Joseph and his brothers

by Book ArtsPersian/FarsiSyrian Refugee Relief

This is a print made from an old metal printing plate from Iran, I am guessing c. 1930s. The photo is of Joseph being thrown in the well by his brothers. The story is originally from the Torah, but also very popular in Persian poetry. The Farsi reads بچاه انداختن برادران يوسف را “into the well the brothers threw Joseph.” I reprinted this on translucent mulberry paper and layered it onto other papers to give the colour background. Framed print available at palmstone.com/for-syria/ to benefit Syrian refugee relief.

Old Signage Photo

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A great selection of Persian fonts and handwritten calligraphy in different sign formats.  Great photograph, too.  I love reflections and how they show the layering of what’s taking place in life.  The intimacy of three people at a sandwich shop vs. the bustle of traffic outside is nicely juxtaposed in this photo.

The tomb of Persian poet Omar Khayyam

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The tomb of Persian poet Omar Khayyam, in Iran. This modern structure is a phenomenal piece of design, incorporating ancient architectural forms, open spaces for light, a continuing line which wraps the entire structure, and the panels of calligraphy which are, of course, lines from Khayyam’s Rubaiyat and other poems.  The tombs of the poets are major cultural destinations for Iranians and performances of poetry and music are held regularly, as the one shown here.

Ya Qazi ul Hajat, or Ya Qadhi al Hajat Tile

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یا قاضی الحاجات

Ya Qazi ul Hajat, or Ya Qadhi al Hajat is recited as one of the attributes of God (Allah) is usually translated into English as “Oh, Bestower of Desires.” More literally translated it might be rendered as “Oh, Judge of [our] needs.” To me the latter conveys an important attribute, that God does not just grant our wants, but knows what it is we truly need. This cobalt-blue glazed tile from Iran dates from the 1970s. In the collection of Stewart J. Thomas, www.palmstone.com

Poetry

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Calligraphy by Stewart J. Thomas of the poem by Rumi, translated as:

“The breezes at dawn have secrets to tell you
Don’t go back to sleep!
You must ask for what you really want.
Don’t go back to sleep!
People are going back and forth
across the doorsill where the two worlds touch,
The door is round and open
Don’t go back to sleep!”

Tanavoli

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The work of Tanavoli has been enormously influential on my artwork and viewpoint, and a version of this sculptural work perhaps more than any other single work has informed my own understanding of calligraphy. I show here Tanavoli’s sculpture of “Heech” and my own humble homage to his work.

Many of his works are in the collection of the Grey Art Gallery at NYU. Their website says of this work:

In his sculpture entitled Heech, Tanavoli translates Persian calligraphy into three-dimensional form. Although the Persian word heech means “nothing,” the work is not meant to express despair or emptiness. Instead, for Tanavoli, the heech might represent creativity itself the void filled by the artist’s imagination.1 Tanavoli was a close friend and advisor to Abby Grey, who avidly collected his work. Her generous gift of modern Asian and Middle Eastern art works, along with an endowment, to New York University led to the founding of the Grey Art Gallery, which first opened its doors in 1975.

1. Paul Sloman, ed., Contemporary Art in the Middle East (London: Black Dog Publishing, 2009), 88.

Iranian waterway

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This view of the northern reaches of Tehran, Iran is notable for showing a type of Iranian waterway. The steps prevent the water from rushing down the sloped waterway with too much force.  Note the depth: when snow melt becomes heavy the waterway fills up rapidly.