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Seyhoun Art Gallery Dec 2015 Group Exhibition Oriental Revelation 02
Tehran

مکاشفات شرقی

اثر هنری، بالاخص در هنر مشرق زمین، عنصری منفعل نیست بلکه فعالانه در عرصه فرهنگ مشارکت جدی دارد. نظریات انسان شناسان هنر مانند ویلیام فاگ، نانسی مان، آنتونی فورگ ودنیل بیبویک نیز بر این نکات تاکید دارند که  اثر هنری، دارای یک ساختار بوده و نیز بیانگر ارزش های جامعه آفریننده اش می باشد، آنها می گویند اثر هنری دارای معناست و  هدف  یک اثر هنری ایجاد ارتباط است، همچنین اثر هنری با حوزه های قدسی سروکار دارد و  نکته دیگر اینکه خلق اثر هنری، خلق خود فرهنگ یا بازآفرینی آن است. می دانیم که در عصر حاضر دو نوع شیوه تفکر وجود دارد. شیوه رشنالیستی  تفکر مغرب زمین که اساس آن را تجربه و آزمایش بر مبنای استدلال های استقرایی تشکیل می دهد و روش دوم، شیوه شهودی یا مکاشفه که مبتنی بر تجربه عرفانی است که قدمت آن به انسانهای بدوی می رسد که البته این شیوه در مشرق زمین گسترش بیشتری داشته است. شیوه شهودی یا اشراقی، همواره در میان ما شرقیان اهمیت ویژه ای داشته و اساسا عقلانیت در اندیشه شرقی با عقلانیت رشنالیستی متفاوت است. اگرچه هنر غرب در ایران سالهاست که تاثیرات عمیقی نهاده است اما باید دانست که آثارهنرمند ایرانی بازتاب تام و تمام آموزه های رشنالیستی غرب نیست. یکی از موارد تفاوتها، در همین شیوه شهودی تفکر هنرمند شرقی مستتر است. زیربنای فکری این نمایشگاه بر ارائه تصویری کشف و شهود سه هنرمند استوار است. هنرمندان حاضر در این نمایشگاه، با تاکید بر ساختار شرقی ضمیرخود، سه نوع مکاشفه و شهود را از طریق تکنیک های غربی، متجلی نموده اند. به نظر می رسد که سه نوع مکاشفه مجزا از هم، در آثار این نمایشگاه قابل تفکیک است. در تمام این آثار فیگور انسان به عنوان موضوع اصلی مطرح است. یک دسته، آثاری هستند که انسان را در فضای کهکشانی نشان می دهند که بر اساس یک تفسیر، دلالت بر مکاشفاتی دارند که در ذهن هنرمند صورت می پذیرد. گروه دوم، آثاری هستند که دلالت بر تجلی کشف و شهود روانشناسانه هنرمند در میان زندگی روزمره مردم دارند به نحوی که هنرمند در حال گزارش دادن از وضع عمومی مردم است. نوع سوم نیز آثاری است که مکاشفات هنرمند، جهانی مثالی را مد نظر دارد، و مصداق امر کلی را بوسیله کلاژ کاشی گونه با پراکندگی رنگ و فرم به تصویر می کشد.آثار این نمایشگاه علیرغم تفاوتهای ظاهری در تکنیک، تصویری تحلیلی از ارتباط هنرمند با ذهنیات، محیط و دیگر انسانها ارائه می دهد که متکی بر هیچ نوع آماری نیست و تنها بر مشاهده و شهود هنرمند متکی است که در اصطلاح به آن کشف حدسی می گویند. هنرمندان این مجموعه نیازی نمی بیننند که تصویرساز تحقیقات محققان علوم تجربی باشند و برای آنچه ادراک می کنند مدارک علمی تهیه کنند. آنها در لباس روشن بینان صاحب بصیرت، روشن ضمیر و نهان آگاه، به اشیاء و انسان و محیط نظر می کنند؛ گاه در ازدحام حضیض بدن ها، گاه در درون ذهن و قوای وهمیه و گاه در فضای امر کلی و مثالی بدنبال رویت باطن اشیا و انسان هستند و بجای ثبت عینی و متناظر آنها، چیزی فراتر ، عمیق تر و اثیری تر یعنی حقایق درونی آنها را به تصویر می کشند.

رضا رفیعی راد

Oriental Revelations

Art, especially oriental art, is not a culturally passive element and contributes actively to the culture. The theories of some anthropologists of art such as William Buller Fagg, Nancy D. Munn, Anthony Forge and Daniel Biebuyck emphasize this dynamic contribution since they believe that an artistic work is meaningfully expressive of the values of its creator’s society and its creation is the recreation of the culture itself. They also believe that artistic works have a structure, intend to communicate and are in relation with holy sources.

We well know that there are two methods of reflection presently: the West’s rationalistic way of thinking whose bedrock is the inductive reasoning based on experimentation and examination, and the East’s intuitive and revelatory way of thinking which is based on mystic experiences and goes back as far as the primitive people’s time. The revelatory and intuitive way of thinking has been always important among eastern people and as a matter of fact, the eastern rationality is fundamentally different from that of the West. Though the western art has deeply influenced Iranian art in the past decades, we should know that Iranian art is not an outright reflector of the rationalistic western art. One of the central differences between these two types of art is this intuitive way of thinking dominant in eastern art.

The mainspring of this exhibition is based on the pictorial representation of three artists’ revelations and intuitive discoveries. They have revealed three distinct and traceable types of exposures in their works via western techniques with an emphasis on the eastern essence of their souls and human figures as the principle theme of their works. The first group of these works show human beings in a galactic atmosphere that could be interpreted as the signification of the revelations in the artist’s mind. The second group indicate the artist’s psychological revelations while reporting on the life of ordinary people. The third group are the ones in which the artist’s intuition aims at an archetypal world to express his total mental picture with a mosaic-like collage in a variegation of patterns and colors.

Despite their seeming technical differences, the works in this exhibition give us an analytical picture about the artists’ relation with their environments, its people and the general conceptual and abstract issues. This analysis is not based on any statistics and relies only on the artists’ discoveries and revelations which are idiomatically called “conjectural display.” The artists of this exhibition do not deem it necessary to be the portrayers of the empirical scientists’ findings to solidify their perceptions with such scientific evidences. They look at their environment, its objects and people with perspicacious and enlightened clear-sightedness. They try to depict the depth of humanity and objects in the crowd of mean material forms, in the maze of people’s minds and fantasies and/or in the ambience of archetypal worlds in order to be able to portray their real inner truth more ethereally and profoundly rather than concretely and analogously.

Written by Reza Rafiei Rad

Translated by Azadeh Feridounpour

نمایشگاه گروهی نقاشی با عنوان " مکاشفات شرقی " آذر و دی 1394 گالری سیحون

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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.


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