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Assar Art Gallery Jan 2017 Shahpari Behzadi Celestial 03
Tehran

مجموعه ی اخیر شاه پری بهزادی واکنشی فرهنگی، تاریخی و زیبایی شناسانه به هنر ایرانی/اسلامی با همه غنای تغزلیش است که ترجمانی امروزین یافته است. این مجموعه خوانشی نو از هنر هندسی ایرانی است که با جدا شدن عناصر تزیینی معماری از فضای سه بعدی و قرار گرفتن در بستری دو بعدی لحنی انتزاعی به خود گرفته است.

در این مجموعه، نقاش با مطالعه ترکیب بندی نقوش هندسی سقف های مساجد و سایر بنا های تاریخی ایران و نقش طرح هایی نو بر آن مبنا و با به کار گیری نقطه – عنصر دیداری ای که در شش سال گذشته با آن به خلق آثار هنری خود پرداخته است – آثاری منحصر بفرد خلق کرده است.

ترجمانی امروزین، خوانشی نو، آثاری معاصر همه عباراتی اند که در وصف آن چه در این مجموعه به نمایش درآمده است بکار رفته اند. اما چرا نو و امروزین و چگونه معاصر؟

همانند سایر نمونه های نقاشی انتزاعی، در این مجموعه نیز برفرم، رنگ، بافت و جلوه های دیداری اثر تاکید شده است. در این آثار نیز تلاش نشده تا واقعیتی دیداری به دقت و عینا به نمایش درآید بلکه از اشکال، رنگ ها و ترکیب بندی برای دستیابی به این تاثیر بهره گرفته شده است. اما چگونگی بیان و اجرای مهارت های خلاقه و تخیل هنرمند وعلاوه بر آن، نحوه اجرای نقوش، تکرار آن ها و اشتیاق و توجه تماتیکی که در انتخاب رنگ نهفته است این آثار را امروزین می کند. سقف های پر نقش، ساده و از حجم عاری شده واشکال، بسیار مرتب و دقیق بر بوم قرار گرفته اند. تنها اثری که از عمق و فضای سه بعدی به جای مانده ردیف های از درشت به ریز نقطه ها و از روشن به تیره آن ها است. پالت شاه پری بهزادی نیز زاییده ی تخیل اوست و نقش هنرمند در خلق آن همچون دخالتی که بر نقش داشته عیان است. رنگ های درهم و سمبولیک نقوش هندسی ریز معماری اسلامی جای خود را به رنگ های کاملا نو و براق با ترکیب بندی های خلاصه و ساده شده امروزی داده اند. اشکال هندسی ریز که در معماری اسلامی با کنار هم قرار گرفتن، اشکالی پیچیده و بزرگ بوجود می آورند در این آثار به نقطه هایی کنار هم تبدیل شده اند که تشکیل دهنده تنها یک شکل اند.

در واقع ساده کردن تزیینات معماری اسلامی/ایرانی و نحوه استفاده از هندسه نقوش و دوباره پیاده سازی آن ها در رنگ هایی شفاف، همچون بازنوسی تاریخ به زبان امروزی است که در آن دیگر از صنایع بدیع و آرایه های ادبی خبری نیست و مفهوم مورد نظر به زبان دیداری ساده بیان شده است. 

از سوی دیگر، در مقابل دید و بر دیوار قرار گرفتن نقوشی که علیرغم ساده شدنشان انتظار می رود بر فراز سر و در ارتفاعی دور از ما قرار گیرند، عاری شدنشان از بار سمبولیک و به عبارتی تغییر مکانی و تغییر کارکرد دیداری و مفهومی آن ها، این آثار را معاصر می کند.

در آثار شاه پری بهزادی از وصف و توصیف و روایت خبری نیست. بیان مستقیم و بیواسطه است. در این آثار انتزاعی، بیننده با زبانی کمینه گو به دیدن گذشته از دریچه امروز دعوت می شود، یا به عبارتی به تجربه امروزین گذشته فرا خوانده می شود. 

مجموعه ی اخیر شاه پری بهزادی مجموعه ای است نو از کهن زیبایی های این مرز و بوم، شعری پارسی برای همه جهانیان.

مریم مجد- زمستان 1395

The Painter Painted No More

Shahpari Behzadi’s recent body of work is a cultural, historical and aesthetical reaction to Persian/Islamic art with all its lyrical opulence that has come to life through contemporary interpretation.  This collection is a new reading on Persian geometric art that has reached an abstract tone via separating from conventional architectural decorative motifs and three-dimensional space and imbedded instead in a two-dimensional setting. 

In this collection, through careful study of geometric compositions of mosques ceilings and other historic Iranian monuments, the painter has come up with new patterns - using dots and other visual elements that she has been engaged with for the past six years - to create an exclusive body of work.  

A contemporary interpretation, a new reading and present-day pieces, are all what’s been used to describe the works presented in this collection. But why new? and how contemporary?

Just like other examples of abstract painting, there has been an emphasis on form, colour, texture and visual effects in this series.  In these works too, the aim is not to present a visual reality in an accurate and precise way, instead, shapes, colours and compositions have all been used to achieve this effect.  But the means of expression and the implementation of the artist’s creative skills and imagination as well as her ways of executing patterns, their repetitions, and her thematic interest in choosing colours all make these works contemporary. All forms and patterned ceilings, simplified and flattened, have all been arranged very neatly and carefully on canvas. All that is remained from depth and three-dimensional space are rows of large to small, and light to dark arrangement of dots.  Shahpari Behzadi’s palette is also born out of her imagination and her role in creating it is as obvious as her interference with pattern. Intertwined and symbolic colours of the tiny geometric designs of Islamic architecture have given way to totally new and bright colours with simplified and brief contemporary compositions. Small geometric forms in Islamic architecture that together create complex and large forms are arranged together in dots creating single forms in the works of this series. 

In fact, the simplification of Persian/Islamic architectural ornamentations and the ways of using geometric designs and the re-implementing them in transparent colours are just like the re-writing of history in a modern language, one that doesn’t use rhetorical and literary embellishments and the meaning is instead delivered in a simple and visual language. 

On the other hand, installation of these simplified patterns on the walls right before our eyes despite them being expected to be placed high up above our heads, their emptiness of symbolic load or in other words, the change of their placement and visual and conceptual function, make these works contemporary.   

Shahpari Behzadi’s works are empty of description and narration. Her expression is direct and immediate.  In these decorative abstract works, audiences are invited to see the past through a present-day perspective via a minimal language, or in other words, they are invited to experience the past in a modern way.  

Shahpari Behzadi’s recent series is a new selection about the beauty of this land’s past, a Persian poetry for the entire world. 

   Maryam Majd- Winter 2017

نمایشگاه آثار " شاهپری بهزادی " با عنوان " سما " بهمن 1395 گالری  اثر

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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.