Artwork explanation

The term of Allah, in one of the most important Mohammad Ehsai’s working periods, period of Alefbaye Azali, has been repeated several times. This collection which is the visual expression of God (Allah), apart from the significant commercial success in the art market, is representing a different aspect of Iranian calligram and is based on the Islamic Iranian traditions. Almost at the same time as beginning of the Saqqakhaneh School, or even from the late 1950s, Iranian calligraphy had left its classical form and regardless of its calligraphic aspect, it had been experienced on the entire surface of the canvas. Of course, it should be considered, before him also, there were samples of unconventional interaction and shaping attempts with calligraphy shapes, as the fancy calligraphy methods, such as To’aman (combination of words, alphabets, to shape a new text, human or animal’s face) and Tughra Calligraphies, in some artists such as Esmail Jalayer and Malek Mohammad Ghaznavi. After the establishment of Iranian Modernism, some of the artists in calligraphy, with a deconstructing view of the calligraphy, remove its readability and semantic gesture. Later, another group of artists, such as Reza Mafi and Mohammad Ehsai, by deforming scripts and transforming alphabets in form, fully destroy the word. For this reason, in Ehsai’s artworks, the accompaniment of narrative and calligraphy, shapes a complex combination of meanings. The presence of the term of Allah, in Ehsai’s artowkr, has been begun since 1975 and is continuing to the present day. The visual representation of pure mysticism and spirituality is an important theme, seen in this collection. The most important meditative effect of this collection, is the fast and action-full effects of calligraphy pen, which from a point of view, is reminding of the abstract expressionism and the artworks inspired by calligraphy by Mark Tobey, Franz Kline and Willem de Kooning and other similar artists, and from the other view, is reminding of the tradition of Siah Mashgh (repetition of alphabets) in Iranian calligraphy. In the present artwork, by balancing the shapes and composition in the background, mystical view of the artist is depicted. It can be said that among the Iranian modernism tendencies, Ehsai’s calligrams are the closest view to the heart of tradition, which presents the features of modernism and, it is getting close to the popular aesthetic contemporary art. In fact, Ehsai, in this artwork, depicted a profound concept in a form, which is in the middle of painting and calligraphy. Twisty, curve and dancing alphabetic forms, by strong and powerful movement of the pen, like celestial bodies lie against a dark and infinite galaxy, so the engagement of the constructive elements in the artwork, create the meaning and concept

Expert Opinion

“It can be said, in one sentence, that Mohammad Ehsai is a complete and full-fledged master. The rest is all evidences for this claim. The harmony, balance and accompaniment of the meaning and performance, make Ehsai among the top contemporary artists; in his artworks, there is no separation and dichotomy in his work. He thinks as he works and works as he thinks. Aidin Aghdashlou, regarding his harmony in the meaning and action for writing the Divan of Hafez, in the calligraphic format, says: without exaggeration, since the time of Abdolrashid Deilami, I have not seen much on Davin of Hafez complete and fault-free, like this one. Ehsai’s proficiency in the various calligraphy methods can be mentioned; Ehsai’s Siah Mashgh (repetition of alphabets), are as perfect as Gholamreza esfahani’s Siah Mashghs, to which, Ehsai added specific compounds and regenerated them. These are not praise of Ehsai, but they are the praising of art and we, all, whisper it with this praising; this means that art must remain stable.”

Aidin Aghdashlou

Exhibition history

CAMA Gallery | Mohammad Ehsaei | Exhibition | CAMA Gallery Opening Ceremony

London Gallery

CAMA Gallery Opening Ceremony

group exhibition, 28 November - 01 January

Other works by Mohammad Ehsaei

CAMA Gallery | Mohammad Ehsaei | Untitled

Mohammad Ehsaei (b.1939)

Untitled , 1980

Signed, 1980 Oil on canvas 100 x 70 x 1 cm

Mohammad Ehsaei


Oil on canvas 75 x 75 x 3 cm Frame depth 97 x 97 x 6 cm Signed on bottom CoA no. 1711161920542

OAR No. 102012 This artwork is unique


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