Persian Miniature Painting: The Cave, the King and the Mystic
A king goes to a cave to learn from a mystic. He is in search of a jewel, a treasure that will allow him to rule justly and wisely. The mystic in the cave holds the jewel, and that jewel is knowledge and learning. He delivers his lesson in the form of a book of stories, the famous Kalila wa Dimna, which he tells to the king. This mirror for princes is a kind of Aesop’s fables, animal tales that are disguised courtiers that show the ruler how to differentiate friend from foe in courtly politics and intrigue. The cave setting in the wilderness is significant as it allows the pair to be set apart from the world, focusing deeply on the knowledge and wisdom imparted by the sage. We will paint the wild and beautiful colours of the cave rocks as well as the figures deep in conversation: a teacher and a student, a wise man and a king.
The pleasure of concentrating on a single miniature for a period of time involves us deeply. We are immersed in it; we live with it; we live in it. Inhabiting and internalising a painting in this way is a wonderful and traditional way to learn. In today’s fast-paced world we need to sit, focus on and contemplate our single piece and grow to love and understand it. We will understand the subtle art of colour, composition and blending by our action of making and doing, connecting with the work. The aim is not to rush, but to dwell. Thus painting is a form of meditation in itself. Students are invited to recreate this alongside the tutor, incorporate elements into existing work or be inspired to create their own compositions.
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A king goes to a cave to learn from a mystic. He is in search of a jewel, a treasure that will allow him to rule justly and wisely. The mystic in the cave holds the jewel, and that jewel is knowledge and learning. He delivers his lesson in the form of a book of stories, the famous Kalila wa Dimna, which he tells to the king. This mirror for princes is a kind of Aesop’s fables, animal tales that are disguised courtiers that show the ruler how to differentiate friend from foe in courtly politics and intrigue. The cave setting in the wilderness is significant as it allows the pair to be set apart from the world, focusing deeply on the knowledge and wisdom imparted by the sage. We will paint the wild and beautiful colours of the cave rocks as well as the figures deep in conversation: a teacher and a student, a wise man and a king.
The pleasure of concentrating on a single miniature for a period of time involves us deeply. We are immersed in it; we live with it; we live in it. Inhabiting and internalising a painting in this way is a wonderful and traditional way to learn. In today’s fast-paced world we need to sit, focus on and contemplate our single piece and grow to love and understand it. We will understand the subtle art of colour, composition and blending by our action of making and doing, connecting with the work. The aim is not to rush, but to dwell. Thus painting is a form of meditation in itself. Students are invited to recreate this alongside the tutor, incorporate elements into existing work or be inspired to create their own compositions.
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