Samimi / Tarlan / Assmann Solace of Lovers. Trost der Liebenden

Studiohefte 38
1. Auflage 2020
ISBN: 978-3-7099-3934-5
Verlag: Haymon Verlag
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, Deutsch, 220 Seiten

KUNST & POESIE AUS DEM IRAN: EINE WELT VOLLER HOFFNUNGEN UND WUNDER WAS MACHT DEN BESONDEREN ZAUBER DES IRAN AUS? Bist du vielleicht schon einmal NACH TEHERAN GEREIST, oder interessierst du dich für FARSI? Sind es die PERSISCHE KUNST, die UNVERWECHSELBAREN ORNAMENTE ODER DIE KALLIGRAFIE, die dir BEIM STICHWORT 'IRAN' in den Sinn kommen? Vielleicht hat dich auch der KLANG DER IRANISCHEN POESIE VERFÜHRT. Fest steht, der Iran hat sich in den letzten Jahrhunderten immer wieder stark verändert. ENTSPRECHEND VIELFÄLTIG sind seine Bewohnerinnen und Bewohner heute - ebenso wie seine Kunstformen. Doch eine hat eine besondere Bedeutung. Vom IRANISCHEN ARABER AM PERSISCHEN GOLF bis zum BASARHÄNDLER IN TEHERAN: DIE LIEBE ZUR LITERATUR spielt für viele Menschen in diesem vielschichtigen Land eine große Rolle! DIE LIEBE ALS UNIVERSELLE QUELLE DER INSPIRATION Die Literatur spiegelt sich IN FAST ALLEN ZEITGENÖSSISCHEN KÜNSTLERISCHEN UND PHILOSOPHISCHEN WERKEN der Iranerinnen und Iraner wider - seien es ZEICHNUNGEN oder GEMÄLDE, FOTOGRAFIEN und FOTOMONTAGEN, MINIATURMALEREI und LITHOGRAFIE oder auch VIDEOKUNST und INSTALLATIONEN. Und IMMER WIEDER IST ES DIE LIEBE, die im Zentrum steht. Doch WELCHE ANDEREN THEMEN BEWEGEN IRANISCHE KÜNSTLER UND KÜNSTLERINNEN HEUTE? Gibt es Motive, die ZWISCHEN TRADITION UND MODERNE liegen, die beides in sich tragen? Ist da Raum für PROBLEME WIE KRIEG UND UNTERDRÜCKUNG? Und haben MODERNE, POPULÄRE WERKE überhaupt eine Chance, sich in die sogenannte 'große' Kunst einzureihen? TAUCHE EIN IN DIE POETISCH-KÜNSTLERISCHE WELT DES IRAN In diesem Band kommen STIMMEN AUS DEN VERSCHIEDENSTEN BEREICHEN zu Wort: WissenschaftlerInnen haben sich mit den FACETTEN DER IRANISCHEN KUNST UND KULTUR beschäftigt, KÜNSTLERINNEN ERZÄHLEN VON IHREN PERSÖNLICHEN ERFAHRUNGEN. Durch die Augen der Menschen, die Beiträge zu diesem Buch geleistet haben, kannst du INS INNERE DIESES BERAUSCHENDEN LANDES schauen. Lass dich von ihren BERÜHRENDEN GESCHICHTEN und AUSSERGEWÖHNLICHEN KUNSTWERKEN begeistern! MIT KUNSTWERKEN VON Mazdak Ayari, Reza Bangiz, Nargess Hashemi, Farah Ossouli, Tarlan Rafiee, Jazeh Tabatabai und Parviz Tanavoli. SONDERAUSSTELLUNG IM TIROLER LANDESMUSEUM FERDINANDEUM: 16.10.2020-31.1.2021

Yashar Samimi Mofakham und Tarlan Rafiee sind Kurator/-innen der Sonderausstellung 'Solace of Lovers. Trost der Liebenden' im Ferdinandeum. Peter Assmann ist Direktor der Tiroler Landesmuseen. Helena Pereña ist ehemalige Kuratorische Leiterin der Tiroler Landesmuseen.

Autoren/Hrsg.

Samimi, Yashar Mofakham

Tarlan, Rafiee

Assmann, Peter

Pereña, Helena

Leseproben

THE AUSTRIAN TEACHERS IN PERSIA1
Jakob Eduard Polak
In the last few decades, several Austrians have lived in Persia, partly as researchers and partly as teachers. Some of them returned to their homeland years ago; some are now covered by the cool earth there, while others are still working in their profession. The question has often been asked how the teachers’ mission came about, what it achieved, whether it left behind any civilising traces and whether it was of benefit to their motherland by initiating friendly relations and providing knowledge of Persia’s resources. Since I was one of the members of the mission, I would like to paint a picture of our lives, our activities, our aspirations and achievements, our hopes and also some of the disappointments we experienced so far from home. I wish to render account, as it were, in the conviction that every country that bears the considerable costs of their education and training also has the right to require duties of its sons in foreign lands. In the course of my narrative, I will introduce people who had a significant influence on our fate and who may well be remembered by many people either from the World’s Fair or as a result of their earlier visits to Vienna. In order to assess the achievements made, I am compelled to provide some retrospective data as a basis for comparison with what already existed. When I speak of cultural activities, one should certainly not expect such conditions to prevail as are described by knowledgeable travellers and ethnographers in the case of native peoples in Central Africa, for example, for the Persians, as an Iranian race, are highly gifted and extremely capable in all abstract and practical disciplines. A very experienced diplomat recently said to me: the Persians have a talent for everything – even honesty. In ancient times, the country produced one of the greatest legislators, Zardusht (Zoroaster), whose statutes alone made it possible to develop a flourishing agriculture and feed a dense population in a land with so little rainfall. During the great epoch of the caliphs, Persia produced statesmen, engineers, architects and artists; indeed, it is becoming increasingly clear that the so-called Moorish style of architecture and the Moorish irrigation systems, the remains of which we can still admire in Spain, originated from Persian engineers. A nation that created such a beautiful, richly developed, clear and melodious language and so completely absorbed the foreign Arabic elements, that produced such illustrious poets as the epic poet Ferdowsi, the lyricist Hafez, the didactic poet Saadi and others, a nation whose astronomers precisely measured the solar year in the 11th century, calculated the famous astronomical tables and built observatories in Maragheh and Baleh, a nation that maintained its own production of carpets, shawls, brocades, embroidery, weaving, horticulture and the like must have had an outstanding culture. Nor was there any lack of geographers, historians, philosophers, lawyers and doctors; I recall, among others, Avicenna, who was something of a Humboldt, as he combined and also enriched all the knowledge of his time. Although his works are written in Arabic and he was born in Bukhara, he was Persian by birth and education. In 1853 I visited his tomb in Hamadan, where I found the simple inscription: “The scholar of scholars, the excellent of the excellent Ibn Ali Sina (Avicenna)”. This much is certain: should the Book of Destiny determine the downfall of Persia as an independent state, the nation will leave more behind in cultural history than a few recipes and colossal human slaughter such as the Huns, Mughals, Tatars and others are remembered for. “... old sagas recall / the heroes great and small, whose golden hordes abroad they led / to magnitudes of human dead,” as the song of Mirza Shafi tells us. With the invasions of the Mughals and Tatars, the nation’s heyday passed; science, art and industry declined; no matter how hard the successors of Genghis Khan and Timur Lenk (Tamerlane) tried to preserve the remains, success eluded them. It was only with the reappearance of the local Safavid dynasty (1505–1722) that the country found a new lease of life and the arts of peace were able to flourish again. Under their relatively quiet rule, with its religious tolerance, Europeans visited the magnificent capital of Isfahan with its 800,000 inhabitants. French, Spaniards, Italians, Dutch and English came to the country as missionaries, diplomats, tourists and merchants. It was through newcomers like these that the Persians first learned to make firearms. The Englishman Shirley – later Sir Robert – cast several cannons for them. They also captured about 80 from the Portuguese when they took Hormuz Island in the Persian Gulf. Some of the Portuguese cannons are still to be found in the castle of Tehran and provide asylum for malefactors2. On the whole, however, heavy artillery was rare, and light camel artillery – a Persian invention – was used. On his famous march on Delhi in India, for example, Nader Shah had only 12 pieces of heavy artillery and 250 pieces of light camel artillery, but the Asian Napoleon’s genius was compensation enough for his inadequate armaments. At the beginning of this century, the country’s military was completely reorganised. Two things made this possible: firstly, Abbas Mirza, the then Crown Prince designated by Fath-Ali Shah, was imbued with a remarkable organisational spirit and made use of some Russian defectors to lay the foundations of a new system of military drill and to learn something of their tactics himself; secondly, in 1803 Napoleon I sent General Gardane to Tehran as an envoy; he was accompanied by some very capable officers, such as Fabvier, Raboul, Lamy and Verdier. The purpose of their mission was to bolster the military strength of the country so that it could be deployed as required as a diversion against Russia or with Russia against England’s possessions in India. It must be acknowledged that these officers achieved great things in a short time; in particular, the organisation of the infantry by Verdier made rapid progress. The English, jealous of the success of the French, sent a legation from India with unprecedented pomp and inexhaustible funds. They initially encountered many difficulties, but when a daily cash payment was offered, the king’s strict attitude swayed, all the more so as Fath Ali Shah had a sensitive disposition and great poetic talent. In a public Salaam (Royal Levee) the Shah expressed his views towards Napoleon, calling him the greatest man who ever lived, whom neither the birds in the air nor the fish in the water could resist, whose heart was as big as the ocean – but the English were offering money, and that was positive! And so the French were dismissed. They were followed by English instructors; at the time English policy was to strengthen Persia as a rampart against India, a policy that was later abandoned and has only very recently been reinstated, as advocated by Sir Henry Rawlinson. Most of these Anglo-Indian officers were exceptional and enterprising men; it is to them that Persia owes the first organisation of its artillery and the arsenal as well as major geographical, ethnographic and archaeological discoveries in the field of science. They included men like Linsay, Sheil, Rawlinson and Farrant, most of whom later represented their country in Persia as envoys. The organisers of the arsenal also included Armstrong, who was later to become famous, and it is a curious coincidence of fate that, during the last Anglo-Persian War (1856), when a few shots from an Armstrong cannon caused uproar in the entire Persian army at Mohammerah (Khorramshahr), the Persians exclaimed: “Mashallah, how well this Armstrong has learned the art of artillery from us!” However, when plans to capture Herat and Marv were developed against the will of the British and with the approval of the Russians, and an expedition was launched, the officers resigned their posts. It was around this time (1833) that an Austrian from Friuli by the name of Colombari arrived in Persia with his mother, joined the army and rose to the rank of colonel. In the first few years, he participated in some military campaigns against the Kurds. Later he lived in Tehran and won the favour of the Grand Vizier Haji Mirza Aqasi. The most amusing anecdotes about this grand vizier still circulate today. A priest (mullah) by profession, he gained the favour of the king, who revered him not only as an infallible advisor but also as a more highly gifted being, a Murshid, although he presented himself as a blind follower (Murid).3 One of the passions of this strange old man was to be the best artilleryman in the world. His greatest concern was therefore for the arsenal in Tehran, where he spent his time casting cannons to conquer the world. Colombari was put in charge of the camel artillery. As such he did excellent service by improving the gun carriages and introducing a new manoeuvring technique. The camel artillery also includes the Naqareh-Khaneh (court wind band). Like the red tent, the red sunshade and a golden pommel on the horse’s tail, this is one of the prerogatives of the king, as are the mint and Friday prayers (Khutbah). The instruments consist of kettledrums, cymbals, drums, pipes and Roman tubas. Every musician drums, whistles, blows and plays as he sees fit, without beat or coordination. In short, it is the official charivari, which man can doubtless endure but not a nearby horse, which will always bolt. It is well known that a man in his bivouac has greater powers of resistance than a...

Über Autor(innen)

Yashar Samimi Mofakham und Tarlan Rafiee sind Kurator/-innen der Sonderausstellung "Solace of Lovers. Trost der Liebenden" im Ferdinandeum.
Peter Assmann ist Direktor der Tiroler Landesmuseen.
Helena Pereña ist ehemalige Kuratorische Leiterin der Tiroler Landesmuseen.