This exhibit, although small, contains several components. Although its primary purpose is to showcase the extraordinary color and pattern of Persian works, the show also addresses the AIC’s history regarding Persian art, specifically in relation to Arthur Pope, a philosophy professor and art lover who assisted in the development of the AIC’s Persian collection. The exhibit charts his life and celebrates the knowledge and interest he brought to the AIC.
The art, however, is the true star. Displaying pieces dating as far back as the 6th century and as recent as a mere 25 years ago, the show is a true celebration of Persian work in all its facets. The curators highlight the dignity of the pieces by using low spotlighting and showing works against walls painted a deep, rich midnight blue which accentuates the brightness of the jewel-toned artifacts.
Perhaps the brightest piece, and certainly one of the largest, is an enormous 17th century stoneware jar. Displayed on a slightly elevated pedestal in the center of the exhibit, it is the crown jewel of the collection, painted a sunny teal that permeates the many centuries of its long life, it symbolizes the marriage of beauty and utility prevalent in so many Persian works.
The calligraphic text on display is of the same vein. Both functional and lovely, the dark, thick ink evokes far Eastern influences. The texts are eloquent, bold and elegant, one straight and upright like marching soldiers, another loose like flowing water; both communicate their respective messages in a manner that is visually stunning.
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