Iranian painting or Iranian painter?

Extracted from Rasekhoon
"Painting" is a word that is deliberately and in ignorant way, in the semantic layers of heterogeneous and metaphorical in same time becomes raw material of the word and thought. Sometimes in the world of vocabulary attributed to the sacred place and the original tradition of Iranian imagery, and sometimes in the context layers similar to modern life and in struggle with the hopeless war with fine and applied arts.
When we take "paintings" as a beautiful art, which is based on the desire to create beauty and in opposition to any biased and customary ambition, we have taken all the artistic constraints of the thought discontinued of the revelation, and when it comes to the word of "painting", expecting the visualization of the faces of Iranian painters, we have sought an example and sacred thought of that kind of faith life.
Therefore, it seems that recruiting the term "painting" for these two types of art is far from knowledge. Perhaps this is because when we are pointing to a painting without its original object, by "Iranian" backing, we are going to restore this difference." Iranian painting "seems to be nothing but painting" in the western sense, both classical and modern. Moreover, differences of these two forms of illustration from the method of execution and show to the type of presentation, we can observe, there are unparalleled differences. Until the eclectic period, the Iranian painting has never been presented on the art of the West independently on something like canvas, but has always been part of a cultural package like the book. This type of presentation is not limited to the artistic treasures of the Islamic period, such as the SHAHNAMEH, KHAMSES and scientific and medical books, but it is rooted in ancient Iranian history. The miracle of Mani, the false prophet of the Sassanid period, is a collection of paintings called ARJHANG, and this is not a collection of independent painting drawings, but an illustrated book. This kind of presentation is presented in a different visual form, called "sculpture", in conjunction with architecture. In the sense that in the course of Iran's art, painting has been matured in the struggle with literature as "painting", and sculpture embraced by an architecture in the form of embossed design. In the West, however, the form of painting gradually became an independent state, and the painting was independently valued. Illustration on the walls and ceilings of temples and churches became slightly curtained paintings that adorned the walls without any relation to its architectural space, and this was a rare experience in Iranian art. Perhaps the first wall presentation and non-charter paintings in Iran is the magnificent ALIGHAPU paintings, which are clearly magnified images of books of this kind. Iranian architecture has been eliminated the lack of beauty and the presentation of visual language in its structure and geometry.
Another one is the gallery which is a shelter and a quiet space for painter works who were interested in the creation of beauty in the West, and the separation of art from life, is the complement of separation of science from the religion and religion from politics and all other separations. The world of couples and connections, takes the color of divorce and a season.
Here, our mosque, is the gallery of all kinds of arts. And season for connection of all kinds of art. Architecture, Calligraphy, Illumination, Tiling, fillet and many more, make a world of color and art for Iranian theist. An Iranian artist never assumes his work as independent from the life, so he is looking for a true and multifaceted opportunity to present his work, literature and architecture.
For this reason, the emergence (that means, the accompaniment of Iranian painting with literature and in particular the book), as well as the fact that the combination of the image and the writing in Iranian painting of general geometry is shaping, many believe that, Iranian painting, really is a graphic art, and this word, is a self-evident belief that we are looking for the meaning of painting in the layers of Western art.
In the fights of two main forms of art in the West, the artist is giving originality to the " audience » and selects motto of art for the people, or considers "beauty" as authentic and selects the slogan of art for art. In the first case, the result is "applied Art"; a combination of industry and art. Handicrafts, industrial design, graphics and cinema come from this category. In the latter case, the painting is from this category and result is called as "fine arts ".
In the thought of the Iranian Muslim artist, this or that are not the worries but the result wonderfully becomes both of them. The embodiment of this matter that, Hafiz, Mir EMAD, BEHZAD and Sheikh Baha'i are demanding their art for the people or for the essence of art is basically colorless, but interestingly, both art and audience emerge from the knowledge of truth. Mirror of the right in the essence of the artist, without consideration of the audiences joy and eloquence of the art work`s face, is baseless.
Therefore, the painting of Iranian theist painter is comprehensive and opposite to the values and injuries of painting and graphics (in the semantic layer of Western art). In other words, Iranian painting, brings the values of painting in terms of communication and respect for the audience, the accompaniment of literature and the transmission of the message, the graphic values, and in terms of the originality of the form, color, abstraction and the visual figurative.
The fact that Iranians are introduced as hearing and literary people is not far from the truth, but it is a matter of truth to think this word of right can be destroyed by will`s tool. Iranians are audible people, but they are also visual. A tribe who has the most abstract and original forms in carpet, calligraphy, painting and its subjugate industries, if non visually identified, in struggle with Western painting, will lose its position and this is introduction of defeat in all aspects of life that the image has a key role to play. The fact that the architecture and design of our clothes today are showing superficial are fruit of the being far from the data image of our land.
The great Persian poets: Hafez, FERDOWSI, SAADI, AKHAVAN, NIMA and QEISAR are right in the eyes of our people and are in the highest literary position, but in front of the question: who is the best Persian painter? Instead of names such as BEHZAD, Sultan Muhammad, MOEIN MOSAVAR and Reza ABBASI, another painter overtakes. KAMALUL MOLK; is representative of Iranian Painting obeisance, in front of western Painting.
This does not refer to the ignorance of KAMALUL MOLK's personal and artistic values, but emphasis on self- forgetful and self-abandoned of the rulers of his time.
When KAMALUL MOLK was imitating the European neoclassical painters, Anger and David, most of Europe artists tested the protest language of modern art. European Impressionists considered reactionary neoclassical progress to be a resilient and sovereignty progress, but our rulers were more than happy with their waste imports of the same reactionary pride. However, the arrival of classical painting itself implies the birth and appearance of modernity in the painting of Iran at the least time. Classical and modern paintings are both ends of a philosophical and a religious discipline; the humanistic faith.
The main damage that was formed by the combination of Iranian and Western painting, was something else; the composition of the Western structure with the Iranian theme. In most of the artwork of this period, the language of expression and the structure and geometry of the work are Western, but the theme is obtained from Iranian life and the beliefs of the people of this land and emphasis of QAJAR painters on Iranian and religious themes and insisting on religion, which sometimes goes to the domain of superstition, Even during SAFAVID rule as first Shia regime in Iran, did not have the equivalent. Perhaps the best form of persuasion of the audience was his delight in depicting themes from his own beliefs and from this approach, his habit of seeing and familiarity with his internal and external structure. Other paintings by Iranian painters, regardless of climatic themes, selected the western language of expression.
If the thought of simultaneously hiring a word in two layers of the desired meaning is the sign of the knowledge of the speaker, then the simultaneous recruitment of a word in two layers of non-homogeneous semantics is the useless and most problematic verbal behavior. A behavior that sometimes deliberately breaks out of contradictions to escape from problems.
"Painting "in Iranian culture is not what is now believed in people's beliefs. Iranian painting, like Iranian architecture, is contrary to Iranian music (which is still not alienated by virtue of its original form) is the design of far memories of this land and true painters of this school are the most obscure artists in the history of Iran.