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A Jeweler's Glorious Taste: The Vever Collection
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15091 |
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Section : |
THE ARTS
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4 / 1989 |
2,754 Words |
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Katie Ziglar
Katie Ziglar is a free-lance writer on the arts based in
Washington, D.C. |
Islamic books hold immediate appeal for Western eyes. Balanced compositions with dreamlike color seem to float within mysterious, intricate borders. Exquisite patterns executed in precious materials draw the viewer in for closer examination, richly rewarded by using a magnifying glass. Script flows with an arresting, undulating grace. The bookbindings, too, are works of art; their delicately tooled leather surfaces hint of the wonders they contain. Gazing at these miniature paintings, one observes princely pastimes of the hunt, picnicking in a garden with musicians, and the weighty obligations of hearing the petitions of subjects and fighting the enemy in battle.
Thanks to the Smithsonian Institution's recent purchase of the Vever Collection of over 500 Arab, Persian, and Indian bound manuscripts, single folio paintings, and bookbindings thought lost for forty years, there is increased opportunity to appreciate this rich and astonishing art form. A selection of 150 works from the Vever Collection is on view in an exhibition at the Arthur M. Sackler Gallery in Washington, D.C., through April 30. Entitled A Jeweler's Eye: Islamic Arts of the Book from the Vever Collection, the show explores book-related objects amassed by Parisian jeweler Henri Vever (1854-1942) earlier this century.
A look at the works gathered by Vever confounds two widely held misconceptions about Islamic art: that figural representations are rare, and that there is no portraiture of Muhammad, the prophet of Islam, nor of other key figures such as Adam and Eve. It also provides insight into the development of the Islamic book, particularly the secular book, from the earliest diagrammatic texts through the more fully developed story or narrative history, to
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