Open Map
Close Map
N
Projections and Nav Modes
  • Normal View
  • Fisheye View
  • Architectural View
  • Stereographic View
  • Little Planet View
  • Panini View
Click and Drag / QTVR mode
Share this panorama
For Non-Commercial Use Only
This panorama can be embedded into a non-commercial site at no charge. Read more
Do you agree to the Terms & Conditions?
For commercial use, contact us
Embed this Panorama
WidthHeight
For Non-Commercial Use Only
For commercial use, contact us
LICENSE MODAL

0 Likes

Assar Art Gallery May 2016 May 2016 Mohammad Hossein Emad Acceptance 05

خلوت آثار عماد

نگارش: مهدی حسینی

زمستان 1394

اگرچه در میان مجسمه سازان سنتی و کلاسیک اشاره های اندکی از اندیشه و ذهنیتشان به جا مانده است ولی در دوره مدرن و به ویژه در سده بیستم بسیاری از هنرمندان به تبیین  اندیشه ها و آثارشان پرداخته اند که برای نسل های متأخر بسیار ارزشمند و برای محققین جای تأمل بسیار دارد.1

شاید یکی از معتبرترین آنها در درجه نخست ، بیانیه رآلیستی2 برادران پوزنر (نائوم گابو و آنتون پوزنر) است که در سال 1920 انتشار یافت. در عنوان (و بیانیه) «رآلیسم» نه به معنی متعارف آن: واقعگرایی ، بلکه ، به مفهوم جوهر حقیقتی و ساختار واقعی اجرام تعریف شده است. 

پس از آن نائوم گابو (1977-1890) 3، در سال 1937م در نشریه Circle ، مقاله ای تحت عنوان «مجسمه سازی : ساختن و تراشیدن در فضا» 4 منتشر ساخت که از لحاظ تبیین اندیشه و رویکرد به فُرم و فضا در مجسمه سازی (و حتی معماری) معاصر نقش تعیین کننده ای داشت. 

گابو  در ابتدای این مقاله دو مکعب ترسیم کرده است. نخستین آن مکعب بسته ، صُُلب و دارای جرم کامل یک حجم سه بُعدی است و نام آن Volumetric نهاده است. در ذیل آن مکعب دیگری قرار داده که سطوح آن با خطوط هندسی شکافته شده ، فضای نخست و یکنواخت آن در هم شکسته شده و از بیرون به درون آن رسوخ کرده  و شکل ظاهری و شناخته شدة آن را دگرگون ساخته و عنوان Stereometric به معنا و مفهوم چند ساحتی ، به آن داده است. 

گابو در تشریح قرار دادن دو طرح در ابتدای مقاله اش چنین می نویسد: «در آغاز این مقاله دو تصویر از دو مکعب نشان داده شده که حاکی از دو طریقة بیان از همان شیی است: یکی متناسب با تراشیدن و دیگری متناسب با ساختن. نکته مهمي كه آنها را از هم جدا مي كند ، هم در اختلاف روشي است كه در اجراي آنها به كار رفته و هم در اختلاف مراكز مورد توجه آنها. اولي حجمي از توده است و دومي فضايي را شرح مي دهد كه توده در آن قرار دارد و قابل رؤيت نيز هست. حجم توده و حجم فضا ، از لحاظ مجسمه سازي ، نمي توانند داراي يك هويت باشند ، و در حقيقت ، آنها دو متريال متفاوت اند. در اين جا بايد خاطرنشان ساخت كه من اين دو اصطلاح را در معناي فلسفي آن به كار نمي برم ، بلكه منظور من دو چيز واقعي است كه هر روز با آنها در تماس هستيم. اين دو ، يعني توده و فضا ، هر دو واقعي و قابل اندازه گيري هستند. 

تاكنون مجسمه سازان توده را به فضا ترجيح داده اند و به فضا كه از اجزاي  مهم تركيب كنندة توده است توجهي اندك نشان داده اند. فضا از نظر آنها مكاني است كه اجسام در آن قرار مي گيرند يا به صورت عيني مشخص مي شوند. از نظر آنان فضا به ناچار توده را احاطه مي كند. ولي ما فضا را از ديدگاه ديگري مورد بررسي قرار مي دهيم و آن را به عنوان عنصر مطلق مجسمه درنظر مي گيريم و از  حجم بسته رها كرده ، و با خصوصيت ويژة خود ، آن را از درون نشان مي دهيم.» 

گابو ، در اين مقاله ، به صراحت از «فضا» به عنوان «عنصر مطلق مجسمه» كه خود را از حجم بستة فرم رها ساخته است ، صحبت به ميان مي آورد. نيز تلاش دارد تا به درون جرم نفوذ كرده ، آن را بشكافد ، فرم را شفاف و سيال نموده و از ماده به مثابه حجمي ثابت ، ايستا و لاتغيير كه رخنه در آن امكان پذير نباشد ، اجتناب ورزد. 

محمدحسين عماد ، در دوره هاي مختلف آثارش ، پيوسته سعي داشته است تا به  درون ماده نفوذ كرده ، آن را از حجم صُلب و توپر خود رها ساخته ، به داخل آن رسوخ كرده ، فضا و حتي اتمسفر را به اندرون فُرم وارد سازد. با اين تمهيد مخاطب نه فقط با شكل بيروني حجم درگير و دمساز است ، بلكه به درون آن وارد شده و فضا را حتي ، در خلاء ، جستجو و تجربه مي كند. 

در حقيقت نوع نگرش عماد به فرم و خلاء يادآور آموزه هاي حكماي شرق دور ، نيز ، مي تواند باشد. به طور مثال لائوتزه اعتقاد دارد كه اين ديواره هاي اتاق نيستند كه فضاي چهارديواري را مي سازند ، بلكه اين فضاي خلاء است كه مفهوم اتاق را تداعي مي كند. و يا همين فرزانة شرق دور مي گويد اين جداره هاي پياله نيستند كه كاسه را مي سازند ، بلكه فضاي خالي آن است كه به پياله عينيت مي‌بخشد. 

عماد از نخستين تجربه هايش در بيان فضا ، پيوسته از اين دو منظر ، يعني هم مفهوم مدرنيستي فضا که گابو به آن اشاره داشت و هم جهان بینی شرقی که حکمای مشرق زمین به آن اشعار دارند سود برده است. به این ترتیب که خلاء هم چون کمیتی دینامیک و بااهمیت تلقی می شود.

حکمای شرق با وجودی که پیوسته از «تهی بودن» و «خلاء» صحبت به میان می آورند ، ولی منظورشان از این اصطلاحات خالی بودن نیست. بلکه برعکس منظور آنها فضایی است تهی که واجد قدرت نامتناهی است ، همسان کهکشان. 

عماد در نمایشگاه اخیرش ، همچون گذشته ، شکل مورد نظرش را (که این بار در قالب مکعب ظاهر می شود) کاملاً تراشیده ، آن را از درون خالی نمود و مخاطب تنها از حفرة ساده ای كه در گوشه آن قرار دارد به خلوت درون دعوت می شود. در این خلوت هیچ عنصری جز تاریکی به مخاطب منتقل نمی شود. این مخاطب است که به درون مکعب حلول می کند و با توجه به ذهنیت و عالم خیال خود فضای درون را می‌سازد. با این تمهید مشارکت ذهنی ، و نه عینی ، مخاطب به چالش کشیده شده و او را در آفرینش اثر سهیم می سازد. 

این هم سویی ، در خلق فضا ، فقط ذهنی نیست. در یکی دیگر از آثار این دوره،  عماد این امکان را برای مخاطب‌اش فراهم می سازد که به صورت فیزیکی وارد عمل شده و با جابه‌جایی ، تغییر جهت دادن ، یا حتی حذف بخشی از مکعب های کوچکی که سرتاسر فضای اثر را پر کرده اند ، در آفرینش فضا سهیم باشد. در این جا مجدداً با تغییری مدام رو به رو هستیم ، که در فیزیک کوانتوم ، همانند جهان بینی شرقی‌اش، هم خوانی دارد. 

به این ترتیب ، عماد ، از سویی ما را به جهانی آشنا می سازد که مفاهیم نوین مجسمه سازی را با خود همراه دارد ، و از دیگر سو آفریده هایش ریشه در بنیان‌های اندیشه شرق دارد. ولی آنچه که در خور تأمل است ، فضای خلوت و متعامل آثار عماد است که مخاطب را به تمرکز و اندیشه رهنمون می سازد و این مهم‌ترین پیام اوست. 

خمیده باش تا راست قامت بمانی

تهی باش تا پر باقی بمانی

فرسوده باش تا نو بمانی

لائوتزه 

The Solitude of Emad’s works

Written by: Mehdi Hosseini

Winter 2015

Although there remains little mention of traditional and classic sculptors’ mentality and ways of thinking, during the modern era and especially in the 20th century, many artists have explained their thoughts and works that proved very valuable to later generations and researchers who reflected upon them.  

Perhaps, one of the most reputable one of them all is the Realistic Manifesto  by brothers Naum Gabo and Antoine Pevsner that was published in 1920.  In the title (and statement), ‘realism’ does not have its conventional meaning; instead it is defined as the true essence and the real structure of objects. 

Later in 1937, Naum Gabo (1890 – 1977) published an article in the Circle journal entitled “Sculpture Carving and Construction In Space”, which had a fundamental role in terms of explaining the thinking and approach to form and space in contemporary sculpture (and even architecture). 

At the beginning of this article, Gabo has outlined two cubes. The first one is a solid cube named Volumetric that is rigid, dense with a three dimensional volume.  Below it, there is another cube with its surface split with geometric lines; its primary and uniform space shattered and its outside penetrated into its inside and transformed its known appearance, named Stereometric, meaning: multi-dimensional. 

Gabo explains the two designs at the beginning of his article: 

‘In the beginning of this article two cubes are presented in order to show two ways of defining the same object: one proportional to carving and the other proportional to building. The important aspect that differentiates them from one another is in the method that has been used in executing them and also the difference in their focal points. One uses solid mass while the other expresses the form’s ‘inner space’ that is visible. The mass and volume of space, in terms of sculpture, cannot have the same identity, and in fact, they are two different materials. Here, I should point out that I am not using these terminologies in a philosophical way; instead I am talking about two real things to which we are connected in everyday life. These two, meaning mass and space, are both real and measurable.

Up to now, sculptors have preferred ‘mass’ to ‘space’ and have neglected or paid little attention to ‘Space’ which is an important component of mass as space. Space in their view is where objects are placed in and become visible. To them, space inevitably surrounds mass. But we consider space from another perspective and consider it as an absolute sculptural element that has abandoned a solid volume and with its specific characteristics show it from within.”

Gabo, in this article, clearly refers to “space” as ‘ an absolute sculptural element” which has released itself from the closed form.  He also tries to penetrate into the mass, to split it, to make form transparent and fluid, and to avoid substance as a fixed volume, static, unchangeable and impenetrable. 

During different periods in his career, Mohammad Hossein Emad has constantly tried to get into substance, to abandon it from its rigid and solid volume, and to bring space and even atmosphere into a form. With this approach, the audiences are not only engaged with an external form but can penetrate to its inside and even experience space in a void.  

In fact, Emad’s attitude towards form and void reminds teachings of philosophers of the Far East. For example, Laozi believes that it is not the walls that make a room; rather, it’s the vacuumed space that conveys the meaning of a room. He also says, that it’s not the edges of a bowl; rather it’s the empty space within it that gives the bowl objectivity. 

In expressing the space, Emad has always used these two perspectives; the modernistic concept Gabo explained and also the Eastern worldview expressed by philosophers of that part of the world. In this way, void is also known as an important dynamic quantity. 

Despite Eastern philosophers’ emphasis on “emptiness” and “void”, what they mean is not the literal meaning of ‘empty’, rather, they refer to an empty space that possesses unlimited power, just like the Galaxy. 

In his recent exhibition, Emad, like the past, has carefully carved his desired shape (which this time appears in the form of a cube) and has emptied its inside.  Audiences can only get a glimpse of its quite inside through a simple hole in the corner of the sculpture. In this loneliness, no element except for darkness is transmitted to the audience. It is the viewer that enters the inside of the cube and constructs its inner space using his own mentality and imagination.  

This way, the subjective and not the objective observation of the viewer are challenged and it is also a chance for the viewer to participate in the creation of the work. 

This alignment in creating the space is not just subjective.  In another of Emad’s works from this period, he allows his audiences to physically get involved with his creation through moving, changing direction or even excluding the small cubes that have filled the whole space. Here again, we face a sort of constant change that is similar to quantum physics and its Eastern worldview.

Thus, Emad, on one hand introduces us to a world containing new concepts associated with sculpture, and on the other hand, his creations have roots in the foundations of Eastern philosophy.   But what deserve reflection are the private space and the interactive nature of Emad’s works that encourages thinking and reflection and this remains his most fundamental message. 

Yield and overcome;

Bend and be straight;

Empty and be full;

Wear out and be new;

Have little and gain;

Have much and be confused.

Laozi

نمایشگاه آثار " محمد حسین عماد " با عنوان " پذیرش " اردیبهشت 1395 گالری اثر

View More »

More About Tehran

Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.


It looks like you’re creating an order.
If you have any questions before you checkout, just let us know at info@360cities.net and we’ll get right back to you.