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Reviewing and Classifying the Painting-Calligraphy Work Stages of ‘Mohammad Ehsai’ Based on Traditional and Modern Calligraphy Approaches | ||
| Paykareh | ||
| دوره 13، شماره 37، دی 2024، صفحه 1-19 اصل مقاله (1.27 M) | ||
| نوع مقاله: Original Article | ||
| شناسه دیجیتال (DOI): 10.22055/pyk.2024.19239 | ||
| نویسنده | ||
| Ahad Ravanjoo* | ||
| Assistant Professor, Department of Graphics, Faculty of Arts, Shahid Chamran University of Ahvaz, Ahvaz, Iran. | ||
| چکیده | ||
| Introduction: The position of calligraphers, experienced and skilled artists has always been appreciated and respected in Iranian society. Mohammad Ehsai one of these expert calligraphers has great experience and a clear background in calligraphy and calligraphy paintings. He has paved the way from traditional calligraphy to modern style thoughtfully and patiently. He has a unique style in calligraphy painting according to the development of his works in Persian art which arose from religious concepts, verses of the holy Qur'an, and hadiths. He has always obliged himself to observe the principles and rules of calligraphy and the word concepts in his works, as he created his works in a fascinating style with a dynamic balance of positive (Bayaz) and negative (Savad) spaces. In developing his character, there have been various stages from traditional to secular art. The current research covers and analyzes a wide range of his works, from traditional to modern art. The main research question here is to address the classification of his works to comprehend their unique characteristics. The research aims to identify and classify his traditional and modern works and identify the traditional elements of calligraphy as a traditional array in a modern application. Research Method: This study has applied a qualitative research method by using written documents and library texts and observing the artist`s visual works. Findings: The achievement of this article is based on the artist world in the contemporary era both in ancient and modern styles which implies his avant-Grade style of working, as it is surprising that while he is dealing with traditional styles of work in the form of Siyah-Mashgh, the Eternal Alphabet, practicing with holy words, he also actively creates post-modern and secular artworks without any contradictions between these two fields. Conclusion: The environment of forming various calligraphy scripts of Mohammad Ehsai was formed under the influence of the modern artist's movement, its coincidence with the formation of modern academic centers in Iran, and also in consequence of opening the international relations of Iranian artists with their counterparts in other countries at that time, as this new life of the world along with teaching in the academic centers and learning the modern graphic lessons together with its connection with his mastery in writing traditional calligraphy scripts all led him to a different path compared to his other peers, which was rather a distinct style compared to those artists like Pilaraom, Zinda Rudi and some others counterparts. | ||
| کلیدواژه‌ها | ||
| Mohammad Ehsai؛ Traditional Calligraphy؛ Painting-Calligraphy؛ Calligram؛ SAQQĀ-ḴĀNA School of Art؛ Secular Art | ||
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| مراجع | ||
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