From Letters Written by and on Behalf of the Universal House of Justice
Publicity itself should be well-conceived, dignified and reverent. A flamboyant approach which may succeed in drawing much initial attention to the Cause may ultimately prove to have produced a revulsion which would require great effort to overcome. The standard of dignity and reverence set by the beloved Guardian should always be upheld, particularly in musical and dramatic items; and photographs of the Master should not be used indiscriminately. This does not mean that activities of the youth, for example, should be stultified; one can be exuberant without being irreverent or undermining the dignity of the Cause.
(2 July 1967, by the Universal House of Justice to all National Spiritual Assemblies) [43]
...we feel that it will be helpful to you to know that songs whose words are the primary Writings of the Báb, Bahá’u’lláh or ‘Abdu’l-Bahá are all quite fitting for the devotional portion of the Feast. Indeed, the Persian chants are such songs, out of a different tradition; they are a way of giving music to the holy Word, and each person who chants does it in a way which mirrors his feeling and expression of the Words he is uttering. As for songs whose words are poetic and the composition of persons other than the Figures of the Faith, these may be desirable but in their proper place....
Inasmuch as the spirit of our gatherings 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, by the Universal House of Justice to a National Spiritual Assembly) [44]
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, by the Universal House of Justice to an individual) [45]
While it is quite true that individual artists such as Mark Tobey and others have undoubtedly been inspired and influenced by their love for the Revelation of Bahá’u’lláh, it is far too early in the Bahá’í Dispensation to talk about the influence of the Faith on the arts in general. Indeed the beloved Guardian himself has pointed out that there is, as yet, no such thing as Bahá’í art although there is no doubt from statements in the writings that a wonderful efflorescence of new and beautiful arts may be anticipated in the future.
(17 January 1973, by the Universal House of Justice to a National Spiritual Assembly) [46]
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 generations hence. Modern architecture, in other words, may be considered a new development in its primitive stage.
(18 July 1974, by the Universal House of Justice to an individual) [47]
The House of Justice feels that at this time in the development of the Faith its primary responsibility is the preparation and prosecution of teaching plans designed to achieve the objectives set forth in ‘Abdu’l-Bahá’s Tablets of the Divine Plan and that theories in arts and sciences should be developed under the auspices of those who are well-versed and expert in those fields.
(25 January 1977, on behalf of the Universal House of Justice to an individual) [48]
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 Manifestations 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 beloved Guardian pointed out this impossibility.
(9 March 1977, on behalf of the Universal House of Justice to an individual) [49]
The same destructive forces are also deranging the political, economic, scientific, literary, and moral equilibrium of the world and are destroying the fairest fruits of the present civilization.... Even music, art, and literature, which are to represent and inspire the noblest sentiments and highest aspirations and should be a source of comfort and tranquillity for troubled souls, have strayed from the straight path and are now the mirrors of the soiled hearts of this confused, unprincipled, and disordered age.
(10 February 1980, by the Universal House of Justice to the Iranian Bahá’ís throughout the World; published in “Messages from the Universal House of Justice 1963–1986” (Wilmette: Bahá’í Publishing Trust, 1996), p. 435) [50]
Generally speaking, works of fiction which the writers hope will help to promote knowledge of the Cause of God will fulfil this purpose better if they are set against the background of particular events or developing processes in the Cause of God, and not used to portray the actual historical events themselves and the figures taking part in them. The reality of the actual events and the actual personages is so much more convincing than any fictional account. In this connection the Guardian’s secretary wrote on his behalf:7
He would not recommend fiction as a means of teaching; the condition of the world is too acute to permit of delay in giving them the direct teachings associated with the name of Bahá’u’lláh. But any suitable approach to the Faith, which appeals to this or that group, is certainly worthy of effort, as we wish to bring the Cause to all men, in all walks of life, of all mentalities.
(23 September 1980, on behalf of the Universal House of Justice to an individual) [51]
Your letter ... concerning art has been received, and the Universal House of Justice has instructed us to commend you on your plan to use your artistic talents to express the spirit of Bahá’u’lláh’s teachings. It warmly encourages you in this pursuit....
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, on behalf of the Universal House of Justice to an individual) [52]
With the evolution of the 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 artistic 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, on behalf of the Universal House of Justice to an individual) [53]
Your letter ... requesting guidance in the matter of visual representation of the personages connected with the Heroic Age of the Faith has been received. The Universal House of Justice wishes you to know that there is nothing in the instructions of the Guardian, nor of the House of Justice, ... to prohibit artists ... to make drawings of Letters of the Living in surroundings, or participating in events, which are historically accurate. Obviously, in addition to accuracy, it is important to uphold the dignity of the personages being portrayed.
(5 October 1983, on behalf of the Universal House of Justice to a National Spiritual Assembly) [54]
Architecture at this time, in common with all aspects of our civilization, is going through a period of rapid development, with tastes changing from decade to decade. No one can be certain whether a building which is built now in a current style will still appear beautiful in the eyes of the people fifty years hence. For the World Administrative Centre of the Faith, therefore, the beloved Guardian chose the classical Greek style of architecture. This is a mature style, very beautiful, which has persisted for some 2,000 years. It would not be correct, however, to deduce from this that the classical Greek styles are particularly Bahá’í architecture.
(3 September 1984, on behalf of the Universal House of Justice to an individual) [55]
Rejecting the low sights of mediocrity, let them scale the ascending heights of excellence in all they aspire to do. May they resolve to elevate the very atmosphere in which they move, whether it be in the school rooms or halls of higher learning, in their work, their recreation, their Bahá’í activity or social service.
Indeed, let them welcome with confidence the challenges awaiting them. Imbued with this excellence and a corresponding humility, with tenacity and a loving servitude, today’s youth must move towards the front ranks of the professions, trades, arts and crafts which are necessary to the further progress of humankind—this to ensure that the spirit of the Cause will cast its illumination on all these important areas of human endeavour.
Moreover, while aiming at mastering the unifying concepts and swiftly advancing technologies of this era of communications, they can, indeed they must, also guarantee the transmittal to the future of those skills which will preserve the marvellous, indispensable achievements of the past. The transformation which is to occur in the functioning of society will certainly depend to a great extent on the effectiveness of the preparations the youth make for the world they will inherit.
(8 May 1985, by the Universal House of Justice to the Bahá’í Youth of the World) [56]
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 foundations for such developments. As clearly indicated by his rejection of the design submitted to him for the Temple in Kampala ... he did not feel that the general modern trend of architecture current at his time was suitable for a Bahá’í House of Worship, but this in no sense implies that he instituted a pattern of his own. His choice of the classical style for the structures on Mount Carmel was, according to Amatu’l-Bahá Rúḥíyyih Khánum, on the grounds that it was beautiful and befitted the area, and that it had withstood the test of time. 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 superstructure of the Shrine of the Báb, engaged experts who could produce befitting designs under his guidance.
(23 June 1985, on behalf of the Universal House of Justice to an individual) [57]
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. Your Assembly’s thoughts and efforts are valued, and you are remembered in the prayers of the House of Justice.
(20 August 1985, on behalf of the Universal House of Justice to a National Spiritual Assembly) [58]
Regarding the use of symbolism in art, the following extracts from letters written to two individuals by the House of Justice may provide the answer you seek:
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.
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.
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 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, on behalf of the Universal House of Justice to an individual) [59]
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 for 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.
An important distinction is made between publication of photographs of paintings in books and magazines, which is not prohibited as it is subject to some degree of judgement by the publisher, and their publication as separate items, which is discouraged by the House of Justice.
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 or places should be expressed, e.g., restrictions on the use of the Greatest Name on objects or on indiscriminate use of the record of the voice of the Master. In other instances, the believers are 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 principle 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, on behalf of the Universal House of Justice to an individual) [60]
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. These considerations might well guide you in the decision now before you concerning the area in which you should reside. 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, on behalf of the Universal House of Justice to two individuals) [61]
It is permissible to use selections from the Holy Writings as lyrics to be accompanied by musical compositions and to repeat verses or words. The following quotations provide further clarification concerning these matters.
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.
(‘Abdu’l-Bahá, “Bahá’í World Faith”, p. 378)8
No doubt prayers and parts of the Tablets, “Hidden Words”, etc., will be suitable, but he does not feel it would be advisable to abridge any given part, in other words to leave out parts of a paragraph or a meditation and foreshorten it in this manner.
(From a letter dated 3 July 1949 written on behalf of Shoghi Effendi to an individual believer)
In response to a question from a believer concerning minor alterations of words for the sake of correct accent or the addition of a word for the sake of perfect meter, the beloved Guardian stated the following:
Slight alterations in the text of the prayers are permissible, and I would advise you to give a musical form to the revealed word itself which I feel will be exceedingly effective. I will pray that the Beloved may inspire you to accomplish this great service to His Cause.
(In the handwriting of Shoghi Effendi, appended to a letter dated 8 April 1931 written on his behalf to an individual believer)
Regarding the question of setting verses from the Bahá’í Writings to the melodies of existing pieces of music, assuming that there is no copyright or legal restriction involved, one should bear in mind that such music may carry with it associations of the original piece, either in lyrics or in mood, and may not meet the requirement to treat the Sacred Texts with dignity and reverence.
(6 December 1989, on behalf of the Universal House of Justice to an individual) [62]
There is no objection to the interpretation of a prayer in the form of movement or dance if the spirit is properly reverential, but preferably this should not be accompanied by reading the words.
(4 January 1990, on behalf of the Universal House of Justice to an individual) [63]
The House of Justice is pleased to learn of your teaching activities and your continued devotion to the Cause of God in spite of difficulties you have experienced as a musician. With regard to your questions: the Bahá’í Teachings obviously do not condone the mistreatment of musicians or other artists, nor are artists expected to sacrifice their free will to the whims, or even the strongly held opinions, of other Bahá’ís. As for the tensions and difficulties arising between your teaching the Faith through music and your parallel need to be self-supporting, it is suggested that you yourself will need to set your own limits in this regard. We find, for example, the following guidance in a letter dated 26 February 1933 written on behalf of Shoghi Effendi to an individual believer:
The advice that Shoghi Effendi gave you regarding the division of your time between serving the Cause and attending to your other duties was also given to many other friends both by Bahá’u’lláh and the Master. It is a compromise between the two verses of the “Aqdas”, one making it incumbent upon every Bahá’í to serve the promotion of the Faith and the other that every soul should be occupied in some form of occupation that will benefit society. In one of His Tablets Bahá’u’lláh says that the highest form of detachment in this day is to be occupied with some profession and be self-supporting. A good Bahá’í, therefore, is the one who so arranges his life as to devote time both to his material needs and also to the service of the Cause.
(15 February 1990, on behalf of the Universal House of Justice to an individual) [64]
Your sincere desire to use theatre as a means of spreading the tenets of the Faith among the people is commendable and it is the hope of the House of Justice that your devoted efforts in this field may bring satisfaction to yourselves and benefits to the community; however, as you yourself have stated, you are conscious of the difficulties and potential pitfalls of Bahá’í theatrical endeavours at this time and in the atmosphere of intolerance prevailing in your country, which make it essential not to produce plays which may arouse public antipathy or the indignation of religious fundamentalists.
(9 April 1990, on behalf of the Universal House of Justice to a National Spiritual Assembly) [65]
...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 theme or a story being represented. Care must be exercised to ensure 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 principle 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, on behalf of the Universal House of Justice to a National Spiritual Assembly) [66]
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, on behalf of the Universal House of Justice to two individuals) [67]
The medium of a novel offers a great deal of latitude for an author to elaborate ideas and areas of thought hitherto unexplored. You should be careful, however, not to ... give interpretations that may not be correct if the Faith and its Teachings are to be explicit in the novel. If, on the other hand, there is no clear connection to the Faith in the novel, you would be free to use your imagination in exploring any ideas which have as their source the principles of the Faith.
(15 February 1994, on behalf of the Universal House of Justice to an individual) [68]
In all their efforts to achieve the aim of the Four Year Plan, the friends are also asked to give greater attention to the use of the arts, not only for proclamation, but also for the work in expansion and consolidation. The graphic and performing arts and literature have played, and can play, a major role in extending the influence of the Cause. At the level of folk art, this possibility can be pursued in every part of the world, whether it be in villages, towns or cities. Shoghi Effendi held high hopes for the arts as a means for attracting attention to the Teachings. A letter written on his behalf to an individual thus conveys the Guardian’s view: “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.”
(21 April 1996, by the Universal House of Justice to the Bahá’ís of the World) [69]
In much of the region, insufficient attention has been given to the education of children. Far more extensive programmes should be initiated in those countries where the need exists, to ensure that Bahá’í children are nurtured, encouraged to acquire trained minds, illumined with a sound knowledge of the Divine Teachings, well-equipped to participate in the work of the Cause at all levels and to contribute to the arts, crafts and sciences necessary for the advancement of civilization. Such programmes, when open to all children, Bahá’í or not, offer a potent means of extending the beneficial influences of Bahá’u’lláh’s Message to the wider society.
(21 April 1996, by the Universal House of Justice to the Followers of Bahá’u’lláh in Australasia) [70]