. The Open court . combines, on the onehand, universal principles on which every consciousness is built andby which it functions, and, on the other, an exciting appeal to sen-sibility, images that achieve their effect not only through recollectionand association, but even more because the form itself is appro-priate to the emotion, is the product of that emotion, and can ofits own power evoke a tense response. It must have been this em-bodiment of reason in art, this simultaneous appeal to logic, sense,and emotion, carried through in Persian art a little more naturallyand completely than in an
. The Open court . combines, on the onehand, universal principles on which every consciousness is built andby which it functions, and, on the other, an exciting appeal to sen-sibility, images that achieve their effect not only through recollectionand association, but even more because the form itself is appro-priate to the emotion, is the product of that emotion, and can ofits own power evoke a tense response. It must have been this em-bodiment of reason in art, this simultaneous appeal to logic, sense,and emotion, carried through in Persian art a little more naturallyand completely than in any other, which endowed it with its ex-pansive capacities, the universal attraction that has given it cur-rency across more barriers and into more distant lands than the artof any other people. The influence of the Sasanian period was especially clear and IThe evidence and supporting arguments will be set forth in detail inSir Flinders Petries chapter in the forthcoming Survey of Persian Art,Oxford University DOME OF THE MASJID-I JAMI, ISFAHAN 1085(Photograph by Pope) 56 THE OPEN COURT enduring over a wide area. The superb metal vessels, of the time,usually enriched with decoratively rendered illustrations in highrelief (Page 16), were copied in India and prized in Scandinavia,where some early baptismal founts show startling Sasanian simi-larities. But it was above all the splendid fabrics that were trium-phant at the time. Hiouen-tsang, a Chinese traveler who reachedthe borders of Persia just at the end of the period, speaks of theprestige that not only the silks, but also the wools and carpets ofPersia enjoyed in the adjacent lands, and there is conclusive con-firmation of this report in the many copies and adaptations of Sasan-ian textile designs on all sides still in existence. Thus among thefrescoes found in Central Asia within recent years, there are a num-ber of accurate copies of Sasanian1 silks or tapestries, and similar-ly in Afghanistan a Persian fabric patter
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Keywords: ., bookcentury1800, bookdecade188, booksubjectreligion, bookyear1887
