The amalgamation of last year’s (2009) exhibition with this year’s (2010) exhibition is relevant. Personally, by arranging the equation of both the events: constructs the pulse of the collector and his collection – though not to be compared with the overall astounding Farjam Collection.
August 25th 2009, Courtesy Capital Club, Dubai.
The venue – Farjam Gallery, indicated an international flavour where other languages were being spoken and you could easily admit that you did not understand them. Side by side, there was an independent air of commonality flowing in the gallery, where viewers arrived with their apparent fondness for: Art. While shaking hands with Mr. F. Farjam and talking to him for a few brief moments, I learnt that he is an Iranian, who lived in the U.S.A. for many years and is now settled in Dubai. It was not difficult to notice the qualities that have given him the spirit to enrich himself and others, through the limitless beauty of: Supreme Beauty… Holy Qur’an Exhibition being just a small fragment of The Farjam Collection; to have matched Holy Qur’an Exhibition with the holy month of Ramadan seemed to me – a ‘twice’ blessed idea. The strength of the scripture and the magnificence of the calligraphic pieces in various scripts went hand in hand. Leaf after leaf, sprinkled with gold and silver, decorated by floral and geometrical themes! Vividly blooming in colours of turquoise, purple, mustard, maroon and green – such were the master-piece-displays to delight us all, between the hours of the late evening and night of 25th August. The Arabic manuscripts showed the individuality of varied scripts of those times, featuring, anywhere between the 9th to 19th century A.D.
The catalogue of Holy Qur’an Exhibition was a piece of art, and knowledge. Running my fingers through its pages, I could almost softly test myself on the Naskh, Mohaqqaq, Kufic, Thuluth Scripts. Some of the Qur’an-Folios were on parchment. There was one with various prayers written in combination of Naskh, Reqa and Nashaba scripts. The calligraphy works’ origins directed us to Iran mostly but there were also some from Belgrade, Kashmir, Spain, Mesopotamia. I learnt that the three important centres of Qur’an production emerged particularly in Herat, Tabris and Shiraz (Iran). Turkey also ranked importantly. The choice of decorations would differ from region to region. Curvier Scripts such as Naskh and Mohaqqaq, previously used for secular texts, gradually replaced Kufic. The upward slant of these scripts, combined with the introduction of paper as a replacement for parchment, allowed a shift from horizontal to vertical layouts and the possibility of a bound single volume.
At the function, a second catalogue made us aware of the extent of: The Farjam Collection. The contents to measure prevail in a sprawling wealth of taste and diversity in Islamic Art. Well-laid out with information and pictures, the catalogue proves its position with facts of historical dates, provenance and the evolving techniques of those times which treated the designs and proportions of metalwork, glass, glaze tiles and ceramics; coins and jewellery; miniature paintings, textiles; lacquer work and wood work.
Here, it is essentially important to mention: The Hafiz Foundation which is the offshoot of The Farjam Collection. The Hafiz Foundation was founded in 2008 to support outstanding initiatives with the visual arts laying a special emphasis on the Middle East. With the city of Dubai as its base, the Foundation aims to become a centre for production, preservation, and promotion of the arts at large. At the heart of the Foundation’s goal is the development of educational opportunities for young Middle Eastern artists, students, scholars, curators, and art enthusiasts. As a partner to both local and international cultural initiatives, the Foundation’s recent activities include having supported the founding of the award-winning Middle Eastern arts magazine Bidoun. Support for local arts education programs, as well as the organization of a series of exhibitions displaying selected works from the Farjam Collection is on the prevailing agenda.
August 15th 2010. As we approached Farjam Gallery at 10 p.m – we could hear a quick intake of drums. A group of drummers were playing their drums with anticipation. When we entered the place, we quickly got the idea of the specifics. The Story Of Islamic Art In 99 objects. In a way, the walls of the gallery were like pages of information. You could not resist reading the mission statement, again and again. The content of the mission statement fantastically encapsulated the essence of the event. And what did the mission statement state? “This exhibition tells the story of an art infused with the principles and spirit of Islam. Produced to glorify and honour God, the selected objects were executed with exquisite technical and aesthetic refinement. Their exceptional craftsmanship characteristic of Islamic Art at large, is born of the devotion of their maker: transforming these objects into vessels of faith that carry God’s message to those who used them. This unifying pious aspiration transcends the ordinary to produce pieces that seamlessly marry functional and spiritual form. The 99 objects, from ornately illuminated manuscripts and intricate textiles, to splendid ceramics and glass wares, speak of the lives and aspirations of their patrons, artisans, artists, and owners through time. Together, these extraordinary works of art tell a story not in words, but in visual and spiritual codes, revealing in both luxury and everyday objects, a glimpse of the sublime”.
Centuries-old-objects: from a brass candle stick to an inscribed carved basalt stele; from Qur’an sections to textiles embroidered with silver and gilt metal threads – repeated the experiences of Mr. Farjam’s last year’s worthy efforts. Carving out the connecting links, the collaboration of The Farjam Collection with Zayed University deserves an applause. The catalogue is prepared and designed by Zayed University students. In the words of H. E. Sheikh Nahayan Mubarak Al Nahayan (U.A.E Minister of Higher University and Scientific Research) and (President of Zayed Univertisy), “Zayed University shall become the leading university in the region, embodying the same rigorous standards and intellectual elements found in major universities throughout the world.” Bravo.
During breakfast, the next morning, my husband and myself reviewed these exhibitions in our main conversation. I was reflecting… was it painterly qualities, or the spiritual zeal that excelled in those who created such a fabulous heritage! What difference does it make in the end? A thing of beauty is a joy forever… and that is how it will carry on. Carry on Mr. Farjam. Ramadan Kareem to one and all.
