Postcards: Honolulu, Hawaii

Postcards: Honolulu, Hawaii

Jewel Goode. Oahu, Honolulu, Hawaii
Honolulu, Hawaii © Jewel K. Goode. All Rights Reserved.

Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, Photographer 

Silk Roads Series: Classical Arabic Poetry

Jewel Goode Silk Roads Classical Arabic Poetry

Classical Arabic poetry was directly influenced by the historical events of its time. As with other literature from regions belonging to the Silk Roads, it is deeply rooted in spatial and temporal realities.  Due to sparse documentation and fragmentary evidence of literary works, concrete evidence about the early developmental stages is lacking.  Nonetheless, it is known that the literary heritage of the classical period included numerous collections of poetry, maxims and proverbs known as amthal, narrative genre, and rhetorical prose. This literature can be divided into two demarcated phases.  The first phase dates from its origins to 660 CE, and includes what authors have referred to as Jahiliyya, or the period before Islam.  The second phase dates from 660-750 CE.

Literary material attributed to the first phase constituted a variety of legends involving fools, cowards, crafty individuals, and accounts of mythical creatures.  These were orally transmitted by poets who enjoyed immense public prestige due to their linguistic prowess. Two elaborate forms were implemented that later acquired considerable prestige, eventually being recognized as classic structures of Arabic poetry: the marthiya, strictly reserved for funeral elegies, and qasida (the ode), which served as the framework for all thematic developments due to its unity of style and tone. Three generations of poets applied a diversity of these elements in their art. Notable pioneers of the first classical phase include Imru’ al-Qais bin Hujr al-Kindi,oftentimes considered the father of Arabic poetry, al-Muhalhil Adi ibn Rabia’, Tarafah ibn al-ʿAbd, and Ka‘b ibn Zuhayr. These poets succeeded in imprinting individual sensibilities on poetic discourse that was viewed as an aesthetic, literary model for successive generations.

During the second phase of classical Arabic poetry, the marthiya and the qasida both continued to evolve, thus reflecting imminent societal concerns. These included the development of Islam, as well as the cultural symbiosis produced by its rapid expansion. Therefore, poetic expression expanded in directions which encouraged exploration of the self, political commitment, and deeper meditation.  As a result, poetic themes transformed, producing three new genres: the love poem (ghazal), the political poem (al-Shi’r al-siyasi), and the ascetic poem (zuhdiyya). Moreover, the development of Arabic poetry at the end of the 7th century and beginning of the 8th century was accompanied by a significant renewal of literary prose.  This was reflected in an intense diversification of the art of rhetoric, which reflected the eloquence of oratory discourse in a variety of themes. It was also apparent in the creation of a new genre, the epistle, written in a fluid direct style that used picturesque expressions and strongly accented rhythms.

Finally, this developmental transformation was evident in the acclimatization of the fable, such as Kalila wa-Dimna, a collection of Indian fables.  First written in Sanskit, with origins possibly dating to 4th century, it was subsequently translated into Arabic by Ibn al-Muqaffa in the 8th century.  Translated into over fifty languages, it is still read in contemporary society.  Due to the reciprocity of these exchanges, these literary forms also transferred to other languages and cultures, such as Persian and Turkish.  Through the originality of their content and elegance of style, these works inaugurated a new literary period that embodied the creative contributions from a diversity of cultures.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer

image © Zhenia Perutsk

sources provided upon request

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La Fondation Louis Vuitton: A Strategic Maneuver

La Fondation Louis Vuitton: A Strategic Maneuver 

Jewel Goode Paris, France Fondation Louis Vuitton
Paris, France. Fondation Louis Vuitton © Jewel K. Goode, All Rights Reserved.

Bernard Arnault, President and CEO of luxury goods conglomerate LVMH, collaborated with Canadian-American architect, Frank Gehry, to create a new museum in the Jardin d’Acclimation.  Extensive and costly renovations were estimated to be approximately 158 million Euros.  The French cultural center has been dedicated to artisanal crafts and traditions, and is located in the Bois de Boulogne in the former Musée des Arts et Traditions Populaires (MATP), an ethnographic museum which has been classified as an historical site.  Since the MATP is classified as an historic site, it cannot be sold.  The city of Paris struggled to find a new tenant willing to undertake massive renovations of the defunct building.  Therefore, Arnault has agreed to a 50-year lease at 150,000 Euros per year in order to create a new museum, which is housed in a building adhering to sustainable development codes.

The building is located just 300 meters from Arnault’s Fondation Louis Vuitton.  Inaugurated in 2014, it was also designed by Gehry.  By transforming the MATP into a lucrative asset, Arnault has increased visibility of the Fondation Louis Vuitton.  For example, welcomed more than 1,200,000 visitors to its Chtchouckine collection.  It has also strengthened awareness for the LVMH brand universe, further highlighting the importance of artisanal work and exceptional craftsmanship inherent to the brand’s DNA.  Over a three year period, the MATP will be subsequently renamed La Maison LVMH / Arts – Talents – Patrimoine.  The 13,600 square-meters of usable space includes exhibition rooms, gallery spaces, an artisanal workshop welcoming resident artists, an event hall, and a rooftop restaurant.

The collaborative efforts between Arnault and the city of Paris could be viewed as a strategic maneuver. Geographical expansion of the mogul’s empire would not be farfetched, especially after its aggressive and failed attempts to acquire Hermès in 2010.  Designed by architect Jean Dubuisson (1914-2011) in collaboration with Michel Jausserand and Olivier Vaudou, Georges-Henri Rivière’s MATP officially closed its doors to the public in 2005, and its 250,000 art objects were transferred to the Musée des civilizations de l’Europe et de la Méditéranné (MuCEM) in Marseille. Since its closing, the MATP has fallen into a state of disrepair due to conflicts with the city of Paris and the Ministry of Culture.  The city of Paris hopes to decrease its debt burden with these recent collaborative efforts between Arnault and Gehry.

Jewel Goode Paris, France Fondation Louis Vuitton
Paris, France. Fondation Louis Vuitton © Jewel K. Goode, All Rights Reserved.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer 

Silk Roads Series: Madrasas

Jewel Goode Silk Roads Madrasas

The Medina mosque, built in the 7th century by the Prophet Mohammed, is considered to be the first educational institution of the Muslim world.  During this era, mosques served as the primary environments for learning.  However, as societies evolved, learning circles expanded to include royal settings, as well as informal gatherings in market places.  By the Abbasid period (750 – 13th century), religious education assumed a certain significance.  It was not uncommon for some educators to specialize in the teachings of the Qur’an, theology, and law, while the emphasis for others was on history, the Arabic language, and literature.

Learning circles and study groups gradually increased in number, serving as the foundation of what were to become “madrasas”, or colleges, intended for adults who had completed their primary education in mosques or private schools.  During the 10th century, madrasas emerged as independent institutions, distinct from mosques, which helped to create a new type of educational system.  As a result, these madrasas became centers for religious and secular learning, as well as places where officials were educated according to Muslim orthodoxy.  Documentary evidence and architectural remnants trace the origin of these madrasas to Khurasan and Transoxania in the 10th century, as well as in the region now known as northern Iran.

Educational stratification was the direct result of the emergence of these madrasas.  They provided higher religious and secular education, while elementary education was provided by the “maktabs”.  It was during this era that the term “madrasa-mosque”, prevalent in the Middle Ages, was pervasive, thus reinforcing mosques’ positioning as important social, educational, and cultural centers along the Silk Roads.  In addition, madrasas containing libraries appeared in Bukhara, Khwarazm, Merv, Ghazna, and Nishapur between the 10th and 12thcenturies.  There was a tendency to build architectural ensembles that often included a mosque, a madrasa, a mausoleum, and public “garmabs” (baths), at major urban sites.

Despite the 13th-century Mongol invasion, which severely destabilized learning, thereby disrupting the continuity of culture and creativity, madrasas continued to be the highest form of educational institution, spreading throughout the eastern Caliphate in the 15th century and 16thcenturies.  After the successful introduction of monetary reform under the Mongols, economic life soon revived throughout modern-day Iran and Transoxania.  Moreover, madrasas were also established on the Indian subcontinent as early as the thirteenth century.  An example is the madrasa at Gwalior, whose architectural structure resembles that of some Buddhist “viharas” (monasteries).  During this period of cultural renaissance, madrasas underwent significant changes, with preference given to its organizational role as a promoter of scientific and literary thought.

Although subject to periods of growth and decline, madrasas flourished and were considered universal centers of education and intercultural exchange amongst diverse populations. They provided a range of curricula including theology, science, history, and philosophy, as well as language, literature, philology, music, and the teaching of “adab”, or polite culture.  Leading scholars recognized that the secular sciences would ensure the dynamic development of society.  These teachings would later be challenged in medieval times, subjected to strict Islamic theological traditions. However, during this period, madrasas in Samarkand and Herat were highly-esteemed cultural centers for science, mathematics, astronomy, and medicine.  An example is Samarkand’s renowned 15th century Ulugh Beg madrasa in the Registan square for scholars such as Ghiyath al-Din Jamshid and Qadizada Rumi.  Furthermore, madrasas were established for the specialization of medicine in Herat.  Madrasas such as these were not only centers for education and culture, but they also housed the poor, especially “mustahiqqs” (students), who received room and board during their studies, eventually sharing their knowledge and expertise with future generations.  Over time, madrasas that first appeared along the Silk Roads in Bagdad continued to flourish, spreading throughout the current eastern Chinese regions and beyond.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer

image © Sergey Dzyuba

sources provided upon request

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Silk Roads Series: Kushan Art

Silk Roads: Kushan Art by Jewel K. Goode

The expansive Kushan territories (1st – 4th centuries AD), encompassed a vast range of artistic cultures, unified under one administration.  These cultures can be divided into four broad regions: 1. Bactria, 2. Mathura (India), 3. Arachosia and Nagarahara, and 4. Ancient Gandhara. Both Arachosia and Nagarahara, as well as Ancient Gandhara, are situated in areas which are now known asmodern Afghanistan and Pakistan.  Despite regional variations, artistic production reflected the legacy of a common cultural heritage of the Silk Roads.   Gandhara served as a major crossroads from which Kushan art was disseminated to Afghanistan, Central Asia, and Indian towns such as Mathura, Devnamori, and Amaravati.  In addition, excavations in Begram, Pushkalavati, Taxila, Mathura, and Surkh Kotal revealed that some Gandhara art displays elements that are characteristic of the Hellenistic period.  Due to external influences, Kushan art was constantly evolving.  It absorbed earlier Graeco-Bactrian traditions, and was also receptive to Western trends through international trade and commerce. However, it always retained its individuality, reflecting the sociocultural aspirations of its people, as well as the importance of local craftsmanship.  Artistic Kushan jewelry design reflects a variety of styles, techniques, and materials.  While the Taxila collection is predominately Graeco-Roman in character, Gandhara jewelry generally reflects a range of classical Iranian, Sarmatian, and Indian savoir-faire typical of Gandhara art.  It also displays a mastery of goldsmith techniques borrowed from Western Asia.  Gems, precious and semi-precious stones, shell, bone, ivory, glass objects, and beads were all used in jewelry design.  Examples include necklaces, bracelets, anklets, hairpins, and finger rings, sometimes with encrusted gems and impressions.  Decorative items such as brooches, turban pins, and miniature gold figures of Cupid, Psyche, animals, birds, and flowers can be found in the Taxila collection. Moreover, elaborate ornamentation was a reflection of elevated social status.  Bodhisattvas, nobility, and deities are always depicted wearing jewelry. Conversely, those of lower social status wore replicas, or none at all.  Kushan art, artifacts, jewelry, and craftsmanship are a direct reflection of those who were living within its expansive territories. Economic prosperity and peace remained the basis for the popularity and development of this art along the Silk Roads.  These objects are visible remnants of the global, transnational fluidity of culturally embedded concepts that are passed down through generations. They also reveal the subtle intricacies of pluralistic identities, intercultural dialogue, and communicative exchange amongst diverse populations.

Author: Jewel K. Goode.  Global Communications Consultant, Writer, Art Curator, and Photographer

image © Ashwin.  Sources provided upon request

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Silk Roads Series: Traditional Batik

Silk Roads: Traditional Batik by Jewel K. Goode

Oscar Lawalata Culture, the Indonesian Batik Foundation (YBI), and Rumah Pesona Kain jointly curated the exhibition entitled, “Batik for the World”, at the UNESCO HQ in Paris from 6-12 June 2018.  A collection of 100 batik cloths were transported from various parts of Indonesia and exhibited on-site.  Through colorful displays and discussions, the weeklong event offered a platform that increased awareness and appreciation of the cultural heritage of Indonesian batik on the local and international levels.  Thus, its history, embedded cultural values, craftsmanship, and development along the maritime Silk Roads were highlighted.  In addition, visitors could partake in informal workshops, where they were able to witness the batik-making process involving “malam” (hot, liquid wax), “canting” (copper wax pen with a bamboo handle), “wajan” (liquid wax receptacle), and other tools used by skilled artisans who help to promote its safeguarding.  Moreover, the exhibition showcased batik textile creations by contemporary designers Oscar Lawalata, Edward Hutabarat and Denny Wirawan during a fashion show that celebrated the diversity of Indonesian regions, batik processing methods, natural coloring, embroidery, and fabrics.

Indonesian batik was added to UNESCO’s Intangible Cultural Heritage of Humanity list in 2009, and has been internationally recognized as an historical fabric of human civilization. It is thought to be over 1000 years old, with historical evidence pointing to its use in parts of Africa, Asia, and the Middle East.  Although the actual origins of batik are unknown, it is believed to have been transported to Asia by way of the Indian subcontinent.  “Batik” is derived from an Indonesian-malay word, which is now often used as a generic term referring to the process of dyeing fabric.  The process is traditionally performed on cotton and silk using a resist technique.  This includes covering areas of cloth with a dye-resistant substance in order to prevent color absorption.  Those areas not covered are able to absorb deep hues.  Thus, the fabric is both durable and fade-resistant.  Other batik methods also exist, such as the splash method, the screen printing process, and the hand-painting methods.

Batik is considered to have reached the height of its artistic expression in Java during the 19th century.  Recognizable motifs, patterns, and colors often designated family, social status, and geographic origin.  Traditional colors for Central Javanese batik were made from natural ingredients, and consisted primarily of blue, brown, beige, and black.  Some designs include Kawung, or intersecting circles, Ceplok, geometric designs, Parang, or “knife pattern”, and Prada cloth, a batik decorated with gold leaf or gold dust.  These prints were inspired by Japanese, Indian, Chinese, and Dutch influence, which resulted in the richness of the color and motifs.  The art of batik later spread to the rest of the Indonesian archipelago, and then to the Malay Peninsula.  Due to its popularity, more production centers were subsequently created.  Although most batik fabric is now decorated and tailored by machine, there is still a desire for traditional textiles that are of the highest quality and hand-made.  Today, skilled artisans, educational programs like those initiated in 2005 by the Batik Museum in Pekalongan City, Indonesia, as well as similar exhibitions, continue to transmit batik cultural heritage, which helps preserve its maritime Silk Roads legacy.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer

image © Evans Winanda Wirg

sources provided upon request

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Silk Roads Series: Regional Differences in Clothing

Silk Roads: Regional Differences in Clothing by Jewel K. Goode

Regional differences, socio-economic and political factors, cultural variations, and climate all had a direct effect on clothing choices for those who lived throughout the expansive Silk Roads areas.  Scholars, aristocrats, government officials, craftsmen, and farmers adopted a manner of dress appropriate for their immediate environment in medieval Central Asia.  Although sparse, historical information regarding dress in the Eastern Islamic lands was usually provided by writers, geographers, and travelers. Differences in the style, finish, and quantity of materials were apparent in clothing of the rich and poor.  During this time, Khurasan was a renowned center for silk, wool, and cotton textiles, while Nishapur was noted for its cotton cloth, scarves, and turbans that were often exported to Iraq and Egypt.  In some societies, felt was used to make cloaks, saddlecloths, and rain hats. Moreover, the fur of sables, grey squirrels, ermines, and other animals were essential materials for garments, for the Mongols, the Turks of the steppes, as well as dignitaries in Persia.  Similar to present day, Mongols in the 13th century wore a soft material belt wrapped tightly around the waist.  This served as an unstiffened corset, helping to maintain posture while horse riding during long journeys.

The oldest piece of silk from this region originated in the Samanid period, and was woven for a ruler in Khurasan.  The transnational fluidity of ideas, concepts, and savoir-faire is evident with the presentation of articles from Khurasan to the Harun al-Rashid (786-809) court in Bagdad.  These tribute items included silk clothing, white robes, and head coverings, amongst others. Individuals belonging to a higher social class often wore clothing made of silk, wool, and expensive furs, while those of the lower classes would possibly use heavy outer coats made from dog or goatskins, lined with linen or cotton.  Mongol women wore long trousers under their sack-like garments, and tall, basket-like hats covered with a piece of cloth.  Married women wore a type of kaftan (“nemreg”) that was wide and slit in front down to the ground.  During the ninth century, wealthy merchants often wore the “taylasan” (a head-shawl whose end did not fall below the chin).  However, the lower classes did not wear this garment.  Cooks wore garments resembling boiler suits, traders and artisans wore loose-fitting garments, and farmers wore thick cotton dresses with colorful turbans.  “Muhtasibs” (municipal inspectors) monitored the state and cleanliness of dress.  Most towns had their textile specialties, such as “mulham”, the half-silk cloth of Merv.  Bukhara, with its famed weaving factories, produced various kinds of silk cloth, known as “Bukhari”.  This fabric was heavy, strong, and often bought in large quantities by international communities.

Cloth-making required specific skills, such as the ability to process the hides, manufacture thread, and a knowledge of stitching techniques.  Products obtained from livestock remained the primary raw material of the craft industries.  Sheep’s wool was used to manufacture felt, while belts, harnesses, headgear, clothing, and footwear were made from the skins of domesticated livestock. In nomadic societies, herders generally only made items that met immediate requirements related to climate, lifestyle, and transience, such as “bogtogs”, or headdresses.  Although successors of Genghis Khan wore gold-woven robes, sometimes embellished with precious jewels, pearls, and gold, previous dress had consisted mainly of animal skins.  Sack-like garments that were loose on the left side, and tied at the shoulder on the right side, were common.  The “deli”, a robe with seamless shoulders, is an example.  Although the concept remains the same, “delis”, as well as many other garments from the Silk Roads that date from the 10th to 13th centuries, have continued to evolve and gain complexity, while maintaining their unique characteristics.

Author: Jewel K. Goode.  Global Communications Specialist, Writer, Art Curator, and Photographer

Image © Omani girl, Katiekk.  Sources provided upon request.

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