In the Perisan Room recently opened at the Fogg Museum, a contact has now been created with the Near East in its two most characteristic arts, painting and pottery.

The painting includes early illustrations in the books of legend, later gener scenes with ornamental borders, two of the curious "Automata", and several miniature portraits. The pottery may be summarized briefly as cream-colored ware and the famous turquoise blue, luster ware and tiles, and certain embossed and lustred bowls of great rarity.

Naturally Abstract

The Persian view of an object and the aim in painting differs most from the view and aim of the West, in being naturally abstract. This abstraction as applied to a picture is vividly shown in four paintings from the early 14th century, illustrations from a Shah Nama, "The Book of Kings," by the poet Firdausi.

The most impressive of them was the final scene in the combat between Rustum, the veteran paladin, and Isfandiyar, the youthful hero. In the picture, which is considered a masterpiece of this early Persian style, the human tragedy is conveyed solely by the pose of the two figures.

Rustum is bracing his feet in the sirups, holding his bow at arm's length and his fingers taut, as he watches the fight of his shaft. Isfandiyar, pierced in the eye, is sinking forward, clutching at saddle and mane. But both faces are wholly impassive; no movement of the features was necessary to the Persian mind. None was thought worthy of the dignity of painting. The-flowery meadown is merely suggested; trees, rocks and clouds are formal conventions. But the cosmic aspect of the tragedy is announced by a great burst of organge fight in the darkness of the heavens.

This is indeed the art of a great age. Large in scale, sombre in color, powerful in restrained emotion, it fits the themes of ancient legend.

Aga Riza

Another insight into Persian painting may be gained from a portrait signed by the artist Aga Riza. This is dated about two and a half centuries later, from the end of the sixteenth century. Now there is no epic tale but a contemporary person, not an anonymous craftsman but a celebrated artist. Now it is studied delicacy of drawing, conscious rhythm of inner and outer line, but there is still the Persian abstraction. The body is without weight, a mere pattern of pleasing shapes of color, the pose is without stability.