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Seyhoun Art Gallery Feb 2015 Group Sculpture Exhibition 03

تنها میکل‌.آنژ می‌.توانست سفارش پاپ ژولیوس دوم را به یکی از جاه‌. طلبانه‌. ترین آثار هنری تمام طول تاریخ بشر تبدیل کند. آن‌.چه او بر سقف نمازخانه‌.ی سیستین نقش کرد، به اندازه‌.ی کافی عظیم بود، ولی یک نقطه‌.ی آغاز می‌.خواست، یک شروع؛ بیهوده نبود که میکل‌.آنژ جادویش را برای همین نقطه‌.ی آغاز، برای همین شروع، برای همین مرکز گذاشته بود، برای لحظه‌.ای که خداوند به اشارتی به پیکره‌.ی بی‌.جان آدم، روح حیات می‌.دمید. تنها اشارتی کافی بود تا پیکره‌.ی ما از دم خداوندی زنده شود، بیهوده نیست که به باور یسوعیان بعدتر این فرزند خدا، عیسی ناصری بود که دم مسیحایی یافت. خداوند اما فرزندان محبوبش را از گل سرشته بود، خداوند اولین مجسمه‌.ساز تاریخ بود و چه کسی بهتر از میکل‌.آنژ می‌.توانست تمامی شکوه این هنر را تصویر کند؛ او اگر نه بزرگ‌.ترین مجسمه‌.ساز تاریخ که لااقل یکی از بزرگ‌.ترین‌.ها بود و تنها او بود که درک می‌.کرد تمامی شکوه خلق کردن را، شکوه دمیدن روح حیات در گل را، شکوه یک اعجاز را، شکوه معجزه را؛ سال‌.ها بعد وقتی داشت بردگان را از دل سنگ‌.ها بیرون می‌.کشید، گفته بود: پیکره‌.ها آنجا هستند، در دل سنگ‌.ها، من تنها آنها را بیرون می‌.کشم.

دکتر فرانکنشتاین، مخلوق نگون‌. بخت مری شللی، سال‌.های سال بعد، در آستانه‌.ی دوران شکوه‌.مند مدرن، هیولایش را از تکه‌. پاره‌.های جسد‌.هایی ساخت که از دل قبرستان‌.ها می‌.ربود. او در آستانه‌.ی دوران نوین، دیگر دم مسیحایی نداشت، او الکتریسیته را می‌.شناخت، جادوی روزگار نو را. با این حال هیولا دامان او را می‌.گرفت، دامان اویی که با ابزار جدیدش، جا پای خداوند گذاشته بود. او اعجاز خداوند را تکرار کرده بود، او به پیکره‌.ای روح دمیده بود، آنچنان که خداوند سال‌.ها پیش در پیکره‌.ی بیجان و گلین ما روح دمیده بود. با این حال دکتر فرانکنشتاین یک گام جلوتر رفته، او به مانند یک مجسمه‌.ساز مدرن که از ضایعات و دورریزها مجسمه‌. می‌.سازد، هیولایش را از سرهم کردن ضایعات انسانی ساخته بود. سال‌.ها بعد، حتی در همین شهر ما هم، مجسمه‌.سازی از ضایعات فلزی سربازانی برای خود ساخت که هنوز هم از آتلیه‌.ی تعطیلش حفاظت می‌.کنند.

هیچ حرفه‌.ای به مانند مجسمه‌.سازی این‌.چنین با جادو قرین نبوده است، شاید همین باشد دلیل همه‌.ی آن اختلافات، سوء تفاهم‌.ها، سوء تعبیرها وکج‌. فهمی‌.ها. از توتم‌.ها تا بت‌.ها، از صنم‌.ها تا عروسک‌.های وودوو، همگی روحی در دورن خود داشتند. بت‌.ها و صنم‌.ها واجد روح خداوند بودند و توتم‌.ها روح قبیله را حفظ می‌.کردند و همگی آن‌.ها را مجسمه‌.سازان ساخته بودند، هنرمندانی که انگار مالک اعجاز خداوندی بودند.

مجسمه‌.سازی در تمام طول تاریخ این کشور با همین باور یا هراس عجین بوده است، بیهوده نیست که مجسمه‌. سازان ما کمتر پیکره تراشیدند و هنرشان را صرف ساختن اشیاء کاربردی کردند، انگار این تنها راهی بود که می‌.شد جادوی هراس‌. ناک آنها را مهار کرد.

نمایشگاه کنونی، اما نمایشگاهی است از هنرمندان سه نسل. هنرمندانی که سال‌.ها بعد از همه‌.ی آن وقایع دل به کشف جادوی احجام داده‌.اند. اینان دیگر نه در پی دمیدن روح حیاتند و نه در پی یافتن آن راز نهانی که در دل هر پیکره‌.ای نهفته است، آن‌.ها در پی کشف راز حجم‌.اند، گاه به شوخی، گاه به طنازی، گاه از سر دل‌.زدگی و گاه از سر بیان احساسی خفته و نهان در درون. با این حال هنوز، همین مجسمه‌.ها هم روحی دارند، که تا ابد با تیشه یا پتک، اره برقی و مغار به درون هر پیکره‌.ای دمیده می‌.شود، همان روحی که سال‌.ها پیش‌.تر دکتر فرانکنشتاین نگون‌. بخت با الکتریسیته در هیولایش دمیده بود.

حافظ روحانی

بهمن 93

Only Michelangelo (1475-1564) could change Pope Julius II’s commission to one of the most ambitious artistic works of all times. What he painted on the ceiling of the Sistine Chapel from 1508 to 1512 was splendid enough, but needed a starting point. He was not purposeless in reserving his magic for such an inception, such a heartland, for a moment in which God gave life to Adam’s soulless body. Only a touch of the Infinite was all that was needed for creation. It is not pointless that later on,Jesuits called God’s son Jesus of Nazareth, he who had Messianic breath. But God the Father had created his beloved offspring from mud. Hence, He is the first sculptor in history, and who better than Michelangelo could portray the splendor of this art? Even if not the greatest sculptor of all times, Michelangelo is one of the bests, and it was only he who could perceive all the grandeur of creation, the dazzle of giving life to a piece of mud, the glory of a marvel, the sublimity of a miracle. Years later, when he was sculpting The Captives from within the heart of rocks, he said: “The bodies are there, in the heart of stones, I only carve them out.”

Many years later, on the threshold of the majestic Modern era, Dr. Victor Frankenstein, the mad and wretched creation of Mary Shelley, built his monster from pieces of the corpses he stole from the tombs. In such an era, he did not have the Messianic breath anymore. He knew electricity, the magic of his days. However, his monster became an encumbrance to him, a doctorwho had become the God of his own day with all his modern apparatuses. He had repeated God’s miracle of creation by bringing to life a humanoid creature. Nevertheless, Dr. Frankenstein was a step ahead since, like a modern sculptor, he had created his Demon from the wastes of decaying cadavers. Years later, in this city of ours, a sculptor made some soldiers for himself from the metallic wastes that are still guarding his closed atelier.

Miracle has never accompanied so vigorously any profession like sculpting; maybe this is the reason of all those discords, misunderstandings, misinterpretations and misconstructions. Totems to idols, fetishes to voodoo dolls all had souls within them. Idols and fetishes, all made by sculptors who seemed to be the possessor of Almighty’s miracle, had the soul of God and totems the soul of tribes. 

Sculpting has been always accompanied by this belief or phobia in the history of Iran. It is not meaningless that few examples of sculptures exist in Iran, and that our sculptors have mainly used their art to make more applicable things, as if this was the only way to contain the horrifying miracle of sculpting.

But the present exhibition is one by three generations of artists, the artists who have opted to discover the miracle of volumes. They are no longer after giving life to their sculptures nor finding the hidden secret within each one of them. They are after unraveling the secret of volumes, sometimes playfully, sometimes coquettishly, sometimes disenchantedly and sometimes just for enunciating their subliminal and furtive feelings. Nonetheless, these sculptures still have souls which is poured within each one of them through adzes, mallets, buzz saws and chisels, the same soul that Dr. Frankenstein had given to his fiend using electricity. 

Written by Hafez Rouhani, January 2015

Translated by Azadeh Feridounpour

نمایشگاه " گروهی مجسمه "  بهمن 1393 گالری سیحون

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More About Tehran

Overview and HistoryTehran is the capital of Iran and the largest city in the Middle East, with a population of fifteen million people living under the peaks of the Alborz mountain range.Although archaeological evidence places human activity around Tehran back into the years 6000BC, the city was not mentioned in any writings until much later, in the thirteenth century. It's a relatively new city by Iranian standards.But Tehran was a well-known village in the ninth century. It grew rapidly when its neighboring city, Rhages, was destroyed by Mongolian raiders. Many people fled to Tehran.In the seventeenth century Tehran became home to the rulers of the Safavid Dynasty. This is the period when the wall around the city was first constructed. Tehran became the capital of Iran in 1795 and amazingly fast growth followed over the next two hundred years.The recent history of Tehran saw construction of apartment complexes and wide avenues in place of the old Persian gardens, to the detriment of the city's cultural history.The city at present is laid out in two general parts. Northern Tehran is more cosmopolitan and expensive, southern Tehran is cheaper and gets the name "downtown."Getting ThereMehrabad airport is the original one which is currently in the process of being replaced by Imam Khomeini International Airport. The new one is farther away from the city but it now receives all the international traffic, so allow an extra hour to get there or back.TransportationTehran driving can be a wild free-for-all like some South American cities, so get ready for shared taxis, confusing bus routes and a brand new shiny metro system to make it all better. To be fair, there is a great highway system here.The metro has four lines, tickets cost 2000IR, and they have segregated cars. The women-only carriages are the last two at the end, FYI.Taxis come in two flavors, shared and private. Private taxis are more expensive but easier to manage for the visiting traveler. Tehran has a mean rush hour starting at seven AM and lasting until 8PM in its evening version. Solution? Motorcycle taxis! They cut through the traffic and any spare nerves you might have left.People and CultureMore than sixty percent of Tehranis were born outside of the city, making it as ethnically and linguistically diverse as the country itself. Tehran is the most secular and liberal city in Iran and as such it attracts students from all over the country.Things to do, RecommendationsTake the metro to the Tehran Bazaar at the stop "Panzda Gordad". There you can find anything and everything -- shoes, clothes, food, gold, machines and more. Just for the sight of it alone you should take a trip there.If you like being outside, go to Darband and drink tea in a traditional setting. Tehranis love a good picnic and there are plenty of parks to enjoy. Try Mellat park on a friday (fridays are public holidays), or maybe Park Daneshjou, Saaii or Jamshidieh.Remember to go upstairs and have a look around, always always always! The Azadi Tower should fit the bill; it was constructed to commemorate the 2500th anniversary of the Persian Empire.Tehran is also full of museums such as:the Contemporary Art Museumthe Abghine Musuem (glass works)the 19th century Golestan Royal Palace museumthe museum of carpets (!!!)Reza Abbasi Museum of extraordinary miniaturesand most stunning of all,the Crown Jewels Museum which holds the largest pink diamond in the world and many other jaw-dropping jewels.Text by Steve Smith.


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