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Iranian Artist Ali Banisadr - @simorgh3
Born 1976 Tehran, Iran Lives and works in Brooklyn, NY
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EDUCATION
MFA, New York Academy of Art (2007)
BFA, School of Visual Arts, New York (2005)
#Iranian_Artworks
#painting
#AliBanisadr


Iranian Artworks by Mohammad Bozorgi
-Oil Art-
Collage on Canvas
2013
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#Iranian_Artworks
#caligraphy
#mohammadbozorgi
#college


MOHAMMAD BOZORGI
Born in Tehran in 1978, Mohammad Bozorgi ( @mjbozorgi ) holds a Bachelor of Science in Biomedical Engineering as well as an MBA from the Industrial Management Institute and Momtaz degrees from the Calligraphy Association of Iran.
Studying classical calligraphic forms such as divani, kufi, nastaliq, naskh, sols, Mohaggegh and broken nastaliq, allowed Bozorgi to develop his own uniquely contemporary characters based on Arabic and Persian roots. He approaches calligraphy with an architectural eye that is evident in the mathematical structure and symmetry of letters, especially those comprising his Crying for Honour series.
Today, Bozorgi is recognised as a leading figure among the ‘New Generation’ of contemporary calligraphers.
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"My work follows a process of deconstruction, analysis, and contemplation of forms with geopolitical consequences but always with a persistent examination of the subject of beauty and seductiveness. I also work with a combination of elements drawn from Persian architectural traditions and, inevitably, from my immediate surroundings in New York."
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– Bahar Behbahani –
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By Bahar Behbahani (Iranian, b. 1973) - Let the Garden Eram Flourish - 178 x 254 cm ( 70 x 100 in ), Mixed media on canvas / 2014
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#Iranian_Artworks
#iranian #art #artist #visualart #BaharBehbahani #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #Pavilion #Kooshk #Mixedmedia


ago and after being away from Iran for several years, something strange, yet interesting happened to me. Time to time, and let’s say almost everyday, while I was working on a commissioned portray by clay, random images of various locations, alleys or streets that I used to pass, were formed in my mind. Indelible images that were three-dimensional. For instance, I could walk along the alleys and change my angle of view, like I am doing it in the actual real world. I could see everything, from walls to window panels with their frames, glasses and curtains. Or namely, I was able to see a door with all its details. My mind was filled with all these imaginations. It was a bit like the movie “The Color of Pomegranates” by Parajanov and I have to admit that I was scared a little. The outcome was eventually a trip to Iran, to see the original.
This story revealed something to me; the unconscious depth of my connection and dependence to the environment I was raised in. What I call it homeland, home, or any other word that it can be referred to.
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And later on, I made these sculptures …
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Ramin Saadat Gharin - Autumn 2015 .
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By Ramin Saadat Gharin (Iranian, b. 1965) - Untitled - 93 x 34 x 17 cm ( 36.6 x 13.4 x 6.7 in), Iron Sheet / 2014
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#Iranian_Artworks
#iranian #art #artist #visualart #RaminSaadatGharin #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #ironSheet #iron #sculpture #ironman #ironwoman


by Mohsen Sadeghian (Iranian, b. 1969) - From series "Truce" -
180 x 260 x 18 cm (70.9 x 102.4 x 7 in), Mixed Media /
2011
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Truce

The complete elimination of armed warfare is based on the general rules of the “abandonment of war”.
In the current diplomatic language, this expression is used in the dialogue at a time where the disagreeing parties are not in a situation to decide on an official agreement of the “abandonment of war”. The foundation of the designs was revealed with the proposition of war and the presence of artillery, and then the fight took more of a somewhat poetic tone.
“Truce” is a title for the end of my own illusionary war.
Eventually the process of the designs drove me to creating an illusion about an idealistic social order.

I respectfully dedicate this exhibition to Ms Marjaneh Halati. .
Mohsen Sadeghian,
Autumn 1392
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آتش بس
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پایاندهی کلی به ستیزه های مسلحانه بر اساس اصول کلی حاکم بر " ترک جنگ " است
در زبان دیپلماتیک کنونی این اصطلاح را جایی به کار میبرند که در گفت و گوها، ستیزندگان در وضعی نباشند که به بستن موافقتنامه ی رسمی " ترک جنگ " بینجامد
آغاز طرح ها با طرح دعوا و حضور سلاح های جنگی آشکار شد و دعوا ناخواسته در میانه راه به زبانی شاعرانه تلطیف شد.آتش بس عنوانی است برای ختم جنگ فرضی من
و اما در پایان، روند طرح ها مرا به سوی دلبستگی به ایجاد و خیال پردازی در باره یک نظم اجتماعی و آرمانی سوق داد
با احترام این نمایشگاه را تقدیم میکنم به خانم مرجانه حالتی
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محسن صادقیان
پاییز 1392
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#Iranian_Artworks
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MOST RECENT


"My work follows a process of deconstruction, analysis, and contemplation of forms with geopolitical consequences but always with a persistent examination of the subject of beauty and seductiveness. I also work with a combination of elements drawn from Persian architectural traditions and, inevitably, from my immediate surroundings in New York."
.
– Bahar Behbahani –
.

By Bahar Behbahani (Iranian, b. 1973) - Let the Garden Eram Flourish - 178 x 254 cm ( 70 x 100 in ), Mixed media on canvas / 2014
.
#Iranian_Artworks
#iranian #art #artist #visualart #BaharBehbahani #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #Pavilion #Kooshk #Mixedmedia


The Iranian garden is a tale of negligence-of drought and contested space, dominance and submission, Eastern vision and European imagination. The Garden of Heart's Delight reveals the skill of unseen hands, the history of kingdoms, and a culture's intrinsic understanding of water and wind. This story of paradise unfolds in desolation, in a desert that resonates with our past and present
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By Bahar Behbahani (Iranian, b. 1973) - "Pavilion (Kooshk)" from "The Garden of Heart's Delight" Series - 45 x 45 cm ( 17.7 x 17.7 in), Mixed Media on Paper board / 2014
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#Iranian_Artworks
#iranian #art #artist #visualart #BaharBehbahani #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #Pavilion #Kooshk #Mixedmedia


The paintings in the Miscalculators series are multi-dimensional encapsulations of personal and cultural perceptions and realities of Iranian identity.

The surfaces of each piece are adorned with essentialized elements of Persian beauty and spirituality: gardens, poetry, carpets and mystic symbols. Beneath the silk screens lie images of another Iranian society: dynasties, dictators, murders and dehumanization.

The pieces hold an uncertain time continuum, with memories stored in the back of the mind, informing and bleeding through to the present. The directionality of these pieces is unclear: Is the present stained by history or is the past distorted by the gaze of the present moment?
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By Bahar Behbahani (Iranian, b. 1973) - Miscalculator - 58.4 x 78.7 cm ( 23 x 31 in), Mixed media / 2014
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#Iranian_Artworks
#iranian #art #artist #visualart #BaharBehbahani #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #Miscalculators #Mixedmedia


ago and after being away from Iran for several years, something strange, yet interesting happened to me. Time to time, and let’s say almost everyday, while I was working on a commissioned portray by clay, random images of various locations, alleys or streets that I used to pass, were formed in my mind. Indelible images that were three-dimensional. For instance, I could walk along the alleys and change my angle of view, like I am doing it in the actual real world. I could see everything, from walls to window panels with their frames, glasses and curtains. Or namely, I was able to see a door with all its details. My mind was filled with all these imaginations. It was a bit like the movie “The Color of Pomegranates” by Parajanov and I have to admit that I was scared a little. The outcome was eventually a trip to Iran, to see the original.
This story revealed something to me; the unconscious depth of my connection and dependence to the environment I was raised in. What I call it homeland, home, or any other word that it can be referred to.
.
And later on, I made these sculptures …
.
Ramin Saadat Gharin - Autumn 2015 .
.
By Ramin Saadat Gharin (Iranian, b. 1965) - Untitled - 85 x 125 x 50 cm ( 33.5 x 49.2 x 19.7 in), Iron Sheet / 2014
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#Iranian_Artworks
#iranian #art #artist #visualart #RaminSaadatGharin #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #ironSheet #iron #sculpture #irondog


ago and after being away from Iran for several years, something strange, yet interesting happened to me. Time to time, and let’s say almost everyday, while I was working on a commissioned portray by clay, random images of various locations, alleys or streets that I used to pass, were formed in my mind. Indelible images that were three-dimensional. For instance, I could walk along the alleys and change my angle of view, like I am doing it in the actual real world. I could see everything, from walls to window panels with their frames, glasses and curtains. Or namely, I was able to see a door with all its details. My mind was filled with all these imaginations. It was a bit like the movie “The Color of Pomegranates” by Parajanov and I have to admit that I was scared a little. The outcome was eventually a trip to Iran, to see the original.
This story revealed something to me; the unconscious depth of my connection and dependence to the environment I was raised in. What I call it homeland, home, or any other word that it can be referred to.
.
And later on, I made these sculptures …
.
Ramin Saadat Gharin - Autumn 2015 .
.
By Ramin Saadat Gharin (Iranian, b. 1965) - Untitled - 93 x 34 x 17 cm ( 36.6 x 13.4 x 6.7 in), Iron Sheet / 2014
.
#Iranian_Artworks
#iranian #art #artist #visualart #RaminSaadatGharin #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #ironSheet #iron #sculpture #ironman #ironwoman


دو سال قبل وقتی چند سال بود که به ایران نیامده بودم، اتفاق عجیب و جالبی برایم افتاد. گاه و بیگاه و تقریبا هر روز، وقتی روی يك پرتره سفارشی با گل كار می كردم، تصاویری از محله، کوچه یا خیابانی که قبلا از آنها رد شده بودم، در ذهنم شکل می گرفت. بدون اینکه کنترلی روی انتخاب آنها داشته باشم. تصاویری که ماندگار بودند و فضا هم داشتند. مثلا می توانستم داخل آن کوچه ها راه بروم و با سرعتی معادل چرخش چشم و نگاه کردن در عالم بیرونی، زاویه دیدم را عوض کنم. از روی دیوار به پنجره، با کلاف و شیشه و پرده هایش. یا مثلا ، دری را ببینم با تمام جزییاتش. ذهنم پر شده بود از تمام این تصورات. و قدری شبیه فیلم "رنگ انار" پاراجانف. و راستش قدری ترسیده بودم. تا در نهایت، باعث سفری به تهران شد برای دیدن اصل.
این داستان چیزی را برای من روشن کرد؛ عمیق بودن تعلق به محیطی که در آن بزرگ شده بودم در ناخودآگاهم. معادلی به نام وطن، خانه، یا هر واژه دیگری که بتوانیم به آن اطلاق کنیم.
وبعدها این مجسمه ها را ساختم ... .
رامین سعادت قرین - پاییز 1394
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By Ramin Saadat Gharin (Iranian, b. 1965) - Untitled - 80 x 80 x 18 cm ( 31.5 x 31.5 x7 in), Iron Sheet / 2014
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#Iranian_Artworks
#iranian #art #artist #visualart #RaminSaadatGharin #RaminSaadat #visualartist #modernart #collectors #curator #artgallery #artwork #fineart #contemporaryart #ironSheet #iron #horse #sculpture #ironhorse

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Mood
Acrylic on Cardboard
باد تا فانوسِ شیطان را برآویزم
در رواقِ هر شکنجه‌گاهِ این فردوسِ ظلم‌آیین!
ظلمت‌آبادِ بهشتِ گندِتان‌را، در به رویِ من...
بازنگشایید!

#شاملو

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