The artworks of Jafar Rouhbakhsh must be understood in a mysterious and poetic mood, in which, the geographical location of the painter plays the most important role. He is one of those Iranian modernists who, with too much passion for abstraction, portrays his own world. This artwork, like other ones, became a narrative in the history and culture of ancient Persia. For creating these artworks, the painter’s mind flies freely over Iran, and records the abstract image of the Half-wrecked ancient monuments. The remnants of Persepolis, the ancient fire temples, or the famous ziggurat of Chogha Zanbil are represented in the colours and texture of the artwork. In the other word, his artworks linking the legacy of the past with a pictorial expression to the modern world. In this artwork, there are square, circle, and coloured cross-sectional drawings that transform the purely geometric abstraction of the West into a familiar domestic abstraction; so familiar, that perhaps could revive the common memory or regret of this old land. Rouhbakhsh in these artworks often has inspired by traditional designs, including the old carpets and hand-woven, which in an abstract way, draw attention on their canvases. It seems that, paying attention to the painting behind the Stained glass has also been effective in the look and feel of the painter's to vivid and tangible colours. This widespread look to the surface has made it possible to experience same style as paintings, pillars and wall paintings, in different eras. Jafar's artworks can be divided into three major periods: the 1960s, with strongly Eastern artworks, the 1970s, in which, under inspiration of his travel to Europe, western motifs can be seen in his artworks, and the third period, which started from the late 1970s and by a return to the eastern art, and continues to his last artworks. In the last decade of his artistic activities, he considered the concept of traditional Gul-o Morgh (Flower and Bird), with decorative motifs and vivid and shining colours.
“He is considered as one of the most prominent Iranian painters. Contemporary Iranian painting has a history of 70 years, in which, artists connect these years like chains together, and Rouhbakhsh is one of the rings of this chain. He gained a scholarship in France and worked with Joan Miró in a workshop, after that, he brought his valuable experiences in this field to Iran, from which, working with press machine, can be mentioned. He created artworks on hand-made papers by utilizing a press machine, which in my opinion is one of his best artworks.”