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Shirin Art Gallery Feb 2013 Behrouz Zindashti 02

نقاشی خط های بهروز زیندشتی تداعی کننده ی کتیبه های ثلث اسلامی هستند و اصرار او بر سامان دادن آنها بر بومهای غیر متعارف هندسی و طاقی شکل نیز این قصه را تشدید کرده است. او درباره ی رجوعش به منابع فرهنگی گذشته و رابطه اش با جریان سقاخانه می گوید : با مراجعه ذهنی و غیرمستقیم  به هنرهای سنتی، معماری و کتاب¬آرایی ایده¬پردازی می¬کنم، چرا که بر این اعتقادم در حین خلق آثاری مدرن و امروزی، نگاهی هم به گذشته پر¬ارج و پر¬شکوه هنرمان نیز داشته باشم، تا آنها را به گونه ای نو بر مخاطبانم ارائه نمایم و همچون هنرمندان دهه چهل به ویژه هنرمندان جنبش سقاخانه و نقاشیخط که دنبال هویت نمایی در آثارشان بودند، به آثارم اصالت ایرانی- اسلامی ببخشم. آثار این هنرمند تاکنون در موزه اسلامی مالزی و آرت فر دبی به نمایش درآمده اند.

The written elements, to me and many others, have their own prestige and value. Out of their readability, they can have the same influence on the spectators as meaningful sentences or words. So, I put the meaningless illegible phrases together impromptu to remind me the spiritual moods, by achieving an accumulation of written elements.

I try the concept of the works to be indicated in their visual appearance; therefore my approach is more an immaterial- abstract one, which means the elements of calligraphy are totally abstract, so far away from the familiar ones of the nature, and this is a very important, delicate and progressive feature of the calligraphy art in it’s one thousand and four hundred year old history, something impresses on the other art areas like book layout, inscription and architecture, etc.

In my present series, I was affected by the prevalent geometric patterns in Iranian- Islamic art like inscriptions, and my ideas has been formed by subjective indirect references to traditional art, architecture and book layout; I believe in both a glance to our past splendiferous art beside creating modern art work; in this way, I can present as I’m giving them the Iranian- Islamic originality, just like the 40’s Iranian artists specially the artists of the Saghakhaneh or  Painting Calligraphy movements which they had sought of their identity in their work. In this series, I used Sols but I was not so loyal to its classic forms and by an anti-traditional approach to Sols calligraphy, just looked at the elegance and beauty of the alphabets. 

In conclusion, I really like to thank all my masters, especially Mr. Hassan Hosein-nejad, the one I owe him, my calligraphy knowledge.


نمایشگاه " بهروز زیندشتی " بهمن و اسفند 1391 گالری شیرین  http://www.artin360.com/Shirin.htm

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