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From the Editor's Desk 3 urn? Ultimately, it doesn’t matter, I From the Editor’s suppose. The axiom is valid (at least Desk in a Platonic sense) whether the idea originates with Keats or with the art- ist whose work inspired the young JOHN S. HATCHER poet to pen these lines. But the jar before us on the cover, fashioned by world-renowned potter THE ANECDOTE OF THE JAR Bernard Leach (1887–1979), is equal- ly evocative in the subtlety of what Sometimes a work of art is sufficient it might say to us. Leach was born unto itself—we see it, experience it, in Hong Kong, attended the Slade and understand it. We need not, or School of Fine Art and the London cannot, articulate exactly what the School of Art, studied ceramics in Ja- art, whether a painting, a symphony, a pan under Urano Shigekichi, and later dance, or in this case, what might ap- returned to England, where he estab- pear to some as a simple jar, has led us lished Leach Pottery, which promoted to know or feel or become. pottery as a combination of Western Except the jar on our cover is not and Eastern arts and philosophies and simple. It is fashioned by someone became a place for apprenticeship for steeped in the knowledge of how potters from all over the world. It is much the potter’s art can convey. The still open today. speaker in John Keats’s poem “Ode Leach learned about the Bahá’í Faith on a Grecian Urn” describes his own from friend and renowned abstract ex- philosophical musings as he ponders pressionist painter Mark Tobey, and the designs on a piece of ancient Gre- he officially joined the Faith in 1940. cian pottery. We wonder if the ode is Though already far advanced in and fa- about the urn or if, in fact, the ode is mous for his synthesis of Eastern and the Dionysian scene frozen in time by Western influences, when he went on the artist. pilgrimage to the Bahá’í Shrines in Hai- The final two lines are the most fa in 1954 he decided to dedicate him- challenging part of this poem: “‘Beau- self more ardently to uniting the East ty is truth, truth beauty,’—that is all/ and West by returning to the Orient Ye know on earth, and all ye need to “to try more honestly to do my work know” (49–50).1 Is this Keats’s obser- there as a Bahá’í and as an artist” (21).2 vation or that of the persona he has So, why so much information about created? Or, is he reading an inscrip- and attention to a jar? After all, the el- tion that the potter imprinted on the egant beauty of Leach’s pot speaks for 1 Keats, “Ode on a Grecian Urn.” Nor- 2 Quoted in Robert Weinberg, Spin- ton Anthology of English Literature, 8th ed., ning the Clay into Stars: Bernard Leach and vol. D, Norton, 2005, p. 905-6. the Bahá’í Faith. George Ronald, 1999. 4 The Journal of Bahá’í Studies 27.4 2017 itself. Either you like it or you don’t. It did not give of bird or bush, And I suppose that’s true of most art. Like nothing else in Tennessee.3 I have chosen this as our cover piece for precisely that reason—because I Here the persona—possibly the poet think the same verity applies to the or possibly a character he has creat- articles and poems in this issue. They ed—employs art to demonstrate that require something of us. They have— when we interact with nature, espe- individually and collectively—a capac- cially as artists, we may experience a ity to uplift and educate us, but only sort of reciprocity, but only if we al- if we are sufficiently attentive to what low ourselves to employ those creative these scholars and poets are trying to skills instilled within us as emanations convey. from the Creator Himself. I believe it is in this sense that these It is my sincere feeling that the pieces become intermediaries between articles and poems we have selected the world of thought and ourselves by for this issue have the following in translating personal insights from the common: they approach subjects with metaphysical realm of pure forms into which we are familiar, but they do so the physical medium of sensually per- from a specialized or creative perspec- ceptible words and images. It is an idea tive. By sharing with us the creative I find well expressed in another work thought they have invested in craft- about a pot, Wallace Stevens’s poem ing these pieces, the authors provide “Anecdote of the Jar.” In this piece, us with a new way of seeing, a lens Stevens can be read as commenting on through which we can re-examine our how profoundly our tangible expres- own thinking about several different sion of the ephemeral in art can or- subjects. ganize and inform our view of reality: The first piece, “Themes in the Study of Bahá’u’lláh’s Kitáb-i-Aqdas: I placed a jar in Tennessee, Emerging Approaches to Scholarship And round it was, upon a hill. on Bahá’í Law” by Roshan Danesh, is It made the slovenly wilderness both a review of what creative scholar- Surround that hill. ship has thus far accomplished by way of studying the Most Holy Book of The wilderness rose up to it, the Bahá’í Dispensation, Bahá’u’lláh’s And sprawled around, no longer Kitáb-i-Aqdas. Danesh has written wild. on the Aqdas several times before, The jar was round upon the and for good reason. As a Bahá’í and ground a graduate of Harvard Law School, And tall and of a port in air. 3 Stevens, “The Anecdote of the Jar.” It took dominion everywhere. The Norton Anthology of Poetry, 5th ed., The jar was gray and bare. Norton, 2005, p. 1260. From the Editor’s Desk 5 he is keenly interested in this repos- Bahá’í thought—and the title hints at itory of Bahá’í law, especially as it the underlying premise that Johnson portends the administration of future explores as one extremely useful way society. Of equal importance to him, I of understanding how “the universe is suspect, is how, as the “Mother Book” coded to be creative.” Integrated with of the Revelation of Bahá’u’lláh, this his exploration into the roots of cre- foremost work gives birth to a vision ativity are ample citations from both of refinement and comportment that the Bahá’í texts and from a panoply of characterizes what it means to be a helpful scholarly resources that assist Bahá’í. His review of studies complet- the reader in navigating this philo- ed thus far is helpful in our own reflec- sophical journey. tion about this challenging work, and Following this article is a second his view of what themes and schol- poem, or sequence of poems, taken arly approaches future studies might from The Conference of the Birds by undertake challenges us to invest our famed Persian poet Faríd ud-Dín ‘Attár own considered speculation about the (1145–1221), translated here by Sholeh offspring to which this book will give Wolpé. Prefiguring Bahá’u’lláh’s birth. own Seven Valleys, this portion of the The second piece is a thoroughly en- work contains the description by the gaging poem, or list of poems—aph- hoopoe of the seven valleys that the orisms by Egyptian-American Yahia thirty birds must traverse if they are Lababidi, the author of six critically to discover their leader—the mythical acclaimed books of poetry and prose. Simorgh, which in Persian actually We probably think of aphorisms as means “thirty birds.” In short, they folk art, as the assemblage of wisdom come to realize that the majesty of derived from tribal peoples—the Book the Beloved can be comprehended by of Proverbs in the Old Testament, for seeing their own reflection after they example—but Lababidi’s modern use have gone through the arduous tests of this form provides incredibly rich, that spiritual development necessari- if succinct, bits of wisdom. To me, ly requires of us. Needless to say, the they have the same sort of compressed parallel between the seven valleys in surprise as good haiku. The Conference of the Birds and those The next piece, “The Active in Bahá’u’lláh’s work is very helpful Force and That Which Is Its Recip- to students of Bahá’u’lláh’s extremely ient: A Bahá’í View of Creativity” popular text, which was written for a by Rick Johnson, is one of the most judge who was a student of Súfi mys- thought-provoking and original arti- tical philosophy. cles we have published in quite some The final article, by Elena Mus- time. The subtitle is the core objec- takova, “Becoming Hospitable and tive—the exploration of creativity and Uplifting Holding Environments for the pervasive nature of this concept in Humanity’s Griefs: Depression and 6 The Journal of Bahá’í Studies 27.4 2017 the Bahá’í Community,” is another ex- the Bahá’í Faith to particular fields of amination for the journal of the affec- endeavor, I think we could all benefit tive disorder of depression, what has from more studies dedicated to inves- become such a pervasive problem in tigating the limitless supply of pearls contemporary society for reasons all of wisdom enshrined within the ocean too apparent, as the social order seems of a Revelation to which we are priv- to become increasingly dysfunctional ileged to have direct access and in with each successive tragedy we con- which we have the freedom to swim front.
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