The Future Nara Persia Museum
Persian fine arts connoisseur Rahim Anavian’s exceptional pre-1979 collection, spanning over 7,000 years, can be found in museumsin Japan, largely thanks to his daughter, Pouri and granddaughter Dalia, who continue to carry on his efforts to preserve these works of art, and thereby make Persian history and culture, more widely known and appreciated.
The envisioned museum “A Time Capsule: A Museum of 7000 Years of Persian Art at the Silk Road Terminus” will be a tribute to the rich and diverse history of Persian pottery, glass, and textiles. It will aim to be a comprehensive repository of Persian art, spanning an astonishing 7000 years, from the earliest civilizations to the modern era.
The museum’s location at the terminus of the Silk Road, the ancient capital of Japan, Nara, is both symbolic and imaginative. It could revive the rich heritage of the Silk Road, the network of trade routes connecting the East and West. The Nara terminus was a gateway for the flow of goods such as silk, spices, tea, gold, musical instruments, and other commodities, including knowledge. The Silk Road network was the Internet of its time. Situating the museum at this historic juncture will serve as Japan’s testament to the true diversity between the regions along the Silk Routes for centuries.
The exhibits would include a wide array of artifacts, from our heritage of ancient pottery and glassware to intricate textiles and jewelry, each piece telling a unique story of its time. The museum would also house a special section dedicated to the santour, a percussion instrument that is a forerunner of the piano, showcasing its evolution and significance in Persian music- performed by Pouri Anavian.
The future museum would not just be a place to view art; it would also serve as a vibrant cultural hub. It would host performances, workshops, and lectures to immerse visitors in the wonders of Persian culture, as promoted by Dalia Anavian. Additionally, the museum would collaborate with schools and universities to offer educational programs and research opportunities.
In essence, the museum would preserve and display Persian art and aim to foster an understanding and appreciation of Persian culture, thereby strengthening cultural appreciation and replacing misunderstandings and conflicts between different cultures. It’s a vision of a museum that goes beyond being a mere repository of artifacts; it’s a living, breathing entity that engages with its visitors and contributes to the cultural discourse.
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イラン王国で王室美術顧問だったラヒム・アナビアンに始まるアナビアン家は、３代に渡って美術を通してシルクロードに新しい架け橋を築いてきました。イラン・イスラム革命直前ペルシャの文化財を守るためにコレクションをニューヨークに避難させた。日本の著名人とも交流が深く日本にペルシャ文化を紹介した先駆者である。
ペルシャから正倉院に御物が齎されたように、二度と収集できないペルシャ秘宝を日本の文化財として保存し、1300年前のように、シルクロードの終着点の奈良に第二の正倉院たる「ペルシャ奈良ミュージアム」を実現することが、アナビアン・コレクションの未来のビジョン。