Sunday, September 5, 2010

The inspiring art from Iran







BY UZMA ALEEM

The artistic symbols, letters and elements, which form the word, always bear undeniable aesthetic qualities of Iranian calligraphic styles. Use of Taliq, Nastaliq, Naskh, Thulth, Reqa, Towqi, Shekasteh, Kufic and other decorative scripts in Persian calligraphy bestow hundred-fold prominence in a very subtle and sublime way.
Indeed Iranian calligraphy masterpieces when framed and displayed on walls have the greatest attraction for everyone.

 Thus many of us are now lovingly collecting and viewing masterpieces of Iranian Calligraphy.



An exhibition of two Iranian artists recently held at Alhamra Art Gallery attracted critics, art lovers and calligraphers from across the country. The event was organised by the Lahore Arts Council in cooperation with the Iranian Consulate.
Calligraphy and miniature paintings exhibition by two Iranian artists – Ramin Merati and Naser Javaher Pur was well appreciated by its visitors included art critics, calligraphers, artists and students of fine arts along general masses.
Pieces depicting amazing art of calligraphy wee mostly by Naser Javeher Pur while Ramin’s work encompassed adorable miniature paintings and calligraphic art works.
Punjab Food minister Ch Abdul Ghafoor inaugurated the exhibition while Iranian consul general Dr. Abbas Famori was also present on the occasion. He appreciated the efforts of artists.
In view of Ramazan, both the artists had chosen to put work reflecting religious themes on display. Few manuscripts of Holy Quran were also displayed along a photographic exhibition showing gruesome atrocities of Israel against innocent Palestinians.
Naser’s calligraphy was unlike Pakistani calligraphy, most of which was done in khat-e-nastalique. A piece by Naser showed a verse of Surah Fateh inscribed on canvass through an Islamic arch. Moreover another calligraphic piece having Bismillah, it was inscribed on a half opened window pointing to the painting, he explained, “The half-opened window shows that Bismillah is a key to open a treasure of blessings.”
Whereas most of Ramin’s artwork included floral patterns and designs in background as he believed they added charm to the paintings.
“Most Iranian artists draw a pattern before beginning the writing aspect of calligraphy. However, some choose to write on blank canvases. But patterns certainly beautify and make the paintings more appealing,” Ramin Marati said while talking to the Splus.
Besides six-day exhibition artists also conducted workshops of calligraphy, nail art and miniature paintings along delivering the lectures to the Pakistani art students. Rameen believed that this exhibition was not only a display of Iranian artworks rather it was an opportunity of cultural and artistic expertises exchange between Iran and Pakistan.
Naser’s unique drawings and writings pegged onto the canvases using nails and hooks got the most attention. He had not made use of colours in those artworks. “The technique is known as Fun-e Nakhun or nail art in Iran,” told Naser. He said that nail art is quite popular in Iran and he planned to introduce it to participants of the workshop in Pakistan.
Ramin’s work included exquisite miniature artworks that romanticised the Persian natural scenes of birds and flowers.
Ramin utilized a worth noting technique of Persian miniature art “layering” it created a sense of space. Like one of his miniature piece had the variety of views to notice in the arrangement of objects: birds inhabited both the foreground and background of the piece, with the floral objects positioned in between.
Ramin said that he had chosen paintings that match the theme. “Though techniques of miniature in Pakistan and Iran are quite similar yet Pakistani miniaturists are not much into experimentation. When I talk about the Iranian miniature art there is a great diversification as there are seven schools in Persian miniature art. Although Iranian artists experiment a lot yet the indigenous Persian art still remains the most popular.”
While talking about his first visit to Pakistan, Ramin said he liked Lahore for its ancient monuments. “The city’s rich history is reflected in its historical architecture. They are very different from those in Iran but both have their artistic significance,” he went on to say.
Ramin said he must had come earlier to Pakistan but could not due to his busy schedule. Ramin’s art works has been exhibited in several International and Iranian exhibitions. Ramin Marati has been collecting more that one thousand art pieces of renowned and great Persian artists since 2008, this project of Persian art conservation is still in progress. Moreover he has been conserving art works of Persian architectural beauty along Terunj art group in Iran.
Several visitors from art circles visited this exhibition. Aliya Attique an art teacher said that evolution of various styles of penmanship, aesthetic changes and developments of Iranian calligraphy, assessed and evaluated the degrees of evolution attained and discover the brilliant agility of Iranian Artists’ mind within the context of history. “This exhibition of calligraphy and miniature painting also showed liveliness of Persian art. Although certain decays appear conspicuous in the course of history of calligraphy, this very beauty has kept it from annihilation,” she told.
Mind of the average Muslim spectator of calligraphy is basically familiar with calligraphy, so that, even though he or she may not be a calligrapher as calligraphy is an Islamic Art and Iranian flourished it.
Persian calligraphy has a close recollection of tradition of penmanship. This recollection, which bears extensive influence from the works of the immediately preceding generation, generally corresponds with the latest basics evolved by the present one, and thus has a relatively clear-cut opinion about calligraphic aesthetics.
Iranian calligraphy has followed a path similar to that of Iranian painting. Thanks to innovations achieved by creative minds of Iranian artists, various manners and schools have left such distinct influences, that in most cases, it seems quite easy and safe to single out a work executed in conformity with Iranian Artist’s ideal of beauty.
In both calligraphy and artistry, acquired foreign elements were properly and entirely modified in accordance with Iranian taste, and combined with all the innate elements, traditions and memories of this nation. All this was achieved at once, but rather slowly, with discipline, from father to son and from hand to hand. This was quite evident from the artworks of Persian artists Ramin and Naser.
While talking about the artistic traditions of Iranian art Maliha Rumi, a student of History of fine arts in University of Punjab said that Iranian painters considered past artistic schools as national elements and according to their taste and need, started drawing upon them, in part or entirely. Iranian calligraphers also adopted the same attitude. “Now we see the same innovation and mastery in the artworks of Naser and Ramin. Pakistani artists must adopt these innovations in calligraphy and miniature art,” she was of the view.
Naser Javerher Pur is renowned calligrapher of Iran. He has exhibited his artworks in various cities of world including Asfahan, Tehran, Sharja, London, Karachi and Lahore etc. Naser also appreciated the Lahorites for their hospitality and good spirits.
It is always a rare treat to watch or have the opportunity to buy Iranian artworks. The roots of the calligraphy of our land can be traced to Iran. Iranian calligraphy has inspired calligraphers across the world. There is more to the Iranian art of calligraphy than simple reverence.

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