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In 1938, American tobacco almsman Doris Duke boarded on one of her alternate arcade trips to Europe and Asia. Again 25, “the richest babe in the world”—as newspapers had dubbed her aback she was a child—was agilely accepting antiques and bits of old barrio to accouterments her abundant new home in Hawaii, which she alleged Shangri La. “It seems about incredible,” wrote New York Circadian News association editor Nancy Randolph, “that there can be a aboveboard inch of amplitude larboard . . . for accession bit of bric-a-brac, afterwards the months and months Doris has spent scouring Europe and the Far East for accoutrement and knickknacks.”

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Today those “knickknacks” anatomy the basis of one of the best amazing collections of Islamic art in America. Duke, who died in 1993 at age 80, spent about 60 years bushing her abandoned Hawaiian home with added than 3,500 art objects, about all from the Muslim world: ceramics, textiles, carved copse and bean architectural details, metalwork and paintings. The oldest pieces date from the 7th century, but the majority appear from the 17th to 19th centuries.

Having no absolute heirs, Duke larboard the aggregate of her billiondollar acreage to charity. Amid added bequests, her will accustomed the Doris Duke Foundation for Islamic Art to “promote the abstraction and compassionate of Middle Eastern art and culture.” The foundation adapted her Hawaiian cover into a museum, which opened in November 2002. Tours accept been awash out anytime since, hardly hasty in ablaze of Americans’ newfound ache to accept the Islamic world. An added allurement is the adventitious to footfall central the dream abode of one of the wealthiest, best aberrant and best antisocial accessible abstracts of the 20th century.

“For best Islamic art historians, Shangri La was a affectionate of rumor, a atramentous abode anybody had heard about but few bodies had absolutely seen,” says Thomas Lentz, administrator of the Harvard University Art Museums, who visited the new architectonics aftermost year. “Walking into that architectonics for the aboriginal time was an amazing experience. It’s a affectionate of astonishing assortment of mediums, periods and affection you wouldn’t accretion anywhere else. To see an apery of a 17th-century Safavid alcazar adverse a huge pond basin on a amazing armpit on the bank of Hawaii—after a while, the apperception starts to whirl.” Shangri La’s bristles acreage are tucked into an flush Honolulu adjacency abreast the bank Diamond Head on Oahu. Access is bound to a dozen visitors at a time, who access by van four to six times a day from the Honolulu Academy of Arts, about six afar away, area a new Duke Foundation-funded arcade of Islamic art serves as an accession to the museum.

Duke, built-in November 22, 1912, was the alone adolescent of Nanaline Lee Holt Inman Duke, a chilly, abroad figure, and James Buchanan Duke, the hot-tempered, affluence artist of the American Tobacco Company (original maker of Lucky Strike cigarettes) and the Duke Power Company, as able-bodied as the benefactor and namesake of DukeUniversity. The columnist accustomed Doris as “the Actor Dollar Baby” and claimed that she ate from a 14-carat-gold dish. Her ancestor lavished the little babe with ability (a pony, a harp, furs) and alleged his clandestine railway car Doris.

At his afterlife in 1925, “Buck” Duke larboard 12-year-old Doris a $50 actor fortune. (His added had to accomplish do with a $100,000 anniversary allowance.) Doris asserted her ability aboriginal on. At 14, she took her mother to cloister to stop the auction of Duke Farms, the family’s baronial acreage in New Jersey— and won. Aback she accustomed the aboriginal block of her bequest on her 21st altogether (along with an accordion, which she’d requested from her mother), photographers laid annoy to the family’s 54-room Fifth Avenue mansion. Newsweek was already calling her a “legendary figure.”

As a adolescent woman, Duke was unpretentious, headstrong, adventuresome and reserved, alike reclusive. The barbaric columnist absorption she endured from adolescence fed a constant aberration for privacy. She banned about all interviews and appointed auberge apartment beneath affected names. Slender and gangling with exotically ample eyes and a arresting chin, she was affected about her acme (6 bottom 1)—in photographs with beneath companions, she generally slouched or leaned. She accordingly fabricated acceptable copy. She adapted a B-25 adviser into her own clandestine affluence aeroplane and for years kept a brace of Mongolian band at one of her estates. Aback bounded admiral forbade biscuit ranching, she gave the animals the run of the mansion’s arena floor, carpets be damned.

“She had a actual bendable voice,” says Emma Veary, 73, a longtime acquaintance who was generally a bedfellow at Duke’s homes. (Besides Shangri La and Duke Farms, there were estates in Rhode Island, New York and California.) “We alleged her ‘Lahi Lahi,’ which agency brittle in Hawaiian, because of her voice.” But she wasn’t mousy, Veary says. “In her quiet way, Doris was actual strong. She knew what she wanted, and she had the adequacy to get it.”

In 1935, at 22, Duke affiliated James H.R. Cromwell, a 38- year-old amateur and charlatan who was activity through his own bequest at a bent clip. The brace set captain on a tenmonth, acclaimed round-the-world honeymoon, with stops in Europe, Egypt, India, Indonesia and China and affairs with both Stalin and Gandhi.

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For Duke, the amusement was a life-changing experience— no acknowledgment to Cromwell, to whom she bound cooled (starting aback his analysis for the aboriginal leg of the amusement bounced). She developed a affection for Islamic art, abnormally the adroit aristocratic architectonics of Mogul India. She was abnormally confused by the Taj Mahal, the Muslim catacomb completed in 1647 in Agra, India, by the emperor Shah Jahan. Aggressive by motifs she saw there, Duke anon ordered a awe-inspiring marble bedroom-bathroom suite, inlaid with jade, malachite and lapis lazuli. The brace advised it for a accession they planned to add to El Mirasol, the Palm Beach acreage of the groom’s mother, Eva Stotesbury. (Critics referred to the proposed accession as the Garaj Mahal.)

Duke additionally fell adamantine for the aftermost stop on the honeymooners’ itinerary: Hawaii. Delighted by the island chain’s climate, adroitness and remoteness, the brace continued their break to four months. By the time they left, the adolescent helpmate had alone the abstraction of affective in with her mother-in-law and had bound to actualize an Islamic-flavored home of her own on Oahu. In a attenuate accessible comment, she explained her cerebration in a 1947 commodity for Town & Country: “The abstraction of architectonics a Abreast Eastern abode in Honolulu charge assume absurd to many,” she wrote. “But absolutely at the time I fell in adulation with Hawaii and absitively I could never animate anywhere else, a Mogul-inspired bedchamber and bathroom, planned for accession house, was actuality completed for me in India, so there was annihilation to do but accept it alien to Hawaii and body a abode about it.”

Socialites were accepted to accouter their mansions with art, of course, admitting not usually with Islamic art. “Doris Duke was altogether adequate active with old masters and American adorning arts and furnishings, which she grew up with and had in her added homes,” says Shangri La’s controlling director, Deborah Pope. “But aback she congenital her own abode actuality in Hawaii—and this was all her—it was a acknowledgment of her own aesthetic. She had no charge to do things because added bodies were accomplishing them.”The abode was basically completed in 1938, the aboriginal clandestine home in Hawaii to bulk added than a actor dollars ($1.4 actor to be precise). Duke, a constant cine buff, took its name from the 1937 blur of the book Lost Horizon, about a alien and abstruse paradise alleged Shangri-La, area no one anytime grew old. Afterwards amid from Cromwell in 1940, Duke wintered about every year at her close estate. (Her alone child, a abortive daughter, died 24 hours afterwards bearing in 1940. Asecond marriage, to Dominican playboy Porfirio Rubirosa in 1947, lasted aloof a year.)

Shangri La’s New York- and Palm Beach-based architect, Marion Sims Wyeth, had aboriginal proposed a huge and arty mansion, but his adolescent applicant overruled him. The completed 14,000-square-foot abode is hardly small, but it is low and circuitous rather than grand. It reveals its secrets footfall by step. Adverse a banyan-shaded advanced courtyard at the end of a twisting, gated driveway, the house’s exoteric is unremarkable: a apparent one-story adhesive bank bisected by a aphotic board door. Abaft the door, alluringly appointed active spaces and walkways afford abnormally from an close courtyard, abundant as they do in homes of the affluent in the Middle East.

But “you wouldn’t accretion this home in the Islamic world,” says Sharon Littlefield, Shangri La’s curator, “partly because it is such a hodgepodge of altered cultures and regions. It’s absolutely one collector’s claimed vision.” In Town & Country, Duke alleged the décor “Spanish-Moorish-Persian-Indian.” She chose the adjustment of every tile, bowl and lamp.

The autogenous is abnormally affluent in ceramics. Duke was addicted of mina’i ceramics (from the Persian chat for “enamel”), aerial anesthetized ceramics from 12th- and 13th-century Iran that is frequently corrective in gold, azure and azure dejected afore actuality accursed a additional time. Some moon-faced army adorning the ceramics accept a absolutely Chinese cast, a bequest of Buddhist art that aboriginal travelers alien into Iran. “We may anticipate of the Islamic apple as abandoned from added cultures,” says Littlefield, “but there was a huge bulk of barter activity aback and alternating with China and afterwards Europe.”

The award-winning of the accumulating is a large, alluringly crafted mihrab, or adoration niche. The fixture, which came from a wellknown tomb in Veramin, Iran, and dates to 1265, already aggressive the adherent against Mecca. Its apparent is composed of afterglow tiles, a luxurious, hard-to-work average that, according to Persian chronicler Abu’l Qasim in 1301, “reflects like red gold and shines like the ablaze of the sun.” Duke’s mihrab is cogent not alone for its awe-inspiring admeasurement and superb adroitness but additionally because it’s active and anachronous by a affiliate of the Abu Tahir family, an illustrious band of Kashan potters who anesthetized bottomward their ceramics secrets from ancestor to son and bedeviled the industry for four generations.

“This is one of the best important works of Iranian art and possibly of Islamic art in North America,” says Marianna Shreve Simpson, a above babysitter of Islamic Abreast Eastern art at the Smithsonian’s Freer Arcade of Art and Arthur M. Sackler Arcade and a adviser to Shangri La from 1997 to 2003. “Few such about complete autogenous appearance survive today—certainly annihilation of this grandeur.” Duke bought the mihrab from a banker in 1940 and installed it off of Shangri La’s active room, pointing not to Mecca but to Mexico. Admitting Duke was not religious, she advised circadian and told accompany she believed in reincarnation. “She was absorbed in everything,” says Violet Mimaki, 69, her Shangri La secretary and acreage administrator for 22 years. “I can’t say that she was a Catholic or a Buddhist, but she had a Bible in her bedroom. And copies of the Koran—lots of them.”

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The oldest Koranic argument in the accumulating is a area of block from about a.d. 900. The bold, angular book in ink and watercolor is an aboriginal autograph appearance alleged Kufic script. Considered the accurate chat of God, the Koran has consistently been beheld as Islamic art’s best astral subject, and Shangri La is everywhere bizarre with Koranic calligraphy and geometric abstractions. Awall of the close courtyard, for example, is anchored with a attenuate accumulating of monochromatic tiles believed to accept already graced the Takht-i Sulayman, a 13th-century Mongol alcazar in Iran. As in abundant of the Muslim world, the home’s decorations—from tiles and bank hangings to carved doors and accessory ceilings—enliven spaces the way prints or paintings breathing a Western home. In fact, there’s a notable absence of pictures or added claimed furnishings on affectation at Shangri La. “This is how it was in Doris Duke’s lifetime,” says Littlefield. “I anticipate there were a few photos in her bedroom, mostly of her dogs.”

Though Duke alloyed centuries and continents at will, her focus on light, color, arrangement and geometric alliteration helps to arrange the result. “She was absorbed in surfaces,” says Kazi Ashraf, an abettor assistant of architectonics at the University of Hawaii, who acted as a adviser to the new museum. “That’s why she was fatigued to marble, which changes with the light.” It was the attending and feel of the Taj Mahal’s stonework, he credibility out, not its all-embracing form, that aboriginal aggressive her to body an Islamic-style home.

Duke acclimated acceptable elements in untraditional ways. “In my Indian bedroom,” she wrote in 1947, “the carved, cut-out marble jalis, or screens, which were aforetime acclimated by Indian princes to accumulate their wives from added eyes, accept a new purpose: they are not alone decorations, but a agency of security, for they can be bound afterwards shutting off the air. . . . ”

In a added avant-garde vein, an absolute bank of Shangri La’s active allowance is a area of bottle that can be fabricated to abandon into the basement. “It’s one of the marvels of the 1930s,” says Jin DeSilva, babysitter of the abode during the aftermost 14 years of Duke’s life. Aback the bank vanishes, the allowance opens anon assimilate Diamond Head. “When Miss Duke was alive,” says DeSilva, “she rarely arrangement the bottle bank completely. At one time she had 12 German shepherds, and if this was bottomward they’d appear active central wagging their tails. We had two or three accidents that way.” An astronomic bowl boutonniere was one such casualty, as its cracks attest. “Miss Duke would sit bottomward and cement aggregate calm herself,” DeSilva says.

Several of the artifacts in the allowance already belonged to publishing magnate William Randolph Hearst. Adverse defalcation in the backward 1930s, Hearst was affected to advertise abounding of his antiquities at arrangement prices. Duke took advantage of the tycoon’s ache by acrimonious up, amid added objects, a medieval bean broiler from Islamic Spain, which is now installed in the active room.

Duke admired bargains. Gossip columnist Elsa Maxwell already wrote of Duke and her aboriginal bedmate that “he could, and did, absorb a fortune; she thinks alert afore accordant to buy a admission to a alms ball.” Following a attenuate accurate affair for Activity annual in 1939, Duke asked columnist Martin Munkacsi area she ability buy a camera wholesale. Areceipt for three aged bureaus she purchased in Damascus, Syria, in 1939 bears the dealer’s notation: “Only: Fourty- Three Dollars & 60/100.” The merchant acutely accepted his customer.

Duke was no purist.To dress up a courtyard wall, she custom- ordered reproduction asphalt mosaics from a branch in Esfahán, Iran. And she had a flat in Morocco assemble the ornately carved and corrective board ceilings of her antechamber and active room. Her aftertaste was defiantly personal. To bouncer her advanced door, she alleged a brace of bean band from a Honolulu administration store.

But if Shangri La’s décor was eclectic, it was hardly befuddled together. In 1938, Duke visited Iran with art adviser Mary Crane, a New YorkUniversity alum student. There they obsessively sketched and photographed a 17th-century aristocratic pavilion in Esfahán accepted as the Chihil Sutun. Duke had a scaled-down adaptation congenital at Shangri La, which she alleged the Playhouse and acclimated as a aggregate bedfellow and basin house.

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Unlike best of the art in Shangri La, the works central the Playhouse abound with animal figures. While Sunni Muslims accept continued mistrusted representational art—even pictures of animals and buildings—as invitations to idolatry, Shiite Muslims tend to be added amenable about representation, abnormally apropos their civil art. A ample tiled broiler beleaguer in the Playhouse, depicting cloister activity during Iran’s Qajar absolutism aboriginal in the 19th century, is busy with bright acrobats and musicians. Nearby, a Qajar oil painting shows a young, bejeweled woman (p. 79) strumming a longnecked stringed instrument. “One acumen Iran produced so abundant figural art is that it had a affluent attitude of civil liter ature,” says Littlefield. (Persians devoured adulation balladry in particular.) Until recently, advisers absolved Qajar art, with its European influences, as decadent; Duke begin it “amusing” and appropriately absolute for the Playhouse.

“Doris was a prankster,” says acquaintance Emma Veary, whose Hawaiian mother Duke generally enlisted as a traveling companion. “Mother was actual dark-skinned, and once, for a party, Doris dressed her in saris, put her on pillows, and ashore chunk on her nose, again alien her to anybody as the maharani of somewhere. Bodies angled and kowtowed to her all night. Doris had told her, ‘Don’t say anything,’ so Mother aloof glared at the people.”

In her aboriginal years in Hawaii, Duke sometimes entertained socially but, says architectonics administrator Deborah Pope, “usually with aloof a baby amphitheater of friends, mostly built-in Hawaiians. A lot of them were swimmers, surfers, dancers and musicians— bodies with day jobs. They weren’t socialites. That’s what she came to Hawaii to get abroad from.” Shangri La was not air-conditioned, and Duke bedlam about it in bald anxiety or flip-flops. She abstruse to comedy Hawaiian music, hula and cream (the accumulating includes some old surfboards), and she already won an outrigger canoe chase off Waikiki Beach with her acquaintance Sam Kahanamoku, brother of allegorical surfer and Olympic gold badge pond best Duke Kahanamoku.

In an account with Andy Warhol in 1979, biographer Truman Capote recalled actuality amidst by a backpack of Duke’s abrupt dogs while demography a airing about Shangri La one evening. “No one had warned me,” Capote said, “that anniversary night afterwards Miss Duke and her guests had retired this army of bloodthirsty canines was let apart to deter, and possibly punish, blackballed intruders.” Afterwards continuing adamant for what seemed to him like hours, Capote was assuredly rescued aback a agriculturalist whistled to the dogs and they trotted off, cape a-wagging.

Now that the dogs are gone, visitors to Shangri La can acquaintance Duke’s garden as a paradise of adumbration trees, active baptize and quietude—a alternating angel in the Koran. Aparticular gem is the Mogul garden, a abate adaptation of the ShalimarGardens in Lahore, Pakistan, that reveals itself like a delusion abaft a aperture abreast the entrance. Its centerpiece is a attenuated basin of baptize alternate by lotus-shaped fountains.

The academism of the Mogul garden reflects Duke’s afterwards taste. Her aftermost above accretion was an busy autogenous from a breakable 19th-century abode in Damascus, which she bought from the acreage of New York banker and philanthropist Hagop Kevorkian in the aboriginal 1980s. The home was one of at atomic four villas endemic by the Quwwatlis, a affluent merchant ancestors in the old city. “When the crates [containing the dismantled room] arrived, the boards were all atramentous and dirty,” says ex-secretary Violet Mimaki. Duke, again in her 70s, oversaw a months-long clean-up campaign. “She had us advance aggregate out in the courtyard, and she activated out altered charwoman solvents with Q-Tips,” Mimaki recalls.

Duke supplemented the room’s aboriginal autogenous with glassware and metalwork she already endemic and cabinetry she commissioned from woodworkers in Rhode Island. She alleged it the Turkish Room. Below a few small, aerial windows, aggregate seems to be carved, cushioned, mirrored, inlaid or gilded. The all-embracing aftereffect is a bit overwhelming. “It’s acutely not a amplitude you animate in,” says Deborah Pope. “Although Duke acclimated it for entertaining, it’s added of a affectation space. At this point, she was cerebration about how she capital the abode to be aback she was no best here.”

Despite its Hollywood name and its owner’s abounding eccentricities, Shangri La is the conception of a austere collector, not a dilettante’s indulgence. “There was a amount of abstention maybe in that Doris Duke was aggravating to ambit herself from her upbringing,” says Sharon Littlefield, “but this was no casual fancy. Her absorption in Islamic art was actual claimed to her, and it abiding her to the end of her life.”

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