An interview between Stephanie Sykes and Amir Arvand, curator of the Farjam Collection at the DIFC, Dubai UAE

Amir Arvand / Farjam Collection

The Farjam Collection is an Islamic art collection. Spanning almost the entire history of Islam, it brings together items produced throughout the vast region between Andalusia and Mughal India. Its treasures include Qur’anic manuscripts, miniatures and illustrated books on science, mathematics and poetry, as well as finely-decorated metalwork, lacquer, glasswork, tiles, glazed pottery, woodwork, textiles, coins, jewellery, carpets and art from the 13th century AH.

Illustrative of Farhad Farjam’s interests wide ranging affinities and tastes, the collection also includes works by major masters such as Picasso, Chagall, Dali, Braque, Renoir, Matisse, Miro, Leger, and Giacometti, as well as modern and contemporary artists including Warhol, Basquiat, de Kooning, Calder, Moshiri, Ehsai, Tanavoli, Al Rais, and Moustafa.

Stephanie Sykes: Why is Qur’anic artistry such a strong focus of The Farjam Collection?

AA: A large portion of The Farjam Collection is the Islamic arts section. The Quran played a very important role in the history of Islamic arts, spurring the evolution and amazing progress of Arabic and Islamic calligraphy to this day. Because of Muslims’ respect towards the Quran, Islamic art catalogues and exhibitions usually open with copies of the Holy Book. The Farjam Collection has a rich selection of Qurans, and we decided Ramadan would be a timely moment to share them with the public.

SS: Some of the pieces on display are said to be the oldest Qur’ans known to historians. How were these pieces acquired, and what conservations efforts have been made to keep them in such pristine condition?

These precious manuscripts were acquired from important auction houses. They require constant care, are very sensitive to light, humidity, insects and also careless handling. As a result, we monitor the environment both in the storage and exhibition spaces to preserve the works in the best condition possible. All the windows of the exhibition space are UV filtered, light sources are controlled to keep the illumination level at par with museum standards, special dehumidifiers operate throughout both levels to keep the humidity between 45-55%, and we also use a special packaging system when moving these manuscripts from one location to the other.

SS: Can you tell us about the artistic process of creating these works? What significance does illumination hold? Can you elaborate on the various forms of calligraphy?

AA: Many artists and craftsmen participated in the creation of these amazing manuscripts: calligraphers, of course, but also paper makers, binders, covermakers, and illuminators. Typically, a patron would pay the calligraphers and illuminators for the time they spent working on a commissioned Quran. As for Arabic calligraphy, its evolution can be traced through the Holy Book. Early geometrical scripts such as Kufic evolved into more cursive scripts such as Muhaqqeq and Thuluth. Innovations such as multi script Quran pages and octagonal Qurans followed. Later, Naskh script was preferred for its legibility; it is still used today in printed Qurans. Illuminations were initially simple and geometric, but after the expansion of the Islamic territory, regional arts influenced the style of Quranic illuminations and more floral designs began to appear. You can refer to the exhibition catalogue for further information about the history of Quranic calligraphy and illumination.

Farjam Collection

SS: A large percentage of the Qur’ans in the collection hail from Iran. What stylistic differences exist between Iranian texts and those from other countries?

The differences are not very significant and usually are limited to illuminations in Qurans copied after the 13th century AD and different styles of covers, in lacquer for example. Four phenomenal Qurans will be added to the exhibition this week. One is a Persian Quran written in Nastaliq script, which is particularly significant because Nastaliq was rarely used in Quranic calligraphy. Another is a Quran from Andalucía, Spain. The piece is very rare, as after the fall of the Fatimids of Spains, many Spanish Qurans were destroyed and only a few survived. One Quran is from Mamluk Egypt and shows the stylistic specificity of Qurans produced in the Mamluk territories, which were not invaded by Mongols and therefore retained their own style. The fourth Quran is a Royal Indian Quran. It shows the art of Quranic calligraphy in India at its best.

SS: Calligraphy is still prevalent in Middle Eastern contemporary art. In what other ways do you feel the history of Qur’anic craftsmanship influences art being produced today?

The message of Quran is a strong eternal influence for Muslim artists around the world. Both calligraphy and illumination motives can be found in modern contemporary art from the Middle East, with calligraphy being most influential and prevalent. It is inseparable part of all Islamic art forms, from books to metal works and from pottery to architecture, and the same applies to many of the contemporary works produced in the region today.

SS: What other shows can we look forward to seeing at The Farjam Collection this year?

AA: Our next exhibition will focus on contemporary art. During Art Dubai 2010, we will have the pleasure of hosting the “Iran inside Out” exhibition which opened at The Chelsea Art Museum in NY this past summer.

SS: The Farjam Collection’s agenda places a strong emphasis on on-site educational programming. Can you tell us about your existing programmes and how the collection seeks to develop this area further?

AA: We offer a wide range of educational programmes, from the bespoke materials developed for each exhibition such as wall panels and catalogues in English and Arabic, to First Wednesdays which are guided tours of the exhibition that take place on the first Wednesday of each month from 1.00pm – 1.30pm. In collaboration with START, we also offer School and University programmes with tailormade activity sheets for children. In additional, guided or ipod audio tours are available upon request.

Farjam Collection
www.farjamcollection.com

 

 

 

 

 

 

 

 

 

 


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