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Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting Mohammad Kazem Dekamvand University of Wollongong

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Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting Mohammad Kazem Dekamvand University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 The search for identity: aspects of spirituality in the late Twentieth Century expressed in contemporary Iranian painting Mohammad Kazem Dekamvand University of Wollongong Recommended Citation Dekamvand, Mohammad Kazem, The es arch for identity: aspects of spirituality in the late Twentieth Century expressed in contemporary Iranian painting, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 1995. http://ro.uow.edu.au/theses/938 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] 7*t the, 7ta#ne, of AUGA, the 3eai^iceatt tde TKe^ciftd THE SEARCH FOR IDENTITY Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. A written submission in partial fulfilment of the requirements for the award of the degree of DOCTOR OF CREATIVE ARTS from UNIVERSITY OF WOLLONGONG by MOHAMMAD KAZEM HASSANVAND DEKAMVAND BFA, MCA FACULTY OF CREATIVE ARTS 1995 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Mohammad Kazem Hassanvand Dekamvand October 1995 THE SEARCH FOR IDENTITY Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. ABSTRACT This research centres on an artist's interpretation of the search for identity in the late twentieth century—particularly as expressed by the Post-Revolutionary Art of Iran. An autobiographical approach has been used to show how this Iranian artist's identity has been built from the relationship between personal, religious and social matters, tradition and modernity, and the East and the West. The outcomes of this research have been demonstrated through two major exhibitions of artworks, in 'The Long Gallery', University of Wollongong under the following titles, Forgotten Identity, 1993 and The Search for Identity, 1995. The artworks and the dissertation accompanying the exhibited work are concerned with the need for people in this late twentieth century to re-examine their lives and to open themselves towards spiritual values. The works are based in the ideology and the spiritual foundation of the Islamic Revolution. The author's own art development is part of this period. The written documentation uses this personal history as a starting point for discussion of an artistic investigation into the culture and ethos of Post-Revolutionary Iran. Through a discussion of the works of other artists, who in the author's opinion have contributed to the history of Iranian Art, both in the traditional and contemporary movements and through an analysis of his own art works, the document gives insight into this search for personal and national artistic identity. ACKNOWLEDGEMENTS I acknowledge with appreciation Associate Professor Peter Shepherd, who acted not only as my supervisor, but was also a good friend to me. Thanks to my family, friends and colleagues who have supported me during this research period. I acknowledge all staff of the Faculty of Creative Arts, University of Wollongong for the variety of help they have given to me. I also acknowledge with appreciation the Government of the Islamic Republic of Iran for their financial support to carry out this important research during these years. 7 dedicate, thld wink to- tkoae wfay <vt,e looCtmq, jot, the liqJkt, t%atA avid Afivvitualittf,, (Mid A&eCUviq, tJke, featd to- pen^ectioirt. TABLE OF CONTENTS SECTION 1 INTRODUCTION 1 SECTION 2 BIOGRAPHY 6 Childhood Years 6 Entering School 10 High School Years 12 The Islamic Revolution in Iran 14 Military Service 23 University Years 27 A New Land 35 Pilgrimage 37 SECTION 3 IRANIAN FIGURATIVE PAINTING 46 a. Figurative Painting Before The Islamic Revolution 46 Introductory Notes on the Safavid Dynasty 46 The Zand and Ghajarid Dynasties 49 KamalAlMolk 53 b. The Pahlavi Dynasty 1925 - 1979 54 Kamal Al Molk' s Students 54 Traditional Painters 61 Modem-Minded Painters 66 c. Iran's Figurative Painting After The Islamic Revolution 72 Figurative Painters and Revolutionary Artists 77 Pre-Revolutionary Artists Who Still Work Since The Revolution 90 SECTION 4 ANALYSIS AND STUDY OF PAINTINGS 95 First Exhibition: Forgotten Identity 95 Second Exhibition: The Search For Identity 113 LIST OF PLATES BIBLIOGRAPHY 1 SECTION I INTRODUCTION This presentation is titled The Search for Identity: Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. The documentation presents the background and gives the reason as to why this particular figurative painter is involved in the search to portray such a subject. The document consists of three major sections. The first section is allocated to my biography, which in some ways forms a very brief history of contemporary Iran. The second section is a research and analysis of Contemporary Iranian Figurative Painting. The third section is a personal investigation and search into the identity of modem human beings, which is presented through two major exhibitions of my paintings. This deals with the everlasting struggle in human beings between good and evil. As a human being, the social and mental problems of people have always been favourite themes for my art works. I have created many mural paintings and other art works with social subject matter, while I was in Iran. When I was awarded a scholarship from my Government and came to Australia and met with this new culture, with all its diversity, I was confused for a while. In this secular world, I feel that I am a stranger. As an artist, who is interested in dealing with critical themes about human beings, I decided during this time to investigate the main problem of contemporary human beings—the lack of spirituality in their life. Curiosity about human beings, society and a tendency towards self-reflection, finally convinced me to take on this task. These three sections are, in fact, complementary to each other, enabling the reader to have a better understanding of my artworks. In the first section, I have given you a picture of my background and a view about social, economic and political affairs of Contemporary Iran. This information will enable you to understand my analysis and criticism of Contemporary Figurative Painting of Iran, in the second section. As there are few documentations and books written about Contemporary Iranian Art and Culture—particularly in the Post-Islamic Revolution period—this document could be unique, in its own style. Although, returning to the past was very hard, I have tried to remember some of my experiences from my busy life, by using my memory. I have to state that my life is full of memories and adventures, thus I preferred to select those, which help 2 to give a broad picture of my past. I have explained the very first demonstrations of my artistic talents in my childhood and how I developed my art, without having any art teacher until my youth. That time was simultaneous with the creation of the great Islamic Revolution in Iran, which was in fact a new birth for me. That time was a turning point of my social life, in general, and of my artistic life, in particular. I think, from that time my life story became a part of the Islamic Revolution story. Moving out of a society under a hard dictatorship and entering a free society and living under the Islamic Law was the event that Iranian Moslems and I could not imagine, even in our dreams. Now, in Australia, far from that revolutionary society, and having opportunity to analyse, when I look at my past, I find that I can call this incident nothing but a miracle, which happened in the late twentieth century. The effects of this Revolution sooner or later will spread throughout the world. I have also mentioned my experiences at the Faculty of Fine Arts in Tehran University, as both student and teacher, and my other social and artistic activities and involvement during the war, which Iraq's regime imposed on our nation. This section concludes by my coming to Australia to continue my education and my unexpected journey to Mecca, which had a great impact on me and opened a new door for my social, spiritual and artistic life. In working on the second section, I came across some difficulties, such as lack of resources and writings about Iranian Contemporary Art. As I have already mentioned, unfortunately, there is not enough written information about the contemporary history of Iran, especially about art and culture and particularly in the Post-Islamic Revolution period. As I had opportunity to go back to Iran, three times, since I came to Australia and also because I do know many of the Post- Revolutionary Artists, I was able to collect some useful information for this research. I should state that there are other styles of art and many artists in Iran, that I did not consider in this study. As I am a figurative painter, the focus of this research is only on the Figurative Painting of the period. This second section has been divided into two parts; before the Islamic Revolution and the Post-Revolutionary period. As the influence of Western Art and Culture on Iran was so deep, in the first period, I have also briefly mentioned its roots, in recent centuries. In fact, the influence of the West on Iran in those times, created a major change in the Art of Iran, the positive and negative effects of which are considered and discussed.
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