Untitled


Artwork explanation

In fact, with this artwork I tried to preserve the ancient Iranian art, with an abstract resource, so, through the process, the formed techniques, helped it more than ever. I did not want some of the historical monuments such as Aali Qapu and Chehel Sotoun get destroyed. Thus, I painted artworks, based on my own initiatives, to, in the first place, preserve the Iranian heritage and on the other hand, demonstrate a protest, as these artworks were not properly protected. Also, creating these paintings, gave me a clue, to find and experience these techniques. In fact, I was given an opportunity to take advantage from the Iranian ancient art along with the modern art. As a result, I discovered the usage of gold and silver in the artworks and, patina was entered my artwork. I found the importance of texture, which was unknown by that time, and I used stucco and soil, instead of watercolour, based on suitability, to have more effect on the audience. It can be said, that I preferred innovation, instead of teaching in my artworks. I have my own ideology and paint based on my heart. In fact, with this artwork I tried to preserve the ancient Iranian art, with an abstract resource, so, through the process, the formed techniques, helped it more than ever. I did not want some of the historical monuments such as Aali Qapu and Chehel Sotoun get destroyed. Thus, I painted artworks, based on my own initiatives, to, in the first place, preserve the Iranian heritage and on the other hand, demonstrate a protest, as these artworks were not properly protected. Also, creating these paintings, gave me a clue, to find and experience these techniques. In fact, I was given an opportunity to take advantage from the Iranian ancient art along with the modern art. As a result, I discovered the usage of gold and silver in the artworks and, patina was entered my artwork. I found the importance of texture, which was unknown by that time, and I used stucco and soil, instead of watercolour, based on suitability, to have more effect on the audience. It can be said, that I preferred innovation, instead of teaching in my artworks. I have my own ideology and paint based on my heart.


Expert Opinion

“The paintings of this leading artist, can be an artwork from 50 years ago, or a portrait from his mother or grandmother, a picture of someone that suddenly, the door to death has opened to him and he is looking through the window and observing the world after death, wondered, or old miniatures, as if they are belonging to the era when Muslims attacked Iran, and had been drawn on the wall of castles to prevent Muslims from seeing the sinful motifs. Some of the masterpieces, painted by the great Samavatian on stucco and soil, as if they were, very well and artistically, depicting ancient and damaged paintings. The same paintings brought me to India, to Aurangabad in Maharashtra state, in India, Ajanta and Ellora caves, where, once, was the residence of the nuns or the great Buddhist men, perhaps their seminary or temple, is full of sculptures and murals. And although, this is a millenary that Buddha and Buddhists have been driven from India, but these artworks have been left to say that this land was once the arena of the great Buddha. After seeing these huge caves, carved in tough and hard stones, I comprehended that how art could hold messages and words for millennia to deliver to the future generations, while in the present time, there is no sign of those ancient words and messages. It iterates the truths, which have already been forgotten, and in fact, apart from this artistic evidence, there is no other document available, to reflect these incredible facts from the generation, who created these artworks.”

Mostafa Mostafavi


Exhibition history

CAMA Gallery | Jamshid Samavatian | Exhibition | CAMA Gallery Opening Ceremony

London Gallery

CAMA Gallery Opening Ceremony

group exhibition, 28 November - 01 January

Jamshid Samavatian

Untitled

Mixed media on canvas 60 x 89 x 2 cm Frame depth 71 x 101 x 4 cm Signed on lower right CoA no. 1711140909285

OAR No. 102006 This artwork is unique

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