Open Map
Close Map
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
For Non-Commercial Use Only
For commercial use, contact us


Assar Art Gallery Dec 2012 Alireza Adambakan My Icon No 3 04

My Icons III
Alireza Adambakan paints. He paints landscapes, cityscapes and tales of the Haftad-o-du-Tan  and Panj- Tan2. He paints them all with rapid brush strokes and intense colors and energized lines. He paints them with an overwhelmed sensation in the heart of nature, in the heart of the city and in the heart of his own. He is enthused. Enthused by what happens in the city. What he has heard, seen and learned in his childhood and practices nowadays in life. Enthused by his childhood concerns, deep-rooted in the social and urban context of the good old days and the religious ceremonies he took part in, all externalized in the modern version of life. 
The painting of the cityscapes began seventeen years ago. Tehran’s old alleys empty of people. It stopped after a while. A few years later, he got into people’s private spaces. To their homes. To their lifestyles. This, too, stopped after some time. Until eight years ago, when people stepped into his cities. The city had changed though. And it was still changing. Unrelated buildings. Unrelated construction materials and unrelated events. The collaged identity of the neighborhoods and the unrest of the city. The city of Tehran. With all its icons: the Milad Tower, the Azadi Tower and the Enqelab Square. Putting an emphasis on Tehran. The Capital. The capital going through constant changes. Changes in architecture as well as social, political, cultural and religious contexts.
In the abstract and expressive feel of Adambakan’s cities, urban elements are recognizable. The changes of his city are layered.  As is his painterly experience of it. First pencil, then charcoal followed by color ink and chalk pastel and acrylic paint. Layer over layer. All on paper. 
Adambakan’s cities are a combination of the saved images in his mind with the urban icons being painted from his point of view, creating more of an urban feel rather than an urban scene. The same painterly approach in his landscapes and Haftad-o-do-Tan and Panj Tan; expressing the feel of mountains and fields, the feel of wars and troubles of the Imams and the feel of a transforming city. Unlike the cityscapes painted by the Impressionists, the Cubists, the Futurists and the artists of the School of Paris, Alireza Adambakan’s cities are not views from urban realities based on various interpretations of reality. His cities are not similar to the urban views of the figurative painters of the late 20th century who faithfully portrayed views of the city either. With a feel more like the abstract cities of Joan Mitchell and Gerhard Richter, Adambakan’s expression is a combination of abstraction and figuration. Adambakan’s cities are the feel of a transforming capital city in a precise date and time.
Adambakan’s cities are full of movement, ferment and happening. His cities are full of event and alteration. Admabakan’s painterly city views are all close-ups. There are no skies or horizons but a small scrap lost behind the city buildings. If there is a blue sky in one or two paintings, the weather is not sunny. It is only a wider view for us so to see more and farther. The overwhelming sensation that results in the painting of the buildings, streets, icons, the people and the city events, provokes the same feeling in viewers. By watching Adambakan’s cityscapes, action and movement gets to us and we, restlessly start looking for the emotional security we are all familiar with on account of preservation, overlooking the fact that the reality in Adambakan’s cities is change.
Maryam Majd
November 2012

شمایل های من 3
علی رضا آدم بکان نقاشی می کند. طبیعت می کشد، شهر می کشد و حکایت های هفتاد و دو تن و پنج تن را می کشد. همه را با ضربات تند و رنگ های شدید و خطوط پرهیجان می کشد. همه را با حس به قلیان درآمده در دلِ طبیعت، در دلِ شهر ودر دلِ خود می کشد. هیجان دارد. از آنچه در شهر می گذرد. از آنچه در کودکی دیده و شنیده و به جان گرفته و امروز زندگیشان می کند. از دغدغه های کودکیش که در بافت اجتماعی و شهری سنتیِ قدیم ومراسم مذهبی شکل گرفته و در بافت اجتماعی و شهری جدید و نسخه امروزین زندگی تجلی یافته است. 
کشیدن شهر هفده سال پیش آغاز شد. کوچه های قدیمی تهران بدون مردمانش. پس از مدتی شهر متوقف ماند. چند سال بعد وارد فضای مردمان شهر شد. وارد خانه آن ها. رفتارها و زندگیشان. پس از چندی کشیدن مردمان هم متوقف ماند. تا هشت سال پیش که این بار مردمان به شهرهای او آمدند. و شهر تغییر کرده بود. و همچنان تغییر       می کرد. عمارت هایی بدون ارتباط با هم. مصالح و وقایعی بی ارتباط با هم. هویت چند تکه محله ها و هیجاناتِ وقایع شهر. شهر تهران. با همه شمایل هایش. برج میلاد، برج آزادی، میدان انقلاب. تاکید بر این که اینجا تهران است. پایتخت. پایتخت در حال تغییر. تغییر در شکل معماری و تغییر در بافت  اجتماعی، سیاسی، فرهنگی و مذهبیِ شهر. 
در شهرهای آدم بکان، در فضایی انتزاعی و بیانگر، عناصر شهری قابل تشخیص اند. تجربه نقاشانه علی رضا آدم بکان از شهر لایه لایه است. همچون لایه لایه گیِ تغییرِشهر. ابتدا مداد و بعد ذغال و آب مرکب و مرکب های رنگی و پاستل گچی واکریلیک. همه بر هم. همه بر کاغذ. شهر های آدم بکان آمیزه ای از نماهای ثبت شده در ذهن او با شمایل ها و بناهای شهریند که از زاویه ی دید او نقش شده و بیش از آن که نمایی شهری بوجود آورند فضایی شهری می سازند. همان رفتار نقاشانه ای که در کشیدن طبیعت و هفتاد و دو تن و پنج تن دارد. بیانگریِ فضای کوه و دشت، فضای نبردها و مصائب امامان و فضای شهرِ در حالِ گذار.  
شهرهای علی رضا آدم بکان همچون شهرهای امپرسیونیست ها و کوبیست ها و فوتوریست ها وهنرمندان مکتب پاریس، تصویری از واقعیتِ شهری بر مبنای تفسیرِ متفاوت از واقعیت نیست. شهرهای او شبیه نماهای شهری نقاشان فیگوراتیو اواخر سده بیستم که وفادارانه نماهایی از شهر را می کشیدند هم نیست. با حال و هوایی شبیه تر به شهرهای انتزاعی جون میچِل  و گرهارد ریشتر ، بیان آدم بکان بیانی تلفیقی از انتزاع و شکل نمایی است.  شهرهای آدم بکان فضاهایی شهری از پایتختی در حال گذار در زمان و تاریخی مشخص اند. 
شهرهای آدم بکان پر است از حرکت و هیجان و واقعه ای در حال رخ داد. شهرهای او پراست از اتفاق و تغییر. نماهای نقاشانه آدم بکان از شهر، همه تنگند و بسته. آسمان و افقی وجود ندارد مگر به شکل پس زمینه ای گم شده در پس عمارت های شهر. اگر در معدود تابلوهایی آسمانِ آبی هست، هوا آقتابی نیست. تنها نما بازتراست تا بیشتر و از دورتر ببینیم. قلیان حس دربه نقش درآوردن بناها، خیابان ها، شمایل ها، مردمان و وقایع شهری، در بیننده هم حسی مشابه بوجود می آورد. با تماشای فضاهای شهریِ آدم بکان، حرکت وجنبش به درونمان رخنه کرده و بی قرار به دنبال امنیت احساسیِ ناشی از عدم تغییر می گردیم. غافل از این که واقعیت شهرآدم بکان، تغییر است. 
مریم مجد
آبان 1391

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 and we’ll get right back to you.