Parviz Tanavoli – inel (The Hand of the Mountain Carver)
Blogul de azi, din motive deocamdata neelucidate 100%, ii este dedicat Cellei :)
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Putini sculptori, cred eu, au renuntat macar pe moment la dimensiunile arhitecturale sau la materialele pline de „greutate” – cum ar fi piatra, marmura, otelul sau bronzul – si si-au concentrat energia creatoare pentru a realiza bijuterii.
A pasi dintr-o dimensiune in alta mi se pare un pas dificil. Dar se pare ca pentru Parviz Tanavoli nu a fost deloc asa.
Sculptorul si pictorul iranian nu a renuntat la nimic, cum crezusem initial, ci a continuat sa creeze la dimensiuni „macro” si „micro” splendide abstractizari geometrice inspirate din istoria Persiei, din caligrafie, din mitologia iraniana sau din povestile auzite in copilarie.
Parviz Tanavoli – bronz incrustat in sidef
Autorul Zidului de la Persepolis, cel ce a materializat Nimicul, cel ce a fost fermecat de minimalismul kilimurilor din zona Marii Caspice, a fost totodata si cel ce a incercat sa-si puna sculpturile intr-o caseta cu bijuterii :)
autor – Parviz Tanavoli
Dar pentru a intelege aceasta latura mai putin cunoscuta a artistului iranian cred ca e mai bine sa-i dau lui cuvantul :)
Voi spicui deci din interviul acordat de dansul in vara acestui an revistei Zanan-e Emruz (Today-s Women), nu fara sa admir felul in care Mariam Omrani a condus dialogul.
Raspunsurile artistului, din care am reusit sa reconstitui viziunea sa asupra multor aspecte ale artei in general, si artei iraniene in particular, merita toata atentia.
„Yes, you’re right. It is so if we talk about jewelries independently. What has remained from different treasures such as those from ancient Greece, ancient Rome, ancient Iran, China and India does share common designing qualities. In eastern societies, decoration and makeup have mattered much and are still important. The reason behind this is perhaps the fact that women did not frequently go out so in order not to feel depressed they used to both wear decorative accessories and fill the house walls with different decorations and ornaments. They would hang carpets, tableaus and calligraphed items on the wall. They would apply mirrors and mirror artworks inside the house. A careful look at their household items shows that the cooking pots, carpets and fabrics they used enjoyed an esthetic style of production. It is true that men used to build these tools but it seems that they too wanted to see their wives amused, develop interest in their lives and the interior atmosphere of the house, and thus not miss the outdoors.”
„Well, some jewelries are attributed to certain artists of the Renaissance and post-Renaissance periods. Artists in general and painters in particular had and do have the talent to design jewelries but they had never been the producers of these items. Another guild would produce the jewelry, those who had mastery and had special tools at their disposal. In Iran too jewelry producing was a separate occupation. Traditional jewelry makers would design and produce their items all by themselves. At some point in time, jewelry designing became a mix of foreign jewelry and Iranian traditions. In the Qajar era, the import of French and Belgian jewelry was on the increase in Iran where [domestic] jewelry makers copied the imported items from time to time. At times the imitations were produced so delicately and skillfully that they looked even more beautiful and attractive than the real thing. And in another period industrial jewelries made their debut on the market.”
Parviz Tanavoli – bijuterii caligrafice
„I dare to say that many people across the world who are active in visual arts are currently designing jewels as well. But I do not remember any in Iran. At first, it was only me who showed such an interest, I suppose. I started to make jewelry in the early 1960s. I don’t know of any other artists who have designed jewels on top of their main profession, for example sculpting. Back then I wanted to make the Heech sculpture in different sizes ranging from one spacious enough to accommodate one person to the size which could wrap around a wrist or a finger. Back then a woman who was a public office holder asked me to design jewelry for her. She wanted it because she had to take part in an official gathering in which ranking officials including ambassadors from foreign countries were also in attendance and she liked to have some unique jewelry on with Iranian designing, and not a Cartier design necklace or something with other European designs. The same lady gave some semi-precious gemstones to me. I did some designing and it marked the beginning of my job. I did some of those designing patterns for my wife and some other people. One of them is the very “Heech” ring which was widely welcomed. […]”
Parviz Tanavoli, volum bilingv (persan-englez)
„I do use bronze instead of gold. I seek to get my message across by using such primary materials. I want to say what matters is the work of the artist and not the materials he or she uses. […]”
Parviz Tanavoli, Expozitie – Kuweit
„The upside of the jewelries is that they look as if they are friends with people. They are close to us since they are on our fingers. They go from place to place with the person who carries them. They even go on trips with their owners. On the other hand, you need a vast space to hold a sculpture, whether it is placed in the garden, inside the house or in any other place. It cannot accompany you wherever you go and you cannot take it on a trip with yourself.”
Parviz Tanavoli – inel (Heech)
„It has been the case in all societies and throughout all historical periods. Suppose, for example, the jewelry an artist like (Alexander) Calder designs is used by some. They must be distinct. Also bear in mind that their price is likely to have risen multifold since their production date. I don’t think a change of taste in using jewelries could be indicative of the change of time and a change in the spirit of those who wear them. With the modern jewelry and decorative items being received warmly, one can come to the conclusion that the mood of the Iranian women has changed from traditional conservatism to adventurism and to acceptance of the challenges of the modern world. Moreover, women display much interest in producing jewelry and decorative items. Girls and women account for 70 percent of my students in Mah Mehr Institute. The figure does not apply to jewelry courses alone. It covers other courses as well.”
When did your classes resume in Iran and when did you include jewelry designing in the courses you teach?
„Well, for years before the Islamic revolution I had taught in university but after my return to Iran I held a first round of classes in Mah Mehr Institute back in June 2006. If my memory serves me well, about two years later courses on modern jewelry designing were introduced. I’d like to say some words about my students, although they may not find their way to the magazine. Perhaps the magazine decides one day to publish reports on every single of them. Around 100 modern jewelry makers have been trained in my classes. They have been very much successful recently, both in holding exhibitions and in selling their works. Recently, fifteen students of mine held an exhibition in Mashhad which, to my disbelief, was widely welcomed. Incredibly these modern jewelries are widely received by people; most of them were sold out on the opening night. The same group has held exhibitions in Tehran, Kuwait and Paris. I was with them for some of those shows. I’m very happy that a modern jewelry nucleus has been born in Iran and now it is in its teens. These students have gone much beyond where we do stand now and I’m certain that their mother lode of knowledge would grow by the day. […]”
Let’s come back to the question of women. Given the public culture and traditions, many Iranian artists, you included, produced some works back in the 1960s and the 1970s that are known as the Saqqa Khaneh School. Is there any trace of femininity in the works you produced back then?
„You know, men are the theme of my works and I have usually placed women next to men. My sculptures mostly have a very masculine identity; in other words, a man who always has a desire for women. My works, namely Farhad Koohkan and Poet, show that these men had a desire for women. The men in my works never do without women; they have been always in love with women. Perhaps women have been given no figurative personification or representation in my works, but their traces are seen everywhere (he laughs). I don’t know what you would have done if men weren’t around, but I wouldn’t like to live if women were not in the world.”