The Rose Chalice

Taiteilija

Jila Peacock

A Life Interwoven with Calligraphy and Colour: The Art of Jila Peacock

Jila Peacock is an Iranian-born artist whose work beautifully bridges the worlds of painting, printmaking, medicine, and poetry. Born in Tehran in 1948 as Djallilah Pezeshgi, her journey to becoming a celebrated visual artist was anything but conventional. Her early life in Iran instilled within her a deep appreciation for the aesthetic power of form, particularly the intricate designs found in traditional Persian art—a fascination with faces and shapes composed within other shapes that would later profoundly influence her artistic practice. In 1959, she moved to the United Kingdom, embarking on a rigorous eight-year study of medicine at London University. This period, though seemingly distant from the realm of art, cultivated a meticulous attention to detail and an analytical approach that would become hallmarks of her creative process. For nearly a decade after completing her medical training in 1973, Peacock practiced as a doctor, balancing the demands of healing with a burgeoning artistic sensibility. It wasn’t until 1984 that she fully embraced her passion, graduating from St Martin’s School of Art in London with a BA Hons degree in Painting/Film.

From Medical Practice to Artistic Expression

The transition from medicine to art was not abrupt but rather a gradual unfolding. While practicing as a doctor, Peacock continued to nurture her artistic interests, exploring various mediums and techniques. The pivotal moment came when she began experimenting with calligraphy, initially inspired by a chance encounter with a simple greetings card featuring childlike writing. This sparked an interest in the expressive potential of script itself—not merely as a means of communication but as a visual element capable of conveying emotion, spirituality, and profound beauty. She also recalled childhood memories of animal shapes hidden within designs in Tehran shops, which resurfaced as a key motif in her work. Moving to Glasgow in 1990 proved transformative. Becoming a member of the Glasgow Print Studio provided access to invaluable resources and a supportive community of artists. Simultaneously, she took on part-time lecturing positions at the Glasgow School of Art, sharing her knowledge and passion with aspiring creatives. This period marked a significant shift towards printmaking as a primary medium, allowing her to explore the possibilities of repetition, layering, and texture.

The Poetry of Hafez: A Central Theme

Peacock’s artistic vision truly crystallized in the early 2000s with her exploration of the poetry of Hafez, the revered fourteenth-century Persian lyric poet. She embarked on a deeply personal project of translating his verses and transforming them into stunning calligraphic images. These were not literal transcriptions but rather evocative interpretations—shapes formed from the flowing lines of nasta‘liq script, imbued with colour and symbolism. In 2003-4, an award from the Arts and Humanities Research Board at New Hall, Cambridge (now Murray Edwards College) enabled her to create a hand-printed edition of ten calligraphic images based on Hafez’s poems. This project culminated in an exhibition at the Fitzwilliam Museum in Cambridge in 2005 and inclusion in the British Museum's Word into Art exhibition in 2006, bringing her work to international attention. The resulting book, Ten Poems from Hafez, published by Sylph Editions, garnered critical acclaim and won the British BookDesign Award in 2006.

Collaboration and Ethereal Landscapes

Peacock’s artistic practice extends beyond solo endeavors; collaboration plays a vital role in her creative process. Her multi-media project The Seafarer (2000), created in partnership with composer Sally Beamish, beautifully integrated her monoprints series based on the Anglo-Saxon poem of the same name with Beamish’s musical composition. The resulting piano trio was first performed at the Alderton Arts festival in 2001 and later at the prestigious Aldeburgh Music Festival in 2016, demonstrating the power of interdisciplinary artistic dialogue. Further collaborations with composer Jonathan Harvey resulted in 7Heavens, a project featured at the Glasgow Print Studio. Beyond these specific projects, Peacock’s work is characterized by an ethereal quality—a sense of spirituality and transcendence that resonates deeply with viewers. Her landscapes are not mere representations of physical places but rather emotional responses to them, imbued with colour, texture, and a subtle sense of mystery.

Historical Significance and Lasting Legacy

Jila Peacock's contribution to contemporary art lies in her unique ability to synthesize diverse influences—Persian artistic traditions, medical precision, poetic sensibility, and collaborative spirit—into a cohesive and compelling body of work. Her innovative use of calligraphy as a visual medium has expanded the boundaries of traditional printmaking and opened up new avenues for exploring the relationship between text and image. As Robert Hillenbrand noted, she continues “the untiring virtuosity of those who use the Arabic and Persian script as their preferred form of visual expression.” Her work is held in numerous national collections throughout the UK and internationally, a testament to its enduring artistic merit and cultural significance. Peacock’s art invites viewers to contemplate the beauty of language, the power of symbolism, and the profound connection between spirituality and creativity—a legacy that will continue to inspire generations of artists and art lovers alike.

Museo

New Hall Art Collection

Näytteillä kohteessa Cambridge, United Kingdom

The Evolution of an Artistic Sanctuary

Nestled within the verdant, scholarly embrace of Cambridge University, the institution formerly known as the New Hall Art Collection has undergone a profound metamorphosis, emerging today as

The Women's Art Collection

. This is not merely a change in nomenclature but a sweeping narrative of artistic expansion. What began as a dedicated exploration of British ceramic mastery has blossomed into one of the most significant repositories of modern and contemporary art by women in the world. To wander through its halls is to witness a living history, where the delicate, tactile heritage of the past meets the bold, provocative voices of the present. For the discerning collector or the interior designer seeking inspiration, the collection offers a rare dialogue between the enduring stability of tradition and the vibrant, ever-shifting currents of contemporary expression.

A Legacy Written in Clay and Porcelain

Before its contemporary expansion, the heart of the collection beat with the rhythmic precision of British decorative arts. The museum’s foundation remains deeply rooted in the exquisite artistry of

Royal Worcester Porcelain

and

Wedgwood Ceramics

. These are not merely objects of utility but masterpieces of texture and form that continue to captivate those with an eye for fine detail. One might find themselves lost in the delicate floral motifs of Royal Worcester, where masterful glaze techniques create a luminous, ethereal quality that exemplifies Victorian elegance. In contrast, the Wedgwood pieces offer a study in understated sophistication; their stoneware sculptures and tableware, adorned with geometric patterns and bold, commanding colors, demonstrate the revolutionary design principles established by Josiah Wedgwood I. For those who curate spaces defined by classical grace and structural integrity, these ceramic treasures provide an unparalleled blueprint of craftsmanship.

Architecture as a Canvas for the Contemporary

The physical setting of the collection serves as a silent protagonist in its story. The architectural landscape of Murray Edwards College provides a breathtaking backdrop where the

Victorian Gothic Revival

style meets the clean lines of modernism. Visitors are greeted by soaring arches and the soft, filtered light of stained glass windows—elements that evoke a sense of profound contemplation. This historic atmosphere creates a striking juxtaposition when paired with the collection's more recent acquisitions: powerful paintings, prints, and sculptures by women artists of international renown. The museum’s very structure, including the Grade II* listed modernist additions by Chamberlain, Powell and Bon, mirrors the collection's own journey from the ornamental traditions of the 19th century to the avant-garde spirit of today.

A Vision of Visibility and Vitality

Beyond its physical beauty, the museum serves a vital cultural mission: to champion artists who identify as women, providing them with a global stage and a permanent voice. This commitment is reflected in recent, thought-provoking exhibitions that bridge the gap between historical themes and modern sensibilities. Whether exploring the quiet, introspective depths of

“The Sleepers”

or tracing familial lineages through works like

“Relative Ties,”

the collection continues to evolve through intentional acquisitions and generous gifts. It remains a destination where history is not static but is instead a continuous, breathing entity—a place where the legacy of British ceramics and the vanguard of contemporary female artistry converge to inspire the next generation of aesthetic thinkers.