Guide for Teachers
Leighton House Museum
15 November 2013 – 23 February 2014
Contents
Page(s)
The Ferozkoh Project
3
The Museum of Islamic Art, Qatar
4
The Turquoise Mountain Trust
5
Leighton House Museum
6
The Artists
7
The Schools Outreach Programme
8
National Curriculum Links
9
Worksheets
 Inspiration (Key Stage 3 English)
10 – 11
 Design (Key Stage 3 Mathematics)
12 – 16
 Materials (Key Stage 3 Science)
17 – 18
19 – 22
Exhibition Objects
2
THE FEROZKOH PROJECT
Ferozkoh: Tradition and Continuity in Afghan Art celebrates the traditions of Islamic art in the
modern world, and the role of education in their transmission and translation. The exhibition
was developed by the Museum of Islamic Art (MIA) in Doha, Qatar. It features works of art
created by the students and teachers of the Turquoise Mountain Institute for Afghan Arts and
Architecture in Kabul. Each newly created artwork is based on an object from MIA’s
collection and they are displayed alongside the historic pieces that inspired them.
The
eighteen object pairs are arranged in four sections each focusing on a different dynastic
period with strong connections to Afghanistan: the Ghaznavids, the Timurids, the Mughals
and the Safavids.
Ferozkoh: Tradition and Continuity in Afghan Art demonstrates how
Afghan artisans have renewed their traditions through effort, wit, skill and imagination. The
exhibition symbolises, in the most positive way, a deep sense of Afghan pride. Leighton
House Museum, itself created using the artistic skills and craftsmanship of the Islamic world,
is a natural venue in which to celebrate this conversation between the past and the present.
3
THE MUSEUM OF ISLAMIC ART (MIA), DOHA, QATAR
Ferozkoh: Tradition and Continuity in Afghan Art was developed by the Museum of Islamic
Art (MIA) in Doha, Qatar. MIA is dedicated to reflecting the full vitality, complexity and
diversity of the arts of the Islamic world. Its collections span three continents and 1400 years
of history. MIA was designed by the celebrated architect I.M. Pei, who took inspiration from
elements of Islamic architecture, such as the Mosque of Ibn Tulan in Cairo, Egypt. MIA
opened to the public in December 2008 and is part of the Qatar Museums Authority (QMA),
under the direction of Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani,
QMA Chairperson.
For more information about MIA please visit our website at http://www.mia.org.qa/en/
4
THE TURQUOISE MOUNTAIN TRUST
‘Ferozkoh’ translates from Dari as ‘Turquoise Mountain’. Ferozkoh: Tradition and Continuity
in Afghan Art celebrates the work of teachers and students of the Turquoise Mountain
Institute for Afghan Arts and Architecture. The Institute was established by the Turquoise
Mountain Trust, a charity founded in 2006 by Rory Stewart, under the patronage of HRH
Charles, Prince of Wales and HE Hamid Karzai, President of the Islamic Republic of
Afghanistan.
Turquoise Mountain was established with a mission to regenerate
Afghanistan’s traditional arts and the historic old city area of Murad Khane in Kabul, and to
create jobs, skills and a renewed sense of pride for Afghans. To date, it has restored and
rebuilt over 110 historic mud buildings, installed water supply, sanitation and electricity, and
built a clinic serving nearly 20,000 patients per year and a primary school. The Institute, with
200 young men and women training across schools of Woodworking, Jewellery & Gem
Cutting, Ceramics and Calligraphy & Miniature Painting, acts as an engine for the revival of
traditional Afghan arts, crafts and architecture. Afghanistan’s foremost master artisans lead
the Institute's teaching programmes for young men and women in Kabul. The Institute is
accredited
by
the
Afghan
Ministry
of
Education
and
the
UK-based
City
&
Guilds. Alongside, Turquoise Mountain Arts works to drive the sustainable growth of the
nation's craft industry, selling over $2,500,000 in hand-made Afghan crafts worldwide.
Income goes directly back into supporting artisans in establishing their own businesses and
accessing new markets.
For more information about the Turquoise Mountain Trust please visit our website at
http://www.turquoisemountain.org/
5
LEIGHTON HOUSE MUSEUM
Leighton House Museum is the former home of the Victorian artist Frederic, Lord Leighton
(1830-1896). The only purpose-built studio-house open to the public in the United Kingdom,
it is one of the most remarkable buildings of the nineteenth century, containing a fascinating
collection of paintings and sculpture by Leighton and his contemporaries.
Between 1867
and 1873, Leighton travelled to Egypt, Syria and Turkey collecting textiles, pottery and tiles.
Inspired by the arts and skilled craftsmanship of the Middle East, he built the extraordinary
Arab Hall with its golden dome, intricate mosaics and walls lined with beautiful Islamic tiles.
Leighton House is the natural venue to celebrate links between the artistic traditions of the
Islamic world and the contemporary pieces by Afghan artisans working today.
For more information about Leighton House Museum please visit our website at
http://www.rbkc.gov.uk/subsites/museums/leightonhousemuseum1.aspx
6
THE ARTISTS
The artists who worked on the objects included in Ferozkoh: Tradition and Continuity in
Afghan Art are of different ages and origins. The oldest was born in 1957, the youngest in
1993; they come from Panjshir in the east, Herat in the west, and Kabul in the centre.
On display in Ferozkoh: Tradition and Continuity in Afghan Art are objects that showcase the
talents of woodworkers, ceramicists, painters, calligraphers, jewellers and lapidaries. The
artists range from ustads (teachers) with years of experience to second-year students who
show great potential.
Many of the artists already hold prizes from competitions held both inside and outside
Afghanistan, or have exhibited their work internationally. Indeed, the woodwork ustad, Naser
Mansori has designed a room at London’s Connaught Hotel. Others, however, have not had
the chance to exhibit their work before and the Ferozkoh: Tradition and Continuity in Afghan
Art exhibition is an important opportunity for them to reach new audiences.
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THE SCHOOLS OUTREACH PROGRAMME
We welcome visits by school groups to Ferozkoh: Tradition and Continuity in Afghan Art.
Guided tours of the exhibition are available and are particularly suited for students from Key
Stage 2 to Key stage 4. The themes explored in the exhibition link to a number of different
areas of the school curriculum, including History, Art and Design, Science, Mathematics and
Religious Education. Students will hear stories about Persian heroes, unearth precious
gemstones, discover intricate geometric patterns and be introduced to contemporary Afghan
artisans.
Booking school groups
-
No charge for organised school parties
-
Maximum group size is 30
-
1hr 30 minutes dwell time. Groups are also welcome to explore the permanent
collection at Leighton House as part of their visit
-
Museum opening hours: 9 am – 3 pm
Bookings can be made after 1st October, please email [email protected] or
ring 020 7471 9157. Leighton House Museum, 12 Holland Park Road, London W14 8LZ
8
NATIONAL CURICULUM LINKS
The worksheets in this Guide for Teachers are designed to be used with Key Stage 3 pupils
after visiting the Ferozkoh: Tradition and Continuity in Afghan Art exhibition. They focus on
different areas of the school curriculum with worksheets that explore creative writing,
geometric design and environmental materials. The themes and activities closely link to the
National Curriculum for England and Wales and have been highlighted below.
Worksheet
Imagination
Subject
National Curriculum
Learning objectives
Area
links
English
1.2 Creativity;
To consider the importance of
2.3 (b) Pupils should be
creativity and imagination in the
able to write imaginatively,
Ferozkoh exhibition.
creatively and
To create a poem inspired by an
thoughtfully, producing
object in the Ferozkoh exhibition
texts that
making use of a variety of
interest and engage the
common poetic devices.
reader.
Design
Mathematics 3.2 Geometry and
measures
To consider the importance of
geometric design in Islamic Art
and identify different types of
commonly used polygons.
To develop an understanding of
reflective and rotational symmetry
and practice using both types of
symmetry.
Materials
Science
3.4: The environment,
To discover more about the
Earth and the universe.
importance of gemstones in
(a) geological activity is
Islamic Art by spotlighting objects
caused by chemical and
from the Ferozkoh exhibition.
physical processes
To uncover how gemstones are
formed and consider the reasons
for their significance.
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Key Stage 3: English
INSPIRATION
The Ferozkoh: Tradition and Continuity in Afghan Art exhibition presents works created by
the students and teachers of Turquoise Mountain's Institute for Afghan Arts and Architecture
in Kabul. It was developed in partnership with the Museum of Islamic Art (MIA) in Qatar, and
each newly created artwork was inspired by a historic object from MIA’s collection. In the
exhibition, the newly created works of art are displayed alongside the historic object that
inspired them. These works of art demonstrate how Afghan artisans have renewed their
traditions through effort, wit, skill and imagination. The exhibition symbolizes, in the most
positive way, a deep sense of Afghan pride.
Learning objectives:

To consider the importance of creativity and imagination in the Ferozkoh exhibition.

To create a poem inspired by an object in the Ferozkoh exhibition making use of a
variety of common poetic devices.
The Eagle’s Advice to its Youngster (poem of
Jewel ornament called a Tikka, India, 18th
century
Muhammad Iqbal Lahori), 2012, Mohammad
Akbar Daftari, Fakhria Nezami and Tamim
Sahebzada
10
The artists from Turquoise Mountain have been inspired by the small jewel in the form of an
Indian parrot to create a copy of the poem, The Eagle’s Advice to its Youngster. The poem
was originally written by Muhammad Iqbal Lahori (born 1877) who was one of the most
prolific writers during the period of the British Raj in India.
The figure of the Eagle (Shaheen) is the most recurrent and significant theme
in Iqbal Lahori’s poetry. The poem, The Eagle’s Advice to its Youngster was
written as an allegory and Lahori encourages the younger generation to copy
An allegory is a
story that has a
hidden moral
meaning.
the virtuous traits of the eagle. In this version of the poem the names of
different birds are highlighted in red ink.
Activity - Write your own poem based on one of the objects on display in the
Ferozkoh exhibition.
Begin by identifying your object and then brainstorming some key descriptive words. Think
about the mood and tone of your poem. Will it be happy, sad, positive, or romantic?
Remember to structure your poem into verses and stanzas, and to include some of the
following poetic devices.
Alliteration/Assonance: Alliteration is the
repetition of a closely connected
consonant sound. For example, sing a
song of sixpence. Assonance is the
repetition of an identical vowel sound. For
example, Hear the mellow wedding bells
Personification: Giving objects, animals
or things human qualities. For example,
the stars danced playfully in the night sky.
Repetition: commonly used in poetry for
emphasis.
(Edgar Allan Poe).
Rhyme: The use of words with matching
sounds, often occurring at the end of each
line.
Enjambment: When a sentence runs
from one line into the next without any
punctuation marks. It can be used to
emphasize meaning or build excitement.
Rhythm: The beat or pace of the words. It
can be regular or irregular, slow or fast,
etc. depending on the intended effect.
Hyperbole: Deliberate exaggeration. It
can be used to emphasize a point or for
comic effect. For example, I have a ton of
homework.
Simile/Metaphor: A simile describes
something as being like or the same as
something else. A metaphor is a direct
comparison and doesn’t use the words
like or as.
Onomatopoeia: Words that are like the
sound they make. For example, bang,
drizzle, sprinkle.
11
Key Stage 3 Mathematics
DESIGN
Geometric patterns and designs are a key feature of Islamic Art as you will have seen during
your tour of the exhibition, Ferozkoh: Tradition and Continuity on Afghan Art. The following
activities will introduce you to the key principles of geometric design in Islamic Art by
highlighting selected objects from the exhibition.
Learning outcomes:

To consider the importance of geometric design in Islamic Art and identify different
types of commonly used polygons.

To develop an understanding of reflective and rotational symmetry and practice using
both types of symmetry.
Jali screen / 2012 / Walnut wood / 300 x 150.5 x 7 cm
Look closely at this object. It is an example of a Jali screen, which are used for filtering
light through open windows and for privacy in homes. The central panel of this large Jali
screen features a rectangular shape. Twenty smaller square windows, each with a different
geometric pattern designed to capture the light in subtly different ways, surround the central
panel.
12
Activity 1 - Patterns
Most patterns in Afghan design are composed of a grid of polygons, known as a
tessellation, organized carefully to ensure that there are no gaps or overlays.
A polygon is a closed plane shape with straight sides
There are two types of polygons
– regular and irregular.
A regular polygon is defined as
having equal side lengths, and
the same angle at each of its
corners. Examples:
quadrilateral, equilateral
triangle
An irregular polygon will have
different corner angles and/or
different side lengths. Examples:
hexagon, pentagon.
How many of these regular and
irregular polygons can you find in
the Jali screen?
13
Activity 2
In Islamic Art, geometric patterns are often formed by using a radial segment of a circle as
a repeat unit. Look at the example below and follow the guidelines to construct your own
hexagon.
14
Activity 3 – Symmetry
Symmetry is very important in Islamic Art. Reflective Symmetry is when one half of an
image is a mirror reflection of the other half. Look at the example below of reflective
symmetry from the Ferozokh Exhibition.
Page from Royal Qur’an of Shah Sulayman Safavi, Iran
(Isfahan), dated 1094 AH/ 1683 AD. Copied by
Muhammad Reza ibn Ali Reza al-Abbassi
Complete this pattern to show
reflective symmetry.
15
Rotational (or radial) symmetry is a type of symmetry which occurs when an image
maintains the exact same look when it is rotated around a central point. This object is an
example of rotational symmetry. It was created by artists at Turquoise Mountain for the
Ferozkoh exhibition, and was inspired by the 17th century copy of the Qur’an from Iran
shown above. Both these objects feature a shamsa design, regarded as a symbol of the sun.
Classically Carved Medallion, Naser Mansori, Taqi Rezahy,
Mayel Mohammadi, 2012. Walnut wood TMI.W13
Have a go at creating your own pattern showing rotational symmetry.
16
Key Stage 3 Science
MATERIALS
Learning objectives:

To discover the importance of gemstones in Islamic Art by spotlighting objects from
the Ferozkoh exhibition

To uncover how gemstones are formed and consider the reasons behind their
significance
You will have seen the spectacular jewels on display in your tour of the Ferozkoh: Tradition
and Continuity in Afghan Art exhibition.
This necklace is made from spinel stones. It
dates
from
controlled
Mughal
large
subcontinent
centuries.
the
parts
from
The
empire
of
the 16
Mughal
th
the
to
which
Indian
19th
the
emperors
were
particularly fond of precious gemstones and
the spinel was valued for its protective
powers. The redness of its colour was
believed to symbolize blood and the stone
was supposed to protect the wearer from
wounds,
poisoning,
or
haemorrhage
(excessive bleeding). While spinels are similar
to rubies in both colour and in the way they
are formed, they are in fact quite different.
Ask your teacher how they are different?
Spinel Stones. India, 17th century. Total weight of spinels:
1,131.59 carats
17
Afghanistan has long been famous for its mineral wealth and
has always been a rich source of gemstones. This emerald,
weighing just over 38 carats, comes from the Panjshir region
of eastern Afghanistan.
Emerald Peacock Necklace, 2012, Emerald, spinel, 22-carat gold.
The Life of Gems
Gems of the quality on display in the Ferozkoh exhibition are exceptionally rare. A gem’s
value is commonly determined by its weight, which is measured in carats. However, size,
rarity, beauty and durability are also important. Gems are formed from mineral crystals. In
theory, any mineral could be classified as a gemstone but, in practice, the gems that are
popular come from only a handful of different minerals. Interestingly, some gems have
different names from their mineral names; for example, the mineral name for emerald is
beryl. It is worth noting that some gems are not minerals, for example pearl and amber. It is
now more and more common for gems to be man-made by scientists working in laboratories.
Gems have long been symbols of power. In the past, people did not
understand the science behind gemstones and they were often seen as gifts
from the gods. The people who owned precious gems were thought to have
special powers. Even today some people believe that gems and crystals
have supernatural powers. For example, every month of the year has a birth
stone which is supposed to bring good luck to the wearer. Do you know your
birth stone?
Suggested activities

Create your own version of the rock cycle to show how gems are formed.

Carry out further independent research on the different gemstones found in
Afghanistan.

With your teacher’s help, have a go at growing your own crystals in class.
18
Did you know?
Lapidary is the
craft of working
with gemstones to
turn them into
decorative items.
Cutting
gemstones
requires great
skill and lots of
patience.
Exhibition Objects
Arab Hall and Drawing Room
Three jali balls, 2013, walnut wood, Naser Mansouri, Abdul Khaleq, Shahin, Said hakim,
Mohammad Khaled, Mostafa
Nuristani figure, 2013, walnut wood, Naser Mansouri, Abdulyaqin, Mayel
Nuristani figure, 2013, walnut wood, Naser Mansouri, Abdulyaqin, Delaramshah, Mayel
Star bookcase, 2013, walnut wood, Naser Mansouri, Hedieh Wojgani, Hashmat,
Dadrahman, Morteza, Navid, Hossein, Mohammad Taghi, Wafiullah, Said Hakim, Shahin,
Mostafa, Mohammad Khaled, Faroq, Mayel, Delaramshah, Shafiq, Habib
Paired Objects – Main Exhibition, Upper Perrin Gallery
The Ghaznavids, 977 – 1186 CE
Moulded Glass Plaque
Afghanistan, 12th century
Glass
MIA GL.147
Rustam and the Dragon
Homeira Mastour
2012, Opaque watercolours, gold paint,
paper
TMI.M8
Granulated Gold Armlet
Central Asia, 10th-11th century, Gold
MIA JE.178
The Elephant
Helai Habibi
2012, Opaque watercolours, paper
TMI.M1
Repoussé Candlestick
Khurasan or Afghanistan, 12th century,
Bronze, traces of copper and silver
MIA MW.40.
Silk Carpet
Tamim Sahebzada, Said Ahmad
2012, Silk, natural dyes
TMI.R1
Mouldedware Bowl
Afghanistan, 12th–13th century, Fritware,
turquoise glaze
MIA PO.75
Shamsa
Rita Wafa
2012, Opaque watercolour, silver ink,
paper
TMI.M3
19
The Timurids, 1370 – 1506 CE
Door Knocker
Iran, 15th century
Steel, gold
MIA MW.133
Mythical Animal Bracelet
Mosawarshah Qodousi
2012, Silver, yellow diamonds
TMI.J3
Engraved Jug
Iran, 15th century
Tinned copper
MIA MW.407
Turquoise-Glazed Jug
Zahirshah Amin, Abdul Matin Malekzada
2012, Clay, turquoise glaze
TMI.C4
Underglaze Painted Bowl
Iran, 15th century
Fritware, polychrome glazes
MIA PO.93
Abr-o-Bad Pendant
Tamim Sahebzada, Mosawarshah
Qodousi, Hedieh Wojgani
2012, Silver, green morganite
TMI.J5
Dish
Iran (Nishapur), 15th century
Fritware, cobalt glaze
MIA PO.610
The Peacock
Fakhria Nezami
TMI.M4
The Mughals, 1526 – 1857 CE
Dagger
North India, 18th century
Watered steel, gold, enamel, diamond,
emerald
MIA AA.54
The Demon
Homeira Mastour
2012, Opaque watercolour, silver paint,
paper
TMI.M7
Tikka
India, 18th century
Rubies, diamonds, pearls, gold
MIA JE.19
The Eagle’s Advice to its Youngster
(Poem of Muhammad Iqbal Lahori)
Mohammad Akbar Daftari, Fakhria
Nezami, Tamim Sahebzada
2012, Gold paint, polychrome inks, paper
TMI.M6
Spinel Stones
India, 17th century
Spinels, gold
MIA JE.223
Emerald Peacock Necklace
Gary W. Bowersox, Mohebullah Habibi,
Shahiq Habibi, Ahmad Shakeb Maleky,
Sher Mohammad, Habibullah Saifzada,
Ahmad Shafiq Sarwari
2012, Emeralds, spinels, gold
TMI.J6
20
Jewelled spoon
India, 17th century
Gold, rubies, diamonds, emeralds
MIA JE.225
Lotus Miniature
Mohammad Mehdi Banai
2012
Gold ink, opaque watercolour, paper
TMI.M11
Jali
Mansour Armaghan, Said Hakim
Hashemy, Hashmat Jawadi, Naser
Mansori, Ekramullah Nuristani, Parwin
Raufy, Khadija Seddiqi, Khaled Azizy,
Mokhtar Hassany, Farzad Mohammadi,
Mayel Mohammadi, Mustafa Rahmany,
Farhad Safdary, Osman Soltani
2012, Walnut wood
TMI.W6
Jali
India, 17th century
Red sandstone
MIA SW.134
The Safavids, 1501 – 1732 CE
Royal Qur’an of Shah Sulayman Safavi
Iran (Isfahan), Dated 1094 AH (1683 AD)
Copied by Muhammad Reza ibn Ali Reza
al-Abbassi; Prefaced and glossed by
Muhammad Hadi Shirazi
Opaque watercolours, inks, gold, paper,
leather, silk fabric
MIA MS.609
Classically Carved Medallion
Naser Mansori, Taqi Rezahy, Mayel
Mohammadi
2012
Walnut wood
TMI.W13
Two pages of the Holy Qur’an
Aref Gholami, Tamim Sahebzada
2012, Opaque watercolour, black ink, gold
paint, paper
TMI.M9
Spherical Ornament
Iran, 17th century
Steel
MIA MW.460
Dish
Iran, 17th century
Fritware, cobalt glaze
MIA PO.311
Shamsa
Mohammad Mehdi Banai
2012
Opaque watercolour, silver ink, paper
TMI.M10
Toronj Ceramic Tile Panel
Zahirshah Amin, Naser Mansori,
Mohammad Samim Nasimy,
Ainullah Ahmadi, Shaiq Ahmadi, Manan
Haidari, Khosraw Nouri
2012
Clay, polychrome glazes
TMI.C10
Textile
Iran, 17th century
Silk, metal threads, compound cloth
weave
MIA TE.8
21
Velvet
Iran, 17th century Silk, metal threads,
voided velvet weave
MIA TE.206
Gold Toronj Earrings
Monawarshah Qodousi, Hedieh Wojgani
2012
22-carat Gold
TMI.J8
Organisers
Leighton House Museum
t urquoise m ountain
Strategic Partners
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