{"@context":"http://schema.org/","@type":"CollectionPage","url":"https://herfeh-honarmand.com/english-articles/","name":"\u0646\u0648\u0634\u062a\u0647\u200c\u0647\u0627\u06cc \u0627\u0646\u06af\u0644\u06cc\u0633\u06cc posts archive","description":"\u0646\u0648\u0634\u062a\u0647 \u0627\u0646\u06af\u0644\u06cc\u0633\u06cc \u0646\u0648\u0639 \u0646\u0648\u0634\u062a\u0647","mainEntity":{"@type":"ItemList","numberOfItems":0,"itemListElement":[{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/the-spirit-of-a-building-a-note-on-a-collection/","name":"The Spirit of a Building; A Note on a Collection","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139859","url":"https://herfeh-honarmand.com/english-articles/the-spirit-of-a-building-a-note-on-a-collection/","name":"The Spirit of a Building; A Note on a Collection","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/image-8-200x200.webp","name":"image (8)","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesthe-spirit-of-a-building-a-note-on-a-collection"},"description":"The works left behind under the title Caravanserai by the late Hessam Rezaei offer an opportunity to observe painterly gestures reminiscent of Expressionist artists\u2014gestures that, over recent decades, have re-emerged in neo-expressionist forms with renewed relevance and application, though not with the same public notoriety as in the past. It appears that German artistic traditions, […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:14:45","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:14:45","wordCount":0,"articleBody":"\nThe works left behind under the title Caravanserai by the late Hessam Rezaei offer an opportunity to observe painterly gestures reminiscent of Expressionist artists\u2014gestures that, over recent decades, have re-emerged in neo-expressionist forms with renewed relevance and application, though not with the same public notoriety as in the past. It appears that German artistic traditions, as an underlying backdrop, played a significant role in shaping the characteristics of Rezaei\u2019s painting.His intense inclination toward the vigorous movement of the brush and the swirling application of dense patches of color across his canvases, the arrangement of highly contrasting tonalities which, despite their freedom and fluidity, are handled with remarkable sensitivity, as well as distortions, abbreviated lines, and simplified forms, collectively construct a highly charged expressive language. These images seek to reveal the latent forces embedded within traditional architecture or Iranian landscapes, ultimately shaping a visual expression guided by the painter\u2019s exploratory vision.Rezaei can be considered a painter influenced by Neo-Expressionism. However, his inclination toward landscape painting and the experimental dimension of his practice gives this influence a selective direction. Beyond the general traits of Expressionism, his work can be situated among artists who have moderated Expressionist tendencies toward landscapes and everyday scenes, relying primarily on color modulation and brushwork to reconstruct new worlds and meanings within their imagery. Leon Kossoff and Frank Auerbach are among such artists; indeed, their thick, impasto-based application of paint bears notable similarities to Rezaei\u2019s practice in this context. Both artists drew upon the achievements of Expressionism in service of their own artistic choices and ideas, thereby emphasizing the individual painter\u2019s interpretive approach to reconstruction\u2014a quality also evident in Rezaei\u2019s..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/a-note-on-the-works-of-hessam-rezaei/","name":"A Note on the Works of Hessam Rezaei","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139860","url":"https://herfeh-honarmand.com/english-articles/a-note-on-the-works-of-hessam-rezaei/","name":"A Note on the Works of Hessam Rezaei","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/image-7-200x200.webp","name":"image (7)","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesa-note-on-the-works-of-hessam-rezaei"},"description":"Nearly thirty years ago, perhaps at a time when Hessam was walking the cold corridors of the Berlin School of the Arts on his way to begin work in his vast, high-ceilinged studio, he may have paused for a moment\u2014struck by an involuntary memory, or rather by a recurring thought that would from time to […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:12:52","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:12:52","wordCount":0,"articleBody":"\nNearly thirty years ago, perhaps at a time when Hessam was walking the cold corridors of the Berlin School of the Arts on his way to begin work in his vast, high-ceilinged studio, he may have paused for a moment\u2014struck by an involuntary memory, or rather by a recurring thought that would from time to time occupy his mind. In that instant, a sun-drenched land might have appeared before him like a richly patterned carpet: a land where he had once wandered and come of age; a land through whose winding alleys he had strolled while dreaming of reaching this very school, and to which he now felt the desire to return\u2014to those same alleys, under that same light. We always feel we are not where we ought to be: at home, we long for the dark forest; in the forest, for the narrow path that leads back home.Yet in my view, such a preoccupation in Hessam\u2019s mind went far beyond a simple longing for home and family. He possessed an inquisitive intellect, along with the intensity and tenacity essential to artistic practice. He was constantly searching for a solution to his artistic expression, and in striving toward it\u2014consciously or unconsciously\u2014he was drawn to a connection whose one end lay in the teachings of that school, his experience of Berlin, and his exchanges with German classmates, while the other reached back to the environment from which he had emerged: a milieu that offered him a different understanding of form, space, light, and proportion, articulated in a rhythmic and seemingly flawless harmony.He often found himself thinking of Yazd, Kashan, and Abyaneh\u2014places that, set against the Berlin of those years\u2014a city rapidly modernizing, an open society marked by self-assured displays of architecture and art\u2014appeared like elsewhere left behind by history: towns or villages hidden beyond dunes and salt flats, or nestled deep within a valley.Hessam crossed the inevitable threshold all too soon, yet his experience in artistic practice was anything but..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/in-memory-of-hessam-rezaei-painter/","name":"In Memory of Hessam Rezaei \u2013 Painter","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139882","url":"https://herfeh-honarmand.com/english-articles/in-memory-of-hessam-rezaei-painter/","name":"In Memory of Hessam Rezaei \u2013 Painter","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/image-5-200x200.webp","name":"image (5)","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesin-memory-of-hessam-rezaei-painter"},"description":"At the recommendation of friends, and in view of the growing interest in Hessam Rezaei\u2019s work in recent years, I have attempted to review his works, which are not widely available in Iran. His works are grouped into three series of images, which, according to those close to him, were created during his repeated travels […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:09:38","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:09:38","wordCount":0,"articleBody":"\nAt the recommendation of friends, and in view of the growing interest in Hessam Rezaei\u2019s work in recent years, I have attempted to review his works, which are not widely available in Iran. His works are grouped into three series of images, which, according to those close to him, were created during his repeated travels between Iran and Germany. The first group is entirely experimental, often informed by the avant-garde sensibilities of a visual inquirer. The second comprises landscapes that primarily attest to his technical command and maturity. The final group, though less cohesive, reflects his attempts to retrieve what he had lost while living far from his homeland and loved ones.\n\n\n\nAn artwork comes into being in accordance with the artist\u2019s nature. The relationship between an artist\u2019s life and their work is a necessity we may call true authenticity. Any cultural creation that is connected to the inner and outer foundations of its creator\u2014and capable of reflecting a part of them\u2014deserves recognition and reverence, regardless of personal taste or judgment, for its claim to an unmediated narration of existential truth. Many paintings and sculptures are executed at the highest level of technical and formal refinement, yet precisely because they are incidental or imposed upon their creators, they are ignored\u2014or must be.\n\n\n\nThere are image-makers in their early twenties who depict dismembered bodies, scenes of torture, mutilated forms, and often sexually deviant or diseased figures\u2014yet I have known them since they were seventeen, and no aspect of their personal lives has ever been intertwined with such imagery or atmospheres. I deliberately use the term \u201cimage-maker,\u201d for when a person does not move beyond mere reproduction of images from video clips, magazine photographs, or, at times, artificially induced excitements from chemical or plant substances\u2014and attempts to construct images from them, such fabricated outputs cannot bear the name of art..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/a-portrait-of-hessam-rezaei-in-his-youth/","name":"A Portrait of Hessam Rezaei in His Youth","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139885","url":"https://herfeh-honarmand.com/english-articles/a-portrait-of-hessam-rezaei-in-his-youth/","name":"A Portrait of Hessam Rezaei in His Youth","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/image-6-200x200.webp","name":"image (6)","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesa-portrait-of-hessam-rezaei-in-his-youth"},"description":"This is Abyaneh\u2014I know it is. Although I have never personally been there, I have seen this dense arrangement of cube-like houses, stacked and rising upon one another, in films and photographs. My first encounter with the paintings of Hessam Rezaei was in Herfeh: Honarmand, Issue No. 7, published in the spring of 2004\u2014six years […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:07:31","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:07:31","wordCount":0,"articleBody":"\nThis is Abyaneh\u2014I know it is. Although I have never personally been there, I have seen this dense arrangement of cube-like houses, stacked and rising upon one another, in films and photographs. My first encounter with the paintings of Hessam Rezaei was in Herfeh: Honarmand, Issue No. 7, published in the spring of 2004\u2014six years after the painter\u2019s death in 1998, at the age of 38.\n\n\n\nAmong the images printed in that issue, the Abyaneh paintings stayed with me, along with the thought that I would never again see any work by this young, prematurely lost artist. Abyaneh was a powerful image. I did not know why then, and I still do not fully know, but many times, when I heard the name Abyaneh, it was not the beautiful postcard-like images of its red earth that came to my mind, but these paintings. Something had fixed them in my memory\u2014perhaps the directness of their forms and the strength of their monochromatic color.\n\n\n\nYears passed. One morning in Shahrivar 1403 (September 2024), I entered SARAI Gallery. And this time, I also saw Hessam Rezaei himself: a self-portrait of a young man, with a well-formed, bony face and piercing green eyes staring at the viewer. Seeing the self-portrait gives rise to a feeling that is at once obvious and yet magical\u2014that the painter is there; not merely because of resemblance; no. The brushstrokes, and the tangible presence of the movement of paint (which is the movement of the painter\u2019s hand), preserve his body. This is the magic of the self-portrait: it shows both the artist\u2019s likeness and interpretation of himself, and something more tangible and immediate\u2014that he himself has painted himself. A trace of this lost \u201cself\u201d was there, looking at me.\n\n\n\nI knew that I was about to view a large number of works by Hessam Rezaei up close\u2014works that had been entrusted to the gallery by his family. Some of the paintings needed restoration; and many of the drawings and small color works were being kept in poor condition, at..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/interview-with-hessam-rezaei/","name":"Interview with Hessam Rezaei: Berlin University of the Arts","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139881","url":"https://herfeh-honarmand.com/english-articles/interview-with-hessam-rezaei/","name":"Interview with Hessam Rezaei: Berlin University of the Arts","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/image-200x200.webp","name":"image","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesinterview-with-hessam-rezaei"},"description":"This interview was conducted ten years earlier and was first published in Issue No. 12 of Shabab magazine (Azar\u2013Dey 1373 [December 1994\u2013January 1995]). Mr. Rezaei, thank you for giving us your time. Please tell us about yourself and how you came to painting. Until 1979, my engagement with painting was limited, but after the Revolution\u2014around […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:07:13","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:07:13","wordCount":0,"articleBody":"\nThis interview was conducted ten years earlier and was first published in Issue No. 12 of Shabab magazine (Azar\u2013Dey 1373 [December 1994\u2013January 1995]).\n\n\n\nMr. Rezaei, thank you for giving us your time. Please tell us about yourself and how you came to painting.\n\n\n\nUntil 1979, my engagement with painting was limited, but after the Revolution\u2014around 1980 or 1981\u2014I began to pursue it more seriously. Before that, I worked independently, without formal instruction, simply painting for myself. During those years, I decided to follow painting more earnestly; I had always wished to devote myself to it more fully. After the Revolution, I became acquainted with several painters and attended their classes, including those of Ms. Samila Amirebrahimi, Mr. Mousavi, and Mr. Aghdashloo. I also worked for a period with Hassan Safa, who later lost his life in a car accident in France. In my opinion, his death was a great loss to the Iranian art community. I was also familiar with Mr. Habibpour, Alkhas, and Sherveh, though only from a distance and without close personal relationships. In the joint classes of Ms. Amirebrahimi and Mr. Mousavizadeh, we focused on portrait drawing, still life, and similar subjects.\n\n\n\nHow did you decide to go to Europe to continue your studies?\n\n\n\nIn 1984, I went to Germany with the aim of continuing my studies in painting. It was not an easy situation, as I went abroad without any support. I\u2019m not sure whether these details are necessary, but in any case, I entered Germany on a tourist visa. After six months of language study, I went to West Berlin to take the entrance examination for the Berlin University of the Arts (HDK)[1]. After making inquiries, I realized that I needed to submit a selection of my works in order to participate in the entrance exam. At first, I did not know exactly what they were looking for. I had defined three working themes for myself: portrait, landscape, and still life.\n\n\n\nAt the Berlin University of the Arts, two..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/hessam-rezaei-and-the-trajectories-of-iranian-art/","name":"Hessam Rezaei and the Trajectories of Iranian Art","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139884","url":"https://herfeh-honarmand.com/english-articles/hessam-rezaei-and-the-trajectories-of-iranian-art/","name":"Hessam Rezaei and the Trajectories of Iranian Art","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/vagheh1-200x200.webp","name":"vagheh1","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articleshessam-rezaei-and-the-trajectories-of-iranian-art"},"description":"Hessam Rezaei was born in 1960 in a religious family in Tehran. His loving father, mother, three sisters, and two brothers would always support him so, considering his passion for painting from such an early age, he entered a painting school. While studying there he attended the classes of various other masters as well and […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:04:36","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:04:36","wordCount":0,"articleBody":"\nHessam Rezaei was born in 1960 in a religious family in Tehran. His loving father, mother, three sisters, and two brothers would always support him so, considering his passion for painting from such an early age, he entered a painting school. While studying there he attended the classes of various other masters as well and learned about the principles of design and simulation. During this period, which coincided with the exciting years of the beginning of the Iranian Revolution, Hessam was a jovial and energetic youth, and like most young people of that period, he was full of enthusiasm and idealism.\n\n\n\nHe participated in various social activities and wanted to use his art for the people but his fragile body and sensitive mind were very vulnerable to internal and external tensions to the point that he would sometimes get hospitalized. In the following years, social upheavals, the closing of universities, and the subsidence of the revolution made Hessam think of traveling abroad and continuing his art studies. But there were many problems. On one hand, separating from the family that he was very dependent on, and the huge cost of studying abroad for several years on the other hand would have been enough to make anyone give up this temptation, but this was not a fleeting desire. This little black fish had made up his mind and had to get to the ocean at any cost.\n\n\n\nEventually, with his family\u2019s help, Hessam left for Germany to complete his studies. In an interview during his exhibition in 1992, Hessam said \u201cIn 1984, I went to Germany to pursue painting. Things were not easy. I went abroad without any support. I don't know if it is necessary to say this but anyway, I entered Germany on a tourist visa and after completing a six-month language course to participate in the Berlin academy entrance exam, I went to West Berlin.\u201d\n\n\n\nHessam spent some time learning German and painting portraits in Frankfurt to make a living. He eventually settled in Berlin and started..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/red-and-purple/","name":"Red and Purple","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-139883","url":"https://herfeh-honarmand.com/english-articles/red-and-purple/","name":"Red and Purple","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2026/04/image-4-200x200.webp","name":"image (4)","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesred-and-purple"},"description":"More than fifteen years ago, during a visit to an exhibition at Sabz Gallery, I encountered a series of extraordinary works charged with a remarkable energy that immediately captivated me. When I became acquainted with the painter of these works\u2014an acquaintance that later grew into a valuable and unforgettable friendship\u2014I realized that his calm, untroubled […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2026-04-21 19:04:21","dateModified":"2024-08-27 05:45:06","keywords":["Iranian Contemporary Art"],"dateCreated":"2026-04-21 19:04:21","wordCount":0,"articleBody":"\nMore than fifteen years ago, during a visit to an exhibition at Sabz Gallery, I encountered a series of extraordinary works charged with a remarkable energy that immediately captivated me. When I became acquainted with the painter of these works\u2014an acquaintance that later grew into a valuable and unforgettable friendship\u2014I realized that his calm, untroubled demeanor, along with the composure evident in his conduct and practice, bore little outward resemblance to his works.\n\n\n\nIt seemed as though he had merged the inner substance of his creations with a restrained external energy and then gave it visual form. His paintings were filled with intense, vibrant, and expansive colors, set alongside dense textures that were sometimes even scraped away by the artist\u2019s own hand. These elements were arranged in striking contrast, forcefully asserting the abstract foundation underlying his paintings. While viewers initially encountered abstract compositions\u2014reminiscent of Abstract Expressionist works\u2014the final image often revealed itself as a landscape imbued with a peculiar nostalgia, as though the artist, emerging from a profound and enigmatic sorrow, had begun layering colors and textures. It was as if Hessam had embarked upon his paintings driven by an inner excitement entwined with deeply held emotional tension.\n\n\n\nIn later periods, he turned toward Iranian architecture. The city of Yazd and its architectural character became the catalyst shaping his works during that phase. The paintings from this period reflect the complex cultural condition of a country affected by cultural amnesia. Within these historical structures, there is no trace of human presence. Even when figures appear, they are devoid of concern\u2014mere fleeting shadows whose passage leaves no lasting impression on the viewer.\n\n\n\nHis paintings of Abyaneh, forming another significant group from his years of residence in Germany, likewise convey a direct reference to the height of his historical..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/lecture-thirteen-a-proposal-for-understanding-the-eras-of-iranian-art-and-culture/","name":"Lecture Thirteen: A Proposal for Understanding the Eras of Iranian Art and Culture","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-132005","url":"https://herfeh-honarmand.com/english-articles/lecture-thirteen-a-proposal-for-understanding-the-eras-of-iranian-art-and-culture/","name":"Lecture Thirteen: A Proposal for Understanding the Eras of Iranian Art and Culture","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2024/09/1-200x200.jpg","name":"\u06f1","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articleslecture-thirteen-a-proposal-for-understanding-the-eras-of-iranian-art-and-culture"},"description":"An Introduction to the History of Art and Culture of Iran Ariasp Dadbeh When working on historical materials, one should first present a clear list of the periods under discussion. However, in these lectures, the necessity of explaining certain basic terms and concepts, and addressing the entries that form the basis of the topics discussed, […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2024-09-06 12:32:36","dateModified":"2024-08-27 05:45:06","keywords":["Persian Art"],"dateCreated":"2024-09-06 12:32:36","wordCount":0,"articleBody":"\nAn Introduction to the History of Art and Culture of Iran\n\n\n\nAriasp Dadbeh\n\n\n\nWhen working on historical materials, one should first present a clear list of the periods under discussion. However, in these lectures, the necessity of explaining certain basic terms and concepts, and addressing the entries that form the basis of the topics discussed, has delayed this task, to the point where the proposal for the periodization of Iranian art and culture has been postponed to this article.\n\n\n\nSo far, in several lectures, we have addressed essential components such as the epic nature, or manifestations like the garden, and certain smaller motifs. The purpose of presenting these topics was to draw readers' attention to the shared foundations of Iranian culture across the span of time and the lateral continuity of its diverse manifestations and products. All these discussions emphasized the characteristic of cultural 'continuity'.\n\n\n\nNow, we turn to the 'ruptures', focusing on what has transformed over time. These turning points have sometimes taken the form of epoch-making developments and the culture grappling with a new message, while at other times, they have manifested as the infusion of old meanings into new forms, or conversely, the continuation of old forms with the renewal of the meanings they carry.\n\n\n\nAs previously mentioned, the cultural nature of Iran is the result of the interaction between two forces: 'becoming' and 'continuity', or transformation and persistence. By examining each period of Iran's long history, one can recognize the involvement of both these forces, which have both renewed and sustained. It can be said that the vitality and productivity of this culture have been made possible through the constant challenge and struggle between these forces.\n\n\n\n\n\n\n\nLusterware tile with Persian poetry, Kashan, late 13th century CE / 7th century AH,The Era of the State of Culture\n\n\n\nThe first step in any kind of historiography, including the history of art, is..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/an-introduction-to-the-history-of-art-and-culture-of-iran-6/","name":"Lecture twelve: An Introduction to Writing Art History and Naming the Historical Materials of Iranian Culture and Art","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-131724","url":"https://herfeh-honarmand.com/english-articles/an-introduction-to-the-history-of-art-and-culture-of-iran-6/","name":"Lecture twelve: An Introduction to Writing Art History and Naming the Historical Materials of Iranian Culture and Art","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2024/08/parts-of-mosque-1-200x200.jpg","name":"parts-of-mosque","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesan-introduction-to-the-history-of-art-and-culture-of-iran-6"},"description":"An Introduction to the History of Art and Culture of Iran Ariasp Dadbeh It is important to reiterate in this prologue that these lectures do not claim to present a “history of Iranian art and culture”.. Writing a text on the history of Iranian art and culture, which spans a very long period and encompasses […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2024-08-28 11:48:10","dateModified":"2024-08-27 05:45:06","keywords":["Persian Art"],"dateCreated":"2024-08-28 11:48:10","wordCount":0,"articleBody":"\nAn Introduction to the History of Art and Culture of Iran\n\n\n\nAriasp Dadbeh\n\n\n\nIt is important to reiterate in this prologue that these lectures do not claim to present a \"history of Iranian art and culture\".. Writing a text on the history of Iranian art and culture, which spans a very long period and encompasses a vast array of branches with unparalleled breadth, requires preliminary work in various fields and the fruition of foundational research in multiple disciplines. Even with these prerequisites in place, the advancement of such a grand project may be beyond the capacity of a single individual. As the title suggests, these articles are merely an introduction to a discourse that we hope will lead to the development of a theory explaining Iranian culture and art. It would be highly encouraging if current and future researchers critically engage with this work, identify its flaws with keen insight, and refine them to establish a logically sound foundation for better understanding in this area.\n\n\n\nIn this lecture, before proposing a periodization for the history of Iranian art and culture, which will be discussed in the next session, it became necessary to first address the topic of writing art history itself, along with some of the important challenges and considerations surrounding it. Therefore, some points from previous lectures have been reiterated, and additional aspects have been introduced as required by the current context. This has been done to sensitize the reader's mind to some fundamental issues that deserve attention at every step taken in the formulation of art history.\n\n\n\nIranian Carpet, 16th-17th Century CE / 10th-11th Century AH\n\n\n\nGeneral Notes on the Historical Development of CulturesEvery establishing culture emerges around a \"great idea\" that has gradually taken shape. Along this path, communities, based on their lived experiences and in relation to the needs and potential of their environment, make innovations and establish their own..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/lecture-eleven-the-garden-a-reference-model-in-iranian-art/","name":"Lecture Eleven: The Garden; A Reference Model in Iranian Art","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-131840","url":"https://herfeh-honarmand.com/english-articles/lecture-eleven-the-garden-a-reference-model-in-iranian-art/","name":"Lecture Eleven: The Garden; A Reference Model in Iranian Art","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2024/08/img137-1-200x200.jpg","name":"img137-1","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articleslecture-eleven-the-garden-a-reference-model-in-iranian-art"},"description":"Introduction We have likely encountered such questions many times, whether in the form of a clear inquiry or as a vague thought: What ensures the continuity of a cultural tradition? How does a culture spread and influence others? Finding appropriate answers to these questions is of great importance to us, as we sometimes encounter aspects […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2024-08-27 16:17:01","dateModified":"2024-08-27 05:45:06","keywords":["Persian Art"],"dateCreated":"2024-08-27 16:17:01","wordCount":0,"articleBody":"\nIntroduction\n\n\n\nWe have likely encountered such questions many times, whether in the form of a clear inquiry or as a vague thought: What ensures the continuity of a cultural tradition? How does a culture spread and influence others? Finding appropriate answers to these questions is of great importance to us, as we sometimes encounter aspects of our culture that clearly extend from the depths of history to more recent periods. These might be a plant motif from the Parthian school dating back 1,700 years, a piece of carpet from 2,400 years ago, or the remnants of a garden that is 2,500 years old. When faced with such things, we suddenly find ourselves inheritors of a very ancient tradition. Living within such a culture might make this heritage seem very natural and self-evident; so much so that, while strolling through Fin Garden, or walking in Shazdeh Garden or Eram Garden, we might rarely think about the antiquity of the tradition behind these gardens, which are the most recent examples of an ancient practice. We might not ask ourselves: What idea has allowed this tradition to endure for so long? Does the continuation and evolution of this garden design imply the persistence of the cosmology that underpins it? And can we find traces of the roots of our present-day beliefs, values, and approach to existence within it?We want to know whether a cultural tradition can continue to survive despite disruptions, fluctuations, devastating invasions, and repeated destructions. And if it can, how can it be recognized after millennia and through continuous renewal?\n\n\n\n\n\n\n\nSilk Fabric, Possibly a Fragment of a Robe, 10th Century AH / 16th Century AD\n\n\n\n\n\n\n\nIn this lecture, we will focus on the topic of gardens and garden design. The term \"garden\" here does not refer to orchards, agricultural fields, or areas of natural wild plants. Instead, it refers to specific areas of greenery with a designed infrastructural pattern, which we will attempt to describe in more detail. This..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/an-introduction-to-the-history-of-art-and-culture-of-iran-5/","name":"Lecture Ten: The School of Virtue – The Journey of the Soul","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-131568","url":"https://herfeh-honarmand.com/english-articles/an-introduction-to-the-history-of-art-and-culture-of-iran-5/","name":"Lecture Ten: The School of Virtue – The Journey of the Soul","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2024/08/achaemenid-relief-1-200x200.jpg","name":"achaemenid-relief","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesan-introduction-to-the-history-of-art-and-culture-of-iran-5"},"description":"An Introduction to the History of Art and Culture of Iran Ariasp Dadbeh The soul has the motivation to know and desires to see itself; the longing for awareness is the very essence of the human soul. In the previous lectures, depending on the topic, we discussed the manifestations of various forms of knowledge that […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2024-08-14 12:56:07","dateModified":"2024-08-27 05:45:06","keywords":["Persian Art"],"dateCreated":"2024-08-14 12:56:07","wordCount":0,"articleBody":"\nAn Introduction to the History of Art and Culture of Iran\n\n\n\nAriasp Dadbeh\n\n\n\nThe soul has the motivation to know and desires to see itself; the longing for awareness is the very essence of the human soul.\n\n\n\n\n\n\n\nIn the previous lectures, depending on the topic, we discussed the manifestations of various forms of knowledge that emerged in each cultural center. Now, we will focus on another aspect: each culture's definition of the journey of the soul's ascent, or the path to human perfection and salvation. Like other cultural manifestations, the understanding of \"the journey of perfection\" has taken on different forms depending on the relationship between humans, existence, and time as understood in each context. A culture's perception of the possibility of the soul's growth is significant because it forms the core that generates meaning in life, influencing the way of living, ethics, customs, and art. It is particularly important to consider the relationship between this meaning and the idea of \"establishment\" and the legitimacy of the system of power.\n\n\n\nThe narrative framework of the \"Hero's Journey\" is one of the oldest and most universal story templates shared across cultures. These stories have the capacity not only to convey the experiences of the challenges of migration and travel but also to serve as allegories for the soul's insights and inner revelations that propel a person from one state to another. Despite a common overarching structure, there is a diversity in these stories that subtly reveals the forms of consciousness that distinguish each culture from the others. Beyond this, examining rituals of initiation or various spiritual practices can also bring us closer to understanding the cultural differences in perceiving this theme.\n\n\n\nPersepolis Relief\n\n\n\nThe narrative framework of the \"Hero's Journey,\" one of the oldest and most universal storytelling patterns, tells the tale of traversing difficult paths, overcoming arduous trials, and navigating..."},"position":0},{"@type":"ListItem","url":"https://herfeh-honarmand.com/english-articles/an-introduction-to-the-history-of-art-and-culture-in-iran/","name":"Lecture Nine: The Iranian Cosmology and Epic Thought","item":{"@type":"BlogPosting","@id":"herfeh-honarmand.com-blogposting-english_article-131366","url":"https://herfeh-honarmand.com/english-articles/an-introduction-to-the-history-of-art-and-culture-in-iran/","name":"Lecture Nine: The Iranian Cosmology and Epic Thought","image":{"@type":"ImageObject","url":"https://s.herfeh-honarmand.com/u/2024/08/the-roof-of-ancient-bazaar-in-iran-200x200.jpg","name":"the-roof-of-ancient-bazaar-in-iran","width":200},"mainEntityOfPage":{"@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articlesan-introduction-to-the-history-of-art-and-culture-in-iran"},"description":"An Introduction to the History of Art and Culture of Iran Ariasp Dad It is quite possible that those who have encountered Iranian art have repeatedly asked themselves, especially when compared to works from other cultural domains, why there is almost no depiction here that expresses feelings arising from encounters with evil. Why is it […]","author":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f"},"commentCount":"0","datePublished":"2024-08-05 17:35:59","dateModified":"2024-08-27 05:45:06","keywords":["Persian Art"],"dateCreated":"2024-08-05 17:35:59","wordCount":0,"articleBody":"\nAn Introduction to the History of Art and Culture of Iran\n\n\n\nAriasp Dad\n\n\n\nIt is quite possible that those who have encountered Iranian art have repeatedly asked themselves, especially when compared to works from other cultural domains, why there is almost no depiction here that expresses feelings arising from encounters with evil. Why is it that even the image of a dragon, instead of being terrifying, is rendered in a captivating manner? Or more broadly: why do these works lack the dark, fearsome, and painful aspects of the world? We find such expressions less in various forms of Iranian music as well. One might ask: why do we lack melodies that reflect the turmoil caused by anger or fear in the listener? Why even in religious buildings, whose function should emphasize the grandeur of God and the supremacy of divine intermediaries, is the state of awe absent, unlike in European cathedrals?\n\n\n\nOn the other hand, why did the idea of the transcendence of the Absolute not take hold to the extent that it led to the elimination of any kind of imagery? And if the visual culture continued, one might ask why Iranian Muslim painters had no inclination to illustrate their religious texts. Why did they confine themselves to depicting scenes of the Prophet\u2019s spiritual ascension, mostly through the lens of a chapter from Nezami's romantic Khamsa, or the Golestan? Or why, even in works like the Khaqani-nama, is Imam Ali, the first Shia Imam, depicted as a hero?\n\n\n\nWhy, in the depiction of military victories, which reached its peak during the Sassanian era, is there a tendency to emphasize the symbolic generosity and grandeur of the sovereign rather than the destruction of the enemy and boasting about conquering other lands, as seen in the motifs of the Assyrians, Romans, and others?Similarly, there is no focus on capturing fleeting moments or emptying the mind to follow the immediate flow of events, as we find in ink wash painting or haiku poetry.To find the answer, it is..."},"position":0}]}}{"@context":"http://schema.org/","@type":"WebSite","@id":"herfeh-honarmand.com-website-site","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f","potentialAction":{"@type":"SearchAction","target":"https://herfeh-honarmand.com?s={search_term_string}","query-input":"required s=search_term_string"},"publisher":{"@type":"Organization","@id":"herfeh-honarmand.com-organization-brand","url":"https://herfeh-honarmand.com","name":"\u062d\u0631\u0641\u0647: \u0647\u0646\u0631\u0645\u0646\u062f","description":"\u0646\u0634\u0631\u06cc\u0647 \u0647\u0646\u0631\u0647\u0627\u06cc \u062a\u0635\u0648\u06cc\u0631\u06cc","sameAs":["https://www.instagram.com/herfeh.honarmand/","https://twitter.com/herfehhonarmand","https://t.me/herfeh_honarmand","https://www.youtube.com/@herfeh.honarmand","https://wa.me/+989936912755"]}}{"@context":"http://schema.org/","@type":"WebPage","@id":"herfeh-honarmand.com-webpage-english-articles","url":"https://herfeh-honarmand.com/english-articles/","name":"English Articles","about":"Iranian Contemporary Art
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