# Compilation of Compilations: Volume 1

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> Source: Bahá'í Library Online (bahai-library.com), curated by Jonah Winters. Used by permission of the curator. Original citation: Bahá'u'lláh, Compilation of Compilations: Volume 1, bahai-library.com.
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> 
> Arts
> 
> Arts:
> Compilation on the Arts
> by Bahá'u'lláh, Abdu'l-Bahá, Shoghi Effendi and Universal House of Justice
> 
> Compiled by Research Department of the Universal House of Justice.
> 
> Acquiring an Art: Compilation on the Arts Part One
> Extracts from the Writings of Bahá'u'lláh
> The Source of Art: Compilation on the Arts Part Two
> 1. Extracts from the Writings of Bahá'u'lláh
> 2. Extracts from the Writings and Utterances of 'Abdu'l-Bahá
> 3. Extract from a Reported Utterance of 'Abdu'l-Bahá
> 4. Extract from a Cable by Shoghi Effendi
> 5. Post-script in the Handwriting of Shoghi Effendi to a Letter Written on his Behalf to
> an Individual Believer
> The Future Development of the Arts: Compilation on the Arts Part Three
> 1. Post-script in the Handwriting of Shoghi Effendi to a Letter Written on his Behalf to a
> National Spiritual Assembly
> 2. Extracts from letters written on behalf of Shoghi Effendi
> 3. Extracts from Communications Written by the Universal House of Justice
> 4. Excerpts from letters written on behalf of the Universal House of Justice
> 
> Guidelines for Bahá'í Artists: Compilation on the Arts Part Four
> 1. Extracts from the Writings of Bahá'u'lláh
> 2. Extract from the Writings of Shoghi Effendi
> 3. Extracts from Letters Written on Behalf of Shoghi Effendi
> 4. Extracts from communications written by the Universal House of Justice
> 5. Extracts from letters written on behalf of the Universal House of Justice
> 
> Acquiring an Art
> Compilation on the Arts
> Part One
> Extracts from the Writings of Bahá'u'lláh
> 
> Extracts from the Writings of Bahá'u'lláh
> 1. Arts, crafts and sciences uplift the world of being, and are conducive to its exaltation. Knowledge
> is as wings to man's life, and a ladder for his ascent. Its acquisition is incumbent upon everyone.
> The knowledge of such sciences, however, should be acquired as can profit the peoples of the earth,
> and not those which begin with words and end with words...
> In truth, knowledge is a veritable treasure for man, and a source of glory, of bounty, of joy, of
> Arts
> 
> exaltation, of cheer and gladness unto him. Happy the man that cleaveth unto it, and woe betide the
> heedless.
> Epistle to the Son of the Wolf, (Wilmette: Bahá'í Publishing Trust, 1988), pp. 26-27
> 
> 2. O My Servants!
> Ye are the trees of my garden; ye must give forth goodly and wondrous fruits, that ye yourselves
> and others may profit therefrom. Thus it is incumbent on everyone to engage in crafts and
> professions, for therein lies the secret of wealth, O men of understanding! For results depend upon
> means, and the grace of God shall be all-sufficient unto you. Trees that yield no fruit have been and
> will ever be for the fire.
> The Hidden Words (Wilmette: Bahá'í Publishing Trust, 1990), p. 50
> 
> 3. The fifth Taráz concerneth the protection and preservation of the stations of God's servants. One
> should not ignore the truth of any matter, rather should one give expression to that which is right
> and true. The people of Bahá'í should not deny any soul the reward due to him, should treat
> craftsmen with deference, and unlike the people aforetime, should not defile their tongues with
> abuse.
> In this Day the sun of craftsmanship shineth above the horizon of the occident and the river of arts
> is flowing out of the sea of that region. One must speak with fairness and appreciate such bounty...
> Tablets of Bahá'u'lláh Revealed after the Kitáb-i-Aqdas (Haifa: Bahá'í World Centre, 1988) pp. 38-39
> 
> 4. At the outset of every endeavor, it is incumbent to look to the end of it. Of all the arts and sciences,
> set the children to studying those which will result in advantage to man, will ensure his progress
> and elevate his rank. Thus the noisome odours of lawlessness will be dispelled, and thus through
> the high endeavours of the nation's leaders, all will live cradled, secure and in peace.
> The Great Being saith: The learned of the day must direct the people to acquire those branches of
> knowledge which are of use, that both the learned themselves and the generality of mankind may
> derive benefits therefrom...
> Tablets of Bahá'u'lláh Revealed after the Kitáb-i-Aqdas, pp. 168-169
> 
> 5. The purpose of learning should be the promotion of the welfare of the people, and this can be
> achieved through crafts. It hath been revealed and is now repeated that the true worth of artists and
> craftsmen should be appreciated, for they advance the affairs of mankind. Just as the foundations of
> religion are made firm through the Law of God, the means of livelihood depend upon those who
> are engaged in arts and crafts. True learning is that which is conducive to the well-being of the
> world, not to pride and self-conceit, or to tyranny, violence and pillage.
> From a Tablet - translated from the Persian
> 
> 6. Blessed are those who have fixed their gaze on the realm of glory and have followed the
> commandments of the Lord of Names. Blessed is he who in the days of God will engage in
> handicrafts. This is a bounty from God, for in this Most Great Dispensation it is acceptable in the
> sight of God for man to occupy himself in a trade which relieveth him of depending upon charity.
> The craft of every craftsman is regarded as worship.
> From a Tablet - translated from the Persian
> 
> 7. One of the names of God is the Fashioner. He loveth craftsmanship. Therefore any of His servants
> who manifesteth this attribute is acceptable in the sight of this Wronged One. Craftsmanship is a
> book among the books of divine sciences, and a treasure among the treasures of His heavenly
> wisdom. This is a knowledge with meaning, for some of the sciences are brought forth by words
> and come to an end with words.
> From a Tablet - translated from the Persian
> 
> 8. God grant that thou wilt exert thine utmost to acquire perfections, as well as proficiency in a craft.
> From a Tablet - translated from the Persian
> 
> 9. The one true God, exalted be He, loveth to witness handiworks of high craftsmanship produced by
> His loved ones. Blessed art thou, for what thy skill hath produced hath reached the presence of thy
> Lord, the Exiled, the Wronged. Please God every one of His friends may be enabled to acquire one
> Arts
> 
> of the crafts, and be confirmed in adhering to what hath been ordained in the Book of God, the All-
> Glorious, the All-Wise.
> From a Tablet - translated from the Persian and Arabic
> 
> 10. As for what the Supreme Pen hath previously set down, the reason is that in every art and skill,
> God loveth the highest perfection.
> From a Tablet - translated from the Persian
> 
> The Source of Art
> Compilation on the Arts
> Part Two
> 1. Extracts from the Writings of Bahá'u'lláh
> 2. Extracts from the Writings and Utterances of 'Abdu'l-Bahá
> 3. Extract from a Reported Utterance of 'Abdu'l-Bahá
> 4. Extract from a Cable by Shoghi Effendi
> 5. Post-script in the Handwriting of Shoghi Effendi to a Letter
> Written on his Behalf to an Individual Believer
> 
> Extracts from the Writings of Bahá'u'lláh
> 11. The Sun of Truth is the Word of God upon which dependeth the education of those who are
> endowed with the power of understanding and of utterance. It is the true spirit and the heavenly
> water, through whose aid and gracious providence all things have been and will be quickened. Its
> appearance in every mirror is conditioned by the colour of that mirror. For instance, when its light
> is cast upon the mirrors of the hearts of the wise, it bringeth forth wisdom. In like manner, when it
> manifesteth itself in the mirrors of the hearts of craftsmen, it unfoldeth new and unique arts, and
> when reflected in the hearts of those that apprehend the truth it revealeth wondrous tokens of true
> knowledge and discloseth the verities of God's utterance.
> From a Tablet - translated from the Persian
> 
> 12. Knowledge is one of the wondrous gifts of God. It is incumbent upon everyone to acquire it. Such
> arts and material means as are now manifest have been achieved by virtue of His knowledge and
> wisdom which have been revealed in Epistles and Tablets through His Most Exalted Pen—a Pen
> out of whose treasury pearls of wisdom and utterance and the arts and crafts of the world are
> brought to light.
> Tablets of Bahá'u'lláh Revealed after the Kitáb-i-Aqdas p. 39
> 
> 13. The soul that hath remained faithful to the Cause of God, and stood unwaveringly firm in His Path
> shall, after his ascension, be possessed of such power that all the worlds which the Almighty hath
> created can benefit through him. Such a soul provideth, at the bidding of the Ideal King and Divine
> Educator, the pure leaven that leaveneth the world of being, and furnisheth the power through
> which the arts and wonders of the world are made manifest...
> Gleanings from the Writings of Bahá'u'lláh (Wilmette: Bahá'í Publishing Trust, 1983) p. 161
> 
> Extracts from the Writings and Utterances of 'Abdu'l-Bahá
> 14. The power of the rational soul can discover the realities of things, comprehend the peculiarities of
> beings, and penetrate the mysteries of existence. All sciences, knowledge, arts, wonders,
> institutions, discoveries and enterprises come from the exercised intelligence of the rational soul.
> There was a time when they were unknown, preserved mysteries and hidden secrets; the rational
> soul gradually discovered them and brought them out from the plane of the invisible and the hidden
> into the realm of the visible.
> Some Answered Questions (Wilmette: Bahá'í Publishing Trust, 1984) pp. 217-218
> Arts
> 
> 15. Know thou that the reality of man embraces the realities of things, and discovers the verities,
> properties and secrets of things. So all these arts, wonders, sciences and knowledge have been
> discovered by the human reality. At one time these sciences, knowledge, wonders and arts were
> hidden and concealed secrets; then gradually the human reality discovered them and brought them
> from the realm of the invisible to the plane of the visible.
> Some Answered Questions, p. 252
> 
> 16. If we are true Bahá'ís speech is not needed. Our actions will help on the world, will spread
> civilization, will help the progress of science, and cause the arts to develop. Without action nothing
> in the material world can be accomplished, neither can words unaided advance a man in the
> spiritual Kingdom. It is not through lip-service only that the elect of God have attained to holiness,
> but by patient lives of active service they have brought light into the world.
> Paris Talks: Addressed Given by 'Abdu'l-Bahá in Paris in 1911-1912, (London: Bahá'í Publishing Trust, 1979) pp. 80-81
> 
> 17. By the power of the Holy Spirit, working through his soul, man is able to perceive the Divine
> Reality of things. All great works of art and science are witnesses to this power of the Spirit.
> Paris Talks, p. 85
> 
> 18. Meditation is the key for opening the doors of mysteries. In that state man abstracts himself; in that
> state man withdraws himself from all outside objects; in that subjective mood he is immersed in the
> ocean of spiritual life and can unfold the secrets of things-in-themselves. To illustrate this, think of
> man as endowed with two kinds of sight; when the power of insight is being used the outward
> power of vision does not see.
> This faculty of meditation frees man from the animal nature, discerns the reality of things, puts
> man in touch with God.
> This faculty brings forth from the invisible plane the sciences and arts. Through the meditative
> faculty inventions are made possible, colossal undertakings are carried out; through it governments
> can run smoothly. Through this faculty man enters into the very kingdom of God.
> Paris Talks, p. 175
> 
> Extract from a Reported Utterance of 'Abdu'l-Bahá
> 19. All Art is a gift of the Holy Spirit. When this light shines through the mind of a musician, it
> manifests itself in beautiful harmonies. Again, shining through the mind of a poet, it is seen in fine
> poetry and poetic prose. When the light of the Sun of Truth inspires the mind of a painter, he
> produces marvellous pictures. These gifts are fulfilling their highest purpose when showing forth
> the praise of God.
> (Lady Blomfield, The Chosen Highway, Wilmette: Bahá'í Publishing Trust,) 1954) p. 167
> 
> Extract from a Cable by Shoghi Effendi
> 20. FEEL IMPELLED APPEAL ENTIRE BODY AMERICAN BELIEVERS HENCEFORTH REGARD
> NABIL'S SOUL-STIRRING NARRATIVE AS ESSENTIAL ADJUNCT TO RECONSTRUCTED
> TEACHING PROGRAMME, AS UNCHALLENGEABLE TEXTBOOK IN THEIR SUMMER
> SCHOOLS, AS SOURCE OF INSPIRATION IN ALL LITERARY ARTISTIC PURSUITS, AS AN
> INVALUABLE COMPANION IN TIMES OF LEISURE, AS INDISPENSABLE PRELIMINARY TO
> FUTURE PILGRIMAGE BAHÁ'ULLÁH'S NATIVE LAND AND AS UNFAILING INSTRUMENT TO
> ALLAY DISTRESS AND RESIST ATTACKS OF CRITICAL DISILLUSIONED HUMANITY.
> (20 June 1932, published in Messages to America: Selected Letters and Cablegrams Addressed to the Bahá'ís of North
> America, 1932-1946 (Wilmette: Bahá'í Publishing Committee), p. 1
> 
> Post-script in the Handwriting of Shoghi Effendi to a Letter Written on his Behalf to an
> Individual Believer
> 21. I wish to express in person my deep and heartfelt appreciation of the manifold services you are
> increasingly rendering to our beloved Faith. The field in which you labour [stage presentation] is a
> new and attractive one and is rich with immense and far-reaching possibilities. May Nabil's moving
> Arts
> 
> and historic narrative enrich your labours, heighten the quality of your work, and extend its scope
> and deepen its influence.
> (20 July 1933)
> 
> The Future Development of the Arts
> Compiled by The Research Department of the Universal House of Justice.
> Compilation on the Arts
> Part Three
> 1. Post-script in the Handwriting of Shoghi Effendi to a Letter
> Written on his Behalf to a National Spiritual Assembly
> 2. Extracts from letters written on behalf of Shoghi Effendi
> 3. Extracts from Communications Written by the Universal
> House of Justice
> 4. Excerpts from letters written on behalf of the Universal
> House of Justice
> 
> Post-script in the Handwriting of Shoghi Effendi to a Letter Written on his Behalf to a
> National Spiritual Assembly
> 22. ...the first Mashriqu'l-Adhkár of the west...[marks] the first attempt, however rudimentary, to
> express the beauty which Bahá'í art will, in its plenitude, unfold to the eyes of the world.
> 1 March 1951, appended to a letter written on his behalf to the National Spiritual Assembly of Canada, published in
> Messages to Canada (n.p.: National Spiritual Assembly of the Bahá'ís of Canada, 1965), pp. 21-22
> 
> Extracts from letters written on behalf of Shoghi Effendi
> 23. He sincerely hopes that as the Cause grows and talented persons come under its banner, they will
> begin to produce in art the divine spirit that animates their soul. Every religion has brought with it
> some form of art—let us see what wonders this cause is going to bring along. Such a glorious spirit
> should also give vent to a glorious art. The Temple with all its beauty is only the first ray of an
> early dawn; even more wondrous things are to be achieved in the future.
> 11 December 1931
> 
> 24. It is certain that with the spread of the spirit of Bahá'u'lláh a new era will dawn in art and literature.
> Whereas before the form was perfect but the spirit was lacking, now there will be a glorious spirit
> embodied in a form immeasurably improved by the quickened genius of the world.
> 3 April 1932
> 
> 25. Shoghi Effendi was very much interested to learn of the success of the “Pageant of Nations” you
> produced. He sincerely hopes that all those who attended it were inspired by the same spirit that
> animated you while arranging it.
> It is through such presentations that we can arouse the interest of the greatest number of people in
> the spirit of the Cause. The day will come when the Cause will spread like wildfire when its spirit
> and teachings will be presented on the stage or in art and literature as a whole. Art can better
> awaken such noble sentiments than cold rationalizing, especially among the mass of the people.
> We have to wait only a few years to see how the spirit breathed by Bahá'u'lláh will find expression
> in the work of the artists. What you and some other Bahá'ís are attempting are only faint rays that
> precede the effulgent light of a glorious morn. We cannot yet value the part the Cause is destined to
> play in the life of society. We have to give it time. The material this spirit has to mould is too crude
> and unworthy, but it will at last give way and the Cause of Bahá'u'lláh will reveal itself in its full
> splendour.
> 10 October 1932
> Arts
> 
> 26. The Guardian was also pleased to know of your deep interest in music, and of your desire to serve
> the Faith along this line. Although now is only the very beginning of Bahá'í art, yet the friends who
> feel they are gifted in such matters should endeavour to develop and cultivate their gifts and
> through their works to reflect, however inadequately, the Divine Spirit which Bahá'u'lláh has
> breathed into the world.
> 4 November 1937
> 
> 27. Also, you raise the question of what will be the source of inspiration to Bahá'í musicians and
> composers: the music of the past or the Word? We cannot possibly foresee, standing as we do on
> the threshold of Bahá'í culture, what forms and characteristics the arts of the future, inspired by this
> Mighty New Revelation, will have. All we can be sure of is that they will be wonderful; as every
> Faith has given rise to a culture which flowered in different forms so too our beloved Faith may be
> expected to do the same thing. It is premature to try and grasp what they will be at present.
> 23 December 1942
> 
> 28. Music, as one of the arts, is a natural cultural development, and the Guardian does not feel that
> there should be any cultivation of “Bahá'í Music” any more than we are trying to develop a Bahá'í
> school of painting or writing. The believers are free to paint, write, and compose as their talents
> guide them. If music is written, incorporating the sacred writings, the friends are free to make use
> of it, but it should never be considered a requirement at Bahá'í meetings to have such music. The
> further away the friends keep from any set forms, the better, for they must realize that the Cause is
> absolutely universal, and what might seem a beautiful addition to their mode of celebrating a Feast,
> etc., would perhaps fall on the ears of people of another country as unpleasant sounds—and vice
> versa. As long as they have music for its own sake it is all right, but they should not consider it
> Bahá'í music.
> 20 July 1946 to a National Spiritual Assembly
> 
> 29. The Guardian feels very strongly that, regardless of what the opinion of the latest school of
> architecture may be on the subject, the styles represented at present all over the world in
> architecture are not only very ugly, but completely lack the dignity and grace which must be at least
> partially present in a Bahá'í House of Worship. One must always bear in mind that the vast majority
> of human beings are neither very modern nor very extreme in their tastes, and that what the
> advanced school may think is marvellous is often very distasteful indeed to just plain, simple
> people.
> 11 July 1956 to a National Spiritual Assembly
> 
> 30. As regards producing a book of Bahá'í songs, your understanding that there is no cultural
> expression which could be called Bahá'í at this time (distinctive music, literature, art, architecture,
> etc., being the flower of the civilization and not coming at the beginning of a new Revelation), is
> correct. However, that does not mean that we haven't Bahá'í songs, in other words, songs written by
> Bahá'ís on Bahá'í subjects.
> 11 July 1956 to a National Spiritual Assembly
> 
> Extracts from Communications Written by the Universal House of Justice
> 31. There are many references to music in the Bahá'í Writings and it is given a very high place in
> education. No doubt as the Faith progresses new and wonderful compositions will appear and their
> spiritual effect upon mankind will certainly not be less than has been that of the great compositions
> of the past. Your desire and ability to serve the Faith through music is therefore acceptable and we
> hope you will find ample opportunity to your talents in this way.
> 19 April 1973 letter to an individual believer
> 
> 32. ...there is no objection to using musical instruments to accompany Bahá'í prayers, except of course
> in the Mashriqu'l-Adhkár, and provided that proper reverence is observed. There is also no
> objection to singing prayers by large groups in unison, but the friends are advised not to permit this
> to become a regular practice.
> 18 April 1984 memorandum to International Teaching Centre
> Arts
> 
> 33. The beloved Guardian made it clear that the flowering of the arts which is the result of a divine
> revelation comes only after a number of centuries. The Bahá'í Faith offers the world the complete
> rebuilding of human society—a rebuilding of such far-reaching effect that it has been looked
> forward to in all the revelations of the past and has been called the establishment of the Kingdom
> of God on earth. The new architecture to which this revelation will give birth will blossom many
> generations hence. We are now merely at the beginning of this great process.
> The present time is a period of turmoil and change. Architecture, like all arts and sciences, is
> undergoing very rapid development; one has only to consider the changes that have taken place in
> the course of the last few decades to have some idea of what is likely to happen during the years
> immediately ahead. Some modern buildings have, no doubt, qualities of greatness and will endure,
> but very much of what is being constructed now may be outgrown and may appear ugly but a few
> generates hence. Modern architecture, in other words may be considered a new development in its
> primitive stage. Classical Greek architecture, however, is an example of a mature art style. It is
> very beautiful now, just as it has been beautiful for some two thousand years or more.
> The edifice we are now about to build is intended to serve for hundreds of years and is part of a
> complex of buildings around the arc on Mount Carmel which are to be harmonious in style. This is
> why we have chosen a style that is proven and has long endured, rather than a modern style which
> may well be ephemeral.
> 18 July 1974 letter to an individual believer
> 
> Excerpts from letters written on behalf of the Universal House of Justice
> 34. As a concert pianist you are uniquely endowed for service to God and mankind, for the Master
> states that “the musician's art is among those arts worthy of the highest praise, and it moveth the
> hearts of all who grieve.”1
> Further, the pursuit of excellence in your art both fulfills Bahá'í admonitions and is worship
> manifested in your profession.
> 13 May 1980
> 
> 35. In response to your request for guidance on the best ways to approach artists in teaching the Faith,
> it can be said that in addition to those methods which attract people generally, artists will be
> responsive to art. When the sublime teachings of the Faith are reflected in artistic work, the hearts
> of people, including artists, will be touched. A quotation from the Sacred Writings or description of
> the art piece as it relates to the Writings may provide the viewer with an understanding of the
> source of this spiritual attraction and lead him to further study of the Faith.
> 21 July 1982
> 
> 36. With the evolution of Bahá'í society which is composed of people of many cultural origins and
> diverse tastes, each with his conception of what is aesthetically acceptable and pleasing, those
> Bahá'ís who are gifted in music, drama and the visual arts are free to exercise their talents in ways
> which will serve the Faith of God. They should not feel disturbed at the lack of appreciation by
> sundry believers. Rather, in knowledge of the cogent writings of the Faith on music and dramatic
> expression...they should continue their artistic endeavours in prayerful recognition that the arts are
> powerful instruments to serve the Cause, arts which in time will have their Bahá'í fruition.
> 9 August 1983
> 
> 37. The House of Justice wishes to encourage you in the writing of your book but reminds you that the
> Guardian clearly stated that at this early stage of the Dispensation there is no such thing as Bahá'í
> art, music, architecture or culture. These will doubtless emerge in the future as a natural outgrowth
> of a Bahá'í civilization. The Guardian's own predilections in such matters should never be regarded
> as laying the foundation for such developments...You should, therefore, take care not to indicate or
> make it possible to infer that the Guardian laid down the early beginnings of Bahá 'í art forms. He
> made beautiful gardens and buildings utilizing what was available and, as in the case of the
> 
> 1    Selections from the Writings of 'Abdu'l-Bahá, p. 112
> Arts
> 
> superstructure of the Shrine of the Báb, engaged experts who could produce befitting designs under
> his guidance.
> 23 June 1985
> 
> 38. With reference to music and fine arts, you are, of course, free to include them as curricular subjects
> in Bahá'í schools. Many of your fellow National Assemblies, keenly aware of the Bahá'í Writings
> concerning music and the arts, incorporate such instruction and materials as they find possible at
> this stage of Bahá'í community development. Much work by devoted and talented teachers needs to
> be done to stimulate, collect and publish the useful music now emerging in the Bahá'í world, and to
> utilize it systematically in the schools... In accordance with our teachings, music and the arts are to
> be encouraged, and they add immeasurably to the vitality and spirit of the community...
> 20 August 1985 to a National Spiritual Assembly
> 
> 39. The House of Justice is pleased to learn of your planned thesis on “The Dawn of Bahá'í Art.”
> Scholarly studies such as this play a very useful role through exploring the implications of the
> Bahá'í teachings, conveying new insights into the applications of these teachings to contemporary
> issues, and demonstrating to non-Bahá'ís the far-reaching consequences of the Revelation of
> Bahá'u'lláh.
> 14 November 1989
> 
> Guidelines for Bahá'í Artists
> Compiled by The Research Department of the Universal House of Justice.
> Compilation on the Arts
> Part Four
> 1. Extracts from the Writings of Bahá'u'lláh
> 2. Extract from the Writings of Shoghi Effendi
> 3. Extracts from Letters Written on Behalf of Shoghi Effendi
> 4. Extracts from communications written by the Universal
> House of Justice
> 5. Extracts from letters written on behalf of the Universal
> House of Justice
> 
> Extracts from the Writings of Bahá'u'lláh
> 40. We have made it lawful for you to listen to music and singing. Take heed, however, lest listening
> thereto should cause you to overstep the bounds of propriety and dignity. Let your joy be the joy
> born of My Most Great Name, a Name that bringeth rapture to the heart, and filleth with ecstasy
> the minds of all who have drawn nigh unto God. We, verily, have made music as a ladder for your
> souls, a means whereby they may be lifted up unto the realm on high; make it not, therefore, as
> wings to self and passion. Truly, We are loath to see you numbered with the foolish.
> Kitáb-i-Aqdas, B6 51
> 
> Extract from the Writings of Shoghi Effendi
> 41. Such a chaste and holy life, with its implications of modesty, purity, temperance, decency, and
> clean-mindedness, involves no less than the exercise of moderation in all that pertains to dress,
> language, amusements, and all artistic and literary avocation...It calls for the abandonment of a
> frivolous conduct, with its excessive attachment to trivial and often misdirected pleasures...It
> condemns the prostitution of art and of literature...It can tolerate no compromise with the theories,
> the standards, the habits, and the excesses of a decadent age.
> The Advent of Divine Justice (Wilmette: Bahá'í Publishing Trust, 1990) p. 30
> Arts
> 
> Extracts from Letters Written on Behalf of Shoghi Effendi
> 42. In the teachings there is nothing against dancing, but the friends should remember that the standard
> of Bahá'u'lláh is modesty and chastity. The atmosphere of modern dance halls, where so much
> smoking and drinking and promiscuity goes on, is very bad, but decent dances are not harmful in
> themselves. There is certainly no harm in taking part in dramas. Likewise in cinema acting. The
> harmful thing, nowadays, is not the art itself but the unfortunate corruption which often surrounds
> these arts. As Bahá'ís we need avoid none of the arts, but acts and the atmosphere that sometimes
> go with these professions we should avoid.
> 30 June 1952 to a National Spiritual Assembly
> 
> 43. With reference to your question whether the figures of the Báb and Bahá'u'lláh should be made to
> appear as characters in dramatic works written by the believers, Shoghi Effendi's opinion is that
> such an attempt to dramatize the Manifestations would be highly disrespectful, and hence should be
> avoided by the friends, even in the case of the Master. Besides, it would be practically impossible
> to carry out such a plan faithfully, and in a dignified and befitting manner.
> 27 January 1935 to a National Spiritual Assembly
> 
> 44. As to your question concerning the advisability of dramatizing Bahá'í historic episodes: the
> Guardian would certainly approve, and even encourage that the friends should engage in such
> literary pursuits which, no doubt, can be of immense teaching value. What he wishes the believers
> to avoid is to dramatize the personages of the Báb, Bahá'u'lláh or the Master—only Their Words
> can be used, but no figure must represent Them; great dignity must be the keynote.
> 19 August 1951
> 
> Extracts from communications written by the Universal House of Justice
> 45. We have found nothing in the texts forbidding the use of the Greatest Name, the Names of the
> Manifestations of God or the names of the Central Figures of our Faith in the lyrics of music.
> However, we feel that when they are used they should be used with reverence and respect, both in
> the manner in which they are incorporated in the lyrics and in the manner of presentation.
> 14 March 1968 to a National Spiritual Assembly
> 
> 46. Inasmuch as the spirit of our gathering is so much affected by the tone and quality of our worship,
> of our feeling and appreciation of the Word of God for this day, we would hope that you would
> encourage the most beautiful possible expression of the human spirits in your communities,
> through music among other modes of feeling.
> 22 February 1971 to a National Spiritual Assembly
> 
> 47. We see no objection to the use of natural phenomena as symbols to illustrate the significance of the
> three Central Figures, Bahá'í Laws, and Bahá'í Administration, and we also appreciate the
> suitability of using visual symbols to express abstract concepts.
> 29 July 1971
> 
> 48. Your understanding that the portrayal of the Báb and Bahá'u'lláh in works of art is forbidden is
> correct. The Guardian made it clear that this prohibition refers to all the Manifestations of God;
> photographs or reproductions of portraits of the Master may be used in books, but no attempt
> should be made to portray Him in dramatic or other works where He would be one of the “dramatis
> personae.” However, there can be no objection to symbolic representation of such Holy Figures,
> provided it does not become a ritual and that the symbol used is not irreverent.
> 3 December 1972
> 
> 49. ...an examination of the letters of the beloved Guardian makes it absolutely clear that it is not
> permissible to portray on the stage the figure of the Manifestation of God, nor even of the Master...
> The Universal House of Justice considers it inappropriate to represent the Guardian of the Faith as
> a character in a play. The use of light, either of great intensity or in different colours, needs your
> careful consideration. If the use of light in any way at all suggests a personification of the
> Manifestation of God it should not be used, but if it can be done without in any way giving the
> Arts
> 
> impression that the Prophet is being represented or personified then there is no objection to its use.
> As to the portrayal of living persons, there are occasions when this may be done, such as
> spontaneous or local presentations for the purpose of teaching or describing events, but generally it
> is unwise to do so.
> 12 August 1975
> 
> 50. With reference to the question concerning the clapping of hands in songs where the Greatest Name
> is used, the House of Justice does not want to draw hard and fast rules. Clearly such matters are
> secondary and subject to cultural considerations, customs, and the social conventions prevailing in
> a given society. In some cultures, for example, clapping, as part of religious expression, is
> considered offensive; in other cultures, clapping is a means of keeping the rhythm of the hymn,
> especially in the absence of a musical instrument, and is integral to religious experience; among
> other peoples, clapping may constitute a demonstration of religious fervor. Further, within any
> given country there may well be regional cultural differences.
> Therefore, it is left to the National Spiritual Assembly to weigh each case with care and sensitivity
> in light of the prevailing cultural milieu and, if necessary, provide guidance to the friends.
> 1 October 1986 memorandum to the International Teaching Centre
> 
> Extracts from letters written on behalf of the Universal House of Justice
> 51. The Universal House of Justice has received your letter of 25 March 1976 in which you ask if it
> would be permissible for you to include drawings of the Manifestation of God in some study
> material for children that you are preparing, and has instructed us to say that this would not be
> permissible.
> 16 May 1976 to a National Spiritual Assembly
> 
> 52. The prohibition on representing the Manifestation of God in paintings and drawings or in dramatic
> presentations applies to all the Manifestations of God. There are, of course, great and wonderful
> works of art of past Dispensations, many of which portrayed the Manifestation of God in a spirit of
> reverence and love. In this Dispensation, however, the greater maturity of mankind and the greater
> awareness of the relationship between the Supreme Manifestation and His servants enable us to
> realize the impossibility of representing, in any human form, whether pictorially, in sculpture or in
> dramatic representation, the Person of God's Manifestation. In stating the Bahá'í prohibition, the
> Guardian pointed out this impossibility.
> 9 March 1977
> 
> 53. As you are no doubt aware, it is not permissible to portray the Manifestations of God in dramatic
> works and it can be understood that great skill will be needed to produce an effective film about the
> history of the Faith in which neither the Báb nor Bahá'u'lláh could actually appear. Because of the
> overwhelming significance of the Bahá'í message and the Bahá'í Revelation, any such film
> produced under the aegis of the Bahá'í community would have to be of the very highest quality in
> all respects.
> 24 September 1978 to a National Spiritual Assembly
> 
> 54. ...it would not be proper for an actor to speak the part of one of the three Central Figures of the
> Faith in a radio play.
> 3 April 1979 to a National Spiritual Assembly
> 
> 55. As to your request for guidance from the House of Justice regarding the play you are writing, we
> are asked to say that the friends are free to write whatever they are moved to create. If, however,
> such works are about the Faith and are for publication, they must be reviewed and approved by the
> National Spiritual Assembly of the country in which they are first published.
> 5 March 1981
> 
> 56. Literary work, whether a play or otherwise, has to be reviewed by the National Spiritual Assembly
> of the country in which it is published. As to the performance of a play in any country, this is a
> Arts
> 
> matter for decision by the National Assembly who may rule that, for safety's sake, a certain drama
> (Bahá'í or non-Bahá'í) should not be performed by Bahá'ís within its jurisdiction. That, however, is
> a different question, and has nothing to do with review.
> 22 February 1982
> 
> 57. We are to call to your attention the beloved Guardian's instruction that while no personal
> representation of the Holy Ones should be made on stage or in pictorial form, there is no objection
> to Their words and utterances being reported.
> 15 March 1983 to a National Spiritual Assembly
> 
> 58. There is no objection to Bahá'ís writing novels portraying historical events and figures of the nature
> described in your letter. However, in view of the impossibility of ever portraying adequately the
> Manifestation of God as a character in a novel, and of the disrespect implicit in such an attempt, no
> such portrayal involving any of the Central Figures of the Faith should be attempted.
> 10 June 1986
> 
> 59. While the House of Justice realizes that biographies of the Greatest Holy Leaf will be written, it
> feels that it would not be befitting to portray her in any dramatic or fictional form.
> 22 September 1986
> 
> 60. You sometimes provide detailed written descriptions of the symbols you use in your paintings; as a
> practice this could introduce an aspect which could be unduly interpretive of Bahá'í concepts,
> ultimately detracting from rather than enhancing your artistic efforts. Symbolism is the stuff of art,
> but artists rarely interpret the symbols they use, leaving it to the observers of their works to draw
> their own conclusions, sometimes with no more than hints from the titles given such works.
> The titling of a piece of art is the artist's prerogative; the only objection would be to the use of an
> irreverent title for a piece intended to represent a Bahá'í subject.
> As to your question about an artist's executing a “painting which is a contemporary illumination of
> a passage of the Holy Writings,” the House of Justice feels artists should not be inhibited by Bahá'í
> institutions from creating a variety of calligraphic renderings of the Holy Writings or of the
> Greatest Name. However, such efforts should be in good taste and not assume forms that lend
> themselves to ridicule. Regarding the commonly used symbol of the Greatest Name, the House of
> Justice advises that great care be given to the accurate representation of the Persian calligraphy,
> since any deviation from an accepted representation can be distressing to Iranian believers.
> 23 February 1987
> 
> 61. The policy formulated by the House of Justice to discourage the reproduction of photographs of
> paintings of the Master for distribution does not imply any judgement of the quality of a painting.
> There is a wide variation in the quality of the artistry with which paintings of the Master are carried
> out. The House of Justice does not wish to show preference to one painting over another; it chooses
> rather to adopt this general policy as a means of ensuring that appropriate respect is accorded to
> representations of 'Abdu'l-Bahá and that there is no distribution of photographic reproductions of
> those paintings which are of poor quality...
> More generally, the House of Justice feels that one of the great challenges facing Bahá'ís
> everywhere is that of restoring to the peoples of the world an awareness of spiritual reality. Our
> view of the world is markedly different from that of the mass of mankind, in that we perceive
> creation to encompass spiritual as well as physical entities, and we regard the purpose of the world
> in which we now find ourselves to be a vehicle for our spiritual progress.
> This view has important implications for the behaviour of Bahá'ís and gives rise to practices which
> are quite contrary to prevailing conduct of the wider society. One of the distinctive virtues given
> emphasis in the Bahá'í Writings is respect for that which is sacred. Such behaviour has no meaning
> for those whose perspective on the world is entirely materialistic, while many followers of the
> established religions have debased it into a set of rituals devoid of true spiritual feeling.
> In some instances, the Bahá'í Writings contain precise guidance on how the reverence for sacred
> objects of places should be expressed, e.g., restrictions on the use of the Greatest Name on objects
> or indiscriminate use of the record of the voice of the Master. In other instances, the believers are
> Arts
> 
> called upon to strive to obtain a deeper understanding of the concept of sacredness in the Bahá'í
> teachings, from which they can determine their own forms of conduct by which reverence and
> respect are to be expressed.
> The importance of such behaviour derives from the principles expressed in the Bahá'í Writings, that
> the outward has an influence on the inward. Referring to “the people of God” Bahá'u'lláh states:
> “Their outward conduct is but a reflection of their inward life, and their inward life a mirror of their
> outward conduct.”
> It is within this framework that the Universal House of Justice wishes you to view the concerns
> which have been expressed over the past several years. Bahá'ís endowed with artistic talent are in a
> unique position to use their abilities, when treating Bahá'í themes, in such a way as to disclose to
> mankind evidence of the spiritual renewal the Bahá'í Faith has brought to humanity through its
> revitalization of the concept of reverence.
> Questions of artistic freedom are not germane to the issues raised here. Bahá'í artists are free to
> apply their talents to whatever subject is of interest to them. However, it is hoped that they will
> exercise a leadership role in restoring to a materialistic society an appreciation of reverence as a
> vital element in the achievement of true liberty and abiding happiness.
> 24 September 1987
> 
> 62. In The Advent of Divine Justice, p. 25, Shoghi Effendi states that the Faith “condemns the
> prostitution of art” and “the practices of nudism” and instead calls for the “exercise of moderation
> in all that pertains to dress, language, amusements, and all artistic and literary avocations.”
> However, the House of Justice does not know of any passages in the teachings prohibiting the
> delineation of the human body in works of art. It is the practice of nudism that the Guardian
> condemns in The Advent of Divine Justice, not nudity. There are many variables in the question of
> the portrayal of the nude form in art, including that of local mores and attitudes. The intention of
> the artist is a very important factor. Normally that is a matter left to the conscience and good taste
> of the individual artist unless the Spiritual Assembly decides that the Cause is actually being
> harmed in a particular case.
> 25 February 1988 to a National Spiritual Assembly
> 
> 63. The House of Justice is pleased to learn of the success you are achieving in your profession. It
> advises you to view this professional activity within the context of service to the Faith and the
> promotion of the proclamation and teaching work. Your musical achievements will enable you to
> reach a wide range of people and ultimately to proclaim the Message of Bahá'u'lláh to them
> through the expression of its values in your music. You can also make valuable friendships for the
> Faith among the influential people you will meet as your business continues to develop...Bahá'í
> artists who achieve eminence and renown in their chosen field, and who remain dedicated to the
> promotion of the Faith, can be of unique assistance to the Cause at the present time when public
> curiosity about the Bahá'í teachings is gradually being aroused.
> 30 June 1988
> 
> 64. In response to your letter...in which you ask whether verses from prayers or selections from The
> Hidden Words may be repeated when they are sung in a choir or by individuals, especially in the
> House of Worship, we have been directed by the Universal House of Justice to say that there is no
> objection to the repetition of these verses in songs in order to conform with musical requirements.
> 30 March 1989 to a National Spiritual Assembly
> 
> 65. With reference to your question regarding any limitations to the setting of Bahá'í Writings to music,
> we are to state that it is permissible to use selections from the Holy Writings as lyrics to be
> accompanied by musical compositions, and to repeat verses or words. A composer is free to
> determine the musical style, bearing in mind the spiritual obligation to treat the Sacred Texts with
> propriety, dignity and reverence.
> 28 November 1990
> 
> 66. ...traditional dances associated with the expression of a culture are permissible in Bahá'í Centres.
> However, it should be borne in mind that such traditional dances generally have an underlying
> Arts
> 
> theme or a story being represented. Care must be exercised that the themes of such dances are in
> harmony with the high ethical standards of the Cause and are not portrayals that would arouse base
> instincts and unworthy passions...
> As for choreographed dances whose purpose is to reinforce and proclaim Bahá'í principles, if they
> can be performed in a manner which portrays the nobility of such principles and invokes
> appropriate attitudes of respect or reverence, there is no objection to dances which are meant to
> interpret passages from the Writings; however, it is preferable that the motions of a dance not be
> accompanied by the reading of the words.
> The principles which must guide the friends in their consideration of these questions is the
> observance of “moderation in all that pertains to dress, language, amusements, and all artistic and
> literary avocations.”
> 20 June 1991 to a National Spiritual Assembly
> 
> 67. There is no objection, of course, to the use of the phrase “Bahá'í artist,” but at this point in time in
> the Bahá'í Dispensation we should not use the term “Bahá'í art,” “Bahá'í music,” or “Bahá'í
> architecture.”
> 12 March 1992
> 
> 68. Regarding your question as to the appropriateness of the friends singing in unison Bahá'í prayers
> which have been set to music, this is entirely permissible. However, the music should appropriately
> reflect the sacred nature of the Writings, and the friends are advised not to make a ritual out of the
> practice. The beloved Master encourages us in this regard: “Therefore...set to music the verses and
> the divine words so that they may be sung with soul-stirring melody in the Assemblies and
> gatherings, and that the hearts of the listeners may become tumultuous and rise towards the
> Kingdom of Abhá in supplication and prayer.”2
> 20 April 1992 to a National Spiritual Assembly
> 
> 2    Bahá'í World Faith: Selected Writings of Bahá'u'lláh and 'Abdu'l-Bahá, rev. ed. (Wilmette: Bahá'í Publishing Trust, 1976) p. 378
>
> — *Compilation of Compilations: Volume 1 (Used by permission of the curator)*