Promoting Iranian art in Bangladesh
VognoDuut764
Promoting Iranian art
Mahvash Soheili, is the leader of a seven-member Aftab Group, which works to
promote the Iranian female artists in and outside of Iran. The members of
the group are displaying their works at the Jatiya Chitrashala of the
Bangladesh Shilpakala Academy in the city. She talks to Robab Rosan about
the contemporary Iranian paintings and related topics
Would you tell us something about the contemporary Iranian paintings,
particularly, the works of women painters?
Like the painters across the world, the Iranian artists express their
feelings through paintings. They also present their social aspects in
paintings. Particularly, the female painters in Iran are different in the
sense that they give importance to the Islamic culture in their works. We
usually use those colours which attract the viewers.
We can divide the contemporary Iranian paintings into three groups, one
which are depicted following the traditional art works of Iran; another one,
which presents our Islamic revolution and war and lastly, the abstract
paintings, I mean, the personal feelings of an artist.
Which subjects do they prefer for depicting in their works?
We try to present the subjects, which carry a message. Our paintings are
expressive and we want to present the message artistically.
Most of the works in the ongoing Iranian group art exhibition at the
Jatiya Chitrashal of the Bangladesh Shilpakala Academy are abstract. What do
you think about the abstract form of art?
In my own works, I give importance to using blue, which presents the
image of sky and water. I cannot call it a figurative work, but I think my
use of colour will give peace in one's mind. For me or many other female
painters known to me, it can be said that when I sit for painting, I just
present whatever I think in that particular moment and nothing is
pre-planned in my paintings.
How would you compare Bangladeshi paintings with Iranian ones?
As I have seen the works of Bangladeshi painters, I think they prefer to
present the social aspects of their surroundings rather than their personal
feelings. Their paintings are very strong documents of social life. But I do
not find this tendency among the Iranians painters.
Iran has been able to make a different way of expression in filmmaking
and photography. But how will we distinguish the Iranian paintings from the
works of the painters of other countries?
We think that as painting has its own language which is international or
universal, so we do not need to create a different language which will be
particularly Iranian. I think the viewers will feel an affinity in our works
not as a work of an Iranian but as its own. The Iranian painters enjoy
freedom to express themselves. Unlike the Iranian movies, we do not have the
'Iranian style' in contemporary painting.
In Iranian art, calligraphy has played an important role. Do the Iranian
painters carry that legacy?
Yes, the Iranian painters carry the legacy, but interestingly, the
Iranian painters in present days, depict the Quranic verses, in most cases,
in the semi-abstract or abstract way. The viewers cannot see the calligraphy
at a glance. But in reality, calligraphy is presented on the canvas with
other objects also.
How does the Iranian government encourage the painters?
Our government helps or encourages us in different ways. This present
visit in Bangladesh is an example of our government's cooperation in
promoting paintings.
Would you tell us about the Aftab Group?
The Aftab Group had been established with seven Iranian female painters
four years back. All of them are university teachers. The Fersi word 'Aftab'
means the sun. We aim to create an art movement among the women painters as
well as to promote the works by them.
Torpedo
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