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Seyhoun Art Gallery Feb 2017 Rahim Mowlaeian Unveling The Essence Of The Body 03
Tehran

 

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ميوه بر شاخه شدم

سنگ پاره در كف كودك

طلسم معجزتي

مگر پناه دهد از گزند خويشتن ام................... (احمد شاملو)

رازهای ناشناخته جهان اساطیر،همچون خنیای خیال انگیز نغمه های باستانی مهد مادری،آرام آرام نقاش را به بزم نور و رنگهامی کشاند و همنشین دخترکان نوشکفته جنت مكان می کند.گریزی نیست انگار،آنکه نیای اَش را می پرستد ناچار است،روزگارآغوش جان پناه مادر را فرا یاد آورد و برلوحه باد و بودش مشق کند هر بار...یک بار نوشتم،نگاه مولاییان به تاویل آموخته است،یعنی برای مناظره با جهان،در سایه گاه  داد و دهش اساطیر جای می گزیند. او تیزهوشانه  خاستگاه آفرینش نقش هایش را به نگاه برساخته نظریه های زبان بنياد نیالوده است و اندیشه سرکش اش مثال راهزنی، رویاهای مردم سرزمین مادری را توشه سفر کرده است.تماشاي پرده هاي مولاييان در كشاكش گيرو داري پرشور است از پيدا و پنهان نقش تا پيدا و پنهان خودت و ناچاري به تن دادن به هر منزلگاهي و قرار نگيري كه با صورت پرده ها در آويزي يا معني لحظه ها را باز يابي.حتي امروز كه به گمانم نقاش قراري گرفته و رنگهايش حكايت از تسليم و رضايت به هنجار عالمي نو مي دهد،باز جوشش دائم و هروله ي بي پايان مولاييان در نگاره ها و نقش ها جلوه مي كند.نقش هايي كه اينبار از واهمه ها و پچپچه هاي سايه هاي  بيرون و درون جهان بسترشان رسته اند و رستگار و آرام، تن به تقدير داده اند.نقاش هستي اش را پاي هنرش مي ريزد و در خم چنبره زيستن، دوباره خويش را باز مي شناسد و به جاي آدم پرده هاش رندانه مي نشيند تا بي واسطه با مخاطب سخن بگويد و خبر از تولدي دوباره دهد،چون ققنوسي كه كه از بلنداي خاكستر وجودش سر فراز مي كند.شوخي و شنگي و گرماي رنگ ها گزارش رويداد آميزش روياها و آرزوها و جهان واقع نقاش است.در تركيب بندي مجردات قابها هم ديگر آن چيدمان منفك و جدا از هم با توناليته  و كنتراست بالا و تند و تيز را نمي بينيم،عناصر به هم نزديك شده اند و قالب ناتوراليسم برگزيده اند و به هم خو گرفته اند.شيري كه به هيات طبيعيش بازآمده و در پناه بانوي نقش ها آرميده،ديگر نشاني از سنگ نگاره هاي خاستگاه كهن اش  ندارد و هم پرنده ي باستاني كه مينوچهر است به رشك، خروس در آغوش بانو را مي نگرد،اين بازگشت عناصر به صُوَر مُثُلي خود شبيه پالايشي است از پي نبردي با خود و ديو و دلبر وجود و گوشزد به اینکه منشا همه ی نیروهای هستی یگانه است.بانوان نیز يگانه اند در پرده ها و ديگر در اغماي حسرت ها و گره هاي بي پايان جهان انفعال خويش غرق نيستندبلك قراري گرفته‌اند و‌آراسته اند و ديده بان و دست اندر كار چرخ زندگی.آدم های امروز مولاییان بخت فروبسته ي گذشته را ندارند،رها شده اند از افسون عجوزگان و نگاه هرز دیو بچه گان،در جهانی می زیند که اگر ملالی هم رقم می خورد از همنفسی با فریشتگان است نه از فروبستگی و تردید و گسيختن همدلی ها،بانوی جان پناه شیر، بر دامنش نقش سرگذشت دردباری را حک کرده که تنها چون هشداری برای پاسداشت و نگاهبانی راحت امروز به تن کرده و نقاش همداستان با همین قصه ها که درگذشت، استایلش را بر می گزیند،یعنی باز از پرسپکتیو حذر می کند و باطن وقایع را بسان خوي شرمناك مردم مشرق زمین پنهان می کند و رمزگونه اشاراتی می آورد و حرمت نگاه می دارد و همچنان وامدار مینیاتور ایرانی است اما در كاركردي نو،زاویه از پایین نقطه نظر مخاطب و پسزمينه هاي پوشيده از رنگ،اگر مولاييان در پرده هاي قديمش از مينياتور به عنوان مرجع ياري مي جست امروز آن قالب را كاملا مراعات مي كند و چنين مي نمايد كه نزديك تر شده به انديشه و نگاه ايراني و آن را به عنوان آركي تايپ و مرجع اين بار آگاهانه تر و مصمم تر پذيرفته است.  اين فراخواندن و احضار احوال و قال و رابطه هاي جهان باستان و مواجهه و به ديالوگ نشستن با ا يشان و اخذ دستور از نظام اعتقادي براي درمان دردهاي روزگار نو، كاري يگانه و سترگ است كه مولاييان در باور خود حواله دارد و اين بار به درستي با آن همراه شده و به اين مانند هست كه به شهود خود و خاطره تاريخش ايمان آورده است.چون يكه سواري تنها كه در پي سرنوشت،خوان به خوان خصم هاي بيرون و درون را در مي نوردد و آدمي ديگر باز مي گردد...

رضا اميرصالحي- پانزدهم دي نود و پنج

The return of the unrivalled rider…

…my look has learned through the interpretation; namely, it is under the shade of justice and donation of the mythologies that it dwells, so as to debate with the world. Watching my veils occurs amidst a passionate struggle from visible to hidden pattern, from overt to the covert self. Even now that I am in repose and my colors imply satisfaction and capitulation to the norm of a new world, still my permanent ebullience and endless pursuits are apparent in the images and patterns. The very patterns that, this time, have extricated from the fears and whispers of the shadows of their inside and outside universe and, having reached salvation and peace, are capitulating to the fate. The painter devotes his entire existence to his art and re-recognizes himself within the curve of the life cycle; he roguishly sits down, replacing the people of his scene in order to speak directly to the audience, similar to a phoenix that rises from above the ashes of his existence. The jolliness and warmth of the colors are like reports of the events, unfolding the compound of dreams and wishes with the reality of my world. The elements have approached one another and while becoming adapted to each other, have chosen the form of naturalism. The lion that have returned to its natural appearance and rested under the shelter of the lady of the patterns, has no sign of the petroglyphs of the olden origins anymore and also, the ancient bird, which is Minoochehr (Heavenly Face), enviously looks at the roster held by the lady. This return of the elements to their allegorical images resembles a purification, achieved as a result of a conflict with the self and the inner beauty and beast; a reminder of the point that the origins of all the forces of the universe are the same. The ladies are all unique on the scenes and they are no longer in the coma of their regrets and everlasting knots of their passive worlds; rather, they are settled, primped and watchful. My people today are not hapless as they used to be in the past, they are released from the charms of the crones and graceless stares of the baby beasts; they live in a world that even if they undergo lassitude, that would be the outcome of their companionship with the angles and not the result of the complexity, doubt and the elimination of empathy. On her skirt, the lady patron of the lion’s life, has engraved an agonizing narration of the past and she has worn it only to announce a warning for protection and today’s convenient guarding; and the painter, assenting to these stories aforesaid, hides the inside fact of the events, like the inglorious demeanor of the eastern people; and mysteriously implies some cues and holds the reverence. These calls, states and sayings and the relations of the ancient world and confrontations and negotiations with them along with receiving an executive order from the belief system to heal the pain of the new era, is a unique and mighty task, assigned and accompanied by my beliefs. This is because I have faith in my intuition and the recollection of the history, just like a lonely unrivalled rider, pursuing his destiny and, one stage after another, moving pass the concurred enemies within and the ones, out in the world and returning as another man…

نمایشگاه آثار " رحیم مولاییان " با عنوان " آشکارگی جوهرتن " اسفند 1395 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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