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-!r_- 'D ,7t Ira,qiArt TodsJ ART SERIES NO. t5
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, l'-J Iraqi Art Todsy
by Jabna L Jabra
Wasiti Festival, April 1972 Ministry of 'lnformation Baghdad The history of moclern art in Iraq (which possesses somb of thb oldest works of art in the world) is some 30 years old. Between the fourteenth anil twentieth centuries poetry is about the only personal art that, did not entirely clisappear in a country where the spoken image has always held a greater fascination for its people than the visible one. Although in the first decades of the century two or three painters, notably Abdul Kacler Rassant, did sorne serious paint,ing, it was at the beginning of World War II that painting and sculpture revealed the first signs of revival. The colourful palette of some Polish refugee impressionists staying then in Baghdad had dazzlecl a few young Iraqis; and an English artist, Kenneth Wood, who dict some painting in Baghdad in the rniclst of a group of keen youngsters contributed to the rising enthusiasrn. As soon as the war was over, a number of students "were sent, by the Governrnent on Art Scholarships to Paris, London, and Rome, and at, the Fine Arts Instit'ute, established in L939, a rapidly mounting number of students were enrolled until the fnstitute had to give morning as well as evening courses to cope with the d.emancl. In the early sixties the Academy of Fine Arts was established ancl incorporatecl into Baghdad University. The output, particularly in painting, has been consiclerable. On examining this ever-increasing output one is confronted with the question of tradition more than any other. Foreign viewers expect to see a dotninant elernent which may be called Iraqi or simply Arab, and are likely to be critical of the visible influence of Paris. Iraqi artists, who are only too conscious of the neecl of an indigenous quality t,o mark their art, often wonder whether their critics appreciate the clifficulty in which they find. themselves when the whole idea of painting is practically a western irnport. But they have also realizecl that the indigenous quality they seek, so undetermined, uncrystallizeil, can only be achieved when they have struck roots in their own soil and clelvecl into the historical layers of a vast uneven heritage, the accumulat,ion of forty centuries or so. It is interesting, therefore, to see how Iraqi artists attempt .a fusion between a style ancient as civilization itself, ancl an attitude to the problem of expression as up-bo-clate as to-clay's newspaper.
In the Arab world, cultural continuity was interrupted by a stagnation of several hunclrecl years. As it is not always easy to pick up the threatl where the ancients left off, the guestion of trailition, becomes something of a psVchological problern. In art, t,he problem is even more acute, since pain- ting, as we know it now, clid not flourish in the Arab Golden Age. Painting in oil is practically a western invention, and its clevelopment is closely tieil up with the historical development of western religious, economic, and social thought. Thus, Arab artists are acquiring a methoil behind which lies a his- torical attituile, perhaps once alien to their public. On the other hancl, the national impulse is so powerful that tradition, a force that 'can be creative as rvell as destructive, cannot be easily dismissecl. In fact, it often is rather obsessive. The artists look back over centuries of their history in search af roots, but do not always find the grounil that is entirely accommodating. fn Isl.am there has been a traditional injunction against fihe portrayal of the human figure: the injunction N'as intended to combat the proclivity of early Moslems to worship images instead of God, the One, the Almighty, but it gave Arab artistic genius an entirely new channel of expression. It was thus that floral ancl geometrical patterns were developecl to exquisite perfection and employed to decorate anything from great domes and vast interiors to small copper pots ancl plates. With the passage of time, however, these elaborations and abstractions became less inventir.e, until they ended by being entirely repetitive and survived as fossilized. forms. These immut,able forms have in fact become the raison d,'etre of numerous Middle Eastern crafts such as ceramics, carpet,s, ancl inlays, but they have become so impersonal in style that they alJorv little scope for the creative urge of t,he individual artist of to-day, who seeks self-expression through a rnore pliant medium. Manuscript illumination was for cent,uries t,he visual counterpart of poetry: influenced by Mongol and Persian art, it also had roots in Middle Eastern paganisnr and Byzantine art. Al.lhough the general impression is that such Islamic art rvas mostly Persian, the Arabs, when they employed human or animal figures, gave it an expressive power of line ancl composition quite different from its highly ornate Persian counterpart. The endless books on medicine, physics, botany and other sciences that were illust,ratecl by Iraqi ancl Syrian artists in the la,st t,hree centuries of the Abbasid periocl ancl latet are now & veritable storehouse of Arab "paint,ing", Most important are the magnificent illustrations of a famous story book callecl Maqamat al Hariri done in Baghdad by Yehya al ws,siti (A,D.1237), which, together with a few story books illustrated by other artists, have been a source of inspiration for many modern painters in fra,q. The use of calligraphy as part of the dynamic clesign of the r'r,hole in such works has been particularly noted by a group of artists u,ho now empioy Arabic letters in their work rvith entirely novel effects, often with mystical overtones. Going beyoncl this, many artists in Iraq look on ancient Mesopotamian sculpture and bas-reliefs not only as a source of influence, but also as the ground where their roots are implanted. In the massive ancl stylistic quality 6f Assyrian sculpture and the expressionist simplicity of Sumerian figures iies an attraction foi to-day's aftists almost as great as that of Islamic and Arab forms and symbols. In ths same work by an {raqi arlist to-day one therefore maJ find a combination of characterislics that, hark back t,o Sumerian, Assyrian and Islamic motifs, with the added d,imension of a personal style rshich relates the work to our times. I{owever, a number of Iraqi artists have insisted that only regional, social and, if necessary, political themes, could give their work the national character that might prove to be one more phase of a continuous tradition. J-lodern Mexican art has hacl its influence on some of them. Equally impor- tant for them is the drarving upon local folklore rvith all its implied symbolism and imagery. This is a salutary tendency so long as it cloes not clrive the artist tol'ards triviality and'siipshod technique, Those who emphasize the importance of national themes are now learning that it, is not the content of painting oI sculpture that creates ;r school, but the style, t,he method, the Without these, the rvorlr will Jack in significance anil personality, "i.ioo.The persistent problem, therefore, is that, originalit;' for our artists is, paradoxically, relat,ed to the nat,ional heritago of centuries, on the one hand, ancl the national aspirations of to-day, on the other.
Leading armong the dynamic figures of the movement in moilern Iraqi art, stood Jewad Selim, sculptor and painter, rvho died in 1961 at the age of 4I. During the last twenty years of his life, Jewad'F work, based on endless experimentation, developecl rapidly through constant, untiring discussion and theorizat,ion. He be)onged to a famiiy almost entirely made up of painters, and had the good fortune, alter a shorb spell in Rome and Paris, of working during the war years at the Archaeological X{useum in Baghdad. This gave him a thorough grounding in ancient Mesopotamian sculpture. Perhaps more than any other art,ist Jewad Selim, rvho later studied art in the Lonclon Slade School from 1946 to 1949, rnade his contemporaries aware of the problem of style and tradition. In spite of his immense knowledge of the history of painting and sculpt,re, Jewad preserved an innocence, a freshness of vision, which made him draw on local forms, symbols, habits, superstitions-all the folklore still very active in the alleys and coffee-shops of Baghdad and the surrounding countryside, \\rhen he formed the Baghdad Modern Art Group in 1951, he hacl no itlea that he was, in fact, providing a volatile movement, whose members rvere an anrazing mixture of professionals and amateurs, with a direction not so rnuch rigid as inspiring. I{irnself a teacher of sculpture at the Fine Arts fnstitute, his work came out in an interminable flow of drawings, paintings, sculpture, book-cover designs, even designs for local silversmiths to have on caskets or carry out in ear-rings and jerveiry. Perhaps it was only logical, as soon as Iraq was declared a republic on 14th July, 1958, that he should be commissioned to make the Monument of Liberty. It was very tragic. that Selim should die soon after he finished casting fhe greatest and largesb rnonurnenb an Iraqi arlist has ever made in the last 2,500 years. It is a 5O-metre long f"neze, 8 metres wide, consisting of a number of groups in low-relief blonze, flung bridge-like across the entrance of the National Park in the centre of the capital-a spectacular achievement for an artist who, owing to various exigencies, had to cornplete the work in less than eighteen months! It embodies Jewad Selim's peculiar combination of power ancl lyricism, of the Iraqi and the universal, together with a mystical, tragic love for his country.
In this book the reader will fincl reproductions of works by some 25 painters and sculptors which rnay be seen in the light of what I have just said. Of course the movement is too ramified and t,he artists too numerous for such a selection to be fully representative. For a fuller understanding the Arabic i.ntroduction to the book rvould have No be consultecl, where most of the paintors are discussed in some detail. Limitations of space have unfor- tunately prevented us from going into the same details here.
The Author: Jabra I. Jabra, novelisb, critic and painter, has contributed greatly to the contemporary art movement in Baghdad since the early fifties both as a writer (in Arabic and English) anil as a painter. l.i. , ,')x.+l , iilr"Jl i"-"Ul t. r^ ,,i^)l i-L r-; s-. 4,'-31 Jl f)U,lot^:il .rorn*, Jrl JJ .. lj.Jr-; lleb ;.rcli Je .r:i Jl i1.rl/l alil*i i,rll ?-i -ir'tr\^o a1:le, dJt *Kll 6*Jl ;,,-jYt ,;t-p , /i,ri^o i"rj; rrUi lri ,fi -,,a1 1*>ll-r:', )+t J-lrll dlr'Jl C-t dl, gJ-:lre.rbe;. [l lu,i 6,rao9 i*i r3r$i r)lJl
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