I was born in 1978 in Iran. Presently I live in Tehran and work as a medical doctor. I am also about to complete my Master’s Degree in Public Health. Looking back to my childhood spent with my lovely family, I find myself playing cheerfully, going through the surroundings to discover more about the nature. I used to paint like so many other children. I enjoyed painting which at the time I mostly used pencils to draw and color with. My parents are retired high school teachers and perhaps for that reason they were more vigilant when it came to the education of their own children. I have three brothers and the fact that I was the only girl in the family allowed me to dedicate most of my time to drawing and painting rather than playing with my siblings. As soon as I started school and learned to read and write, I started to practice and write what I learned in calligraphic script. It was the starting point in my real art history; I discovered something new: It was an application of recently learned Persian lettera and words in creative painting. I also started to compete in schools and by the time I was ready to start college, I had earned many first prizes on the national level. I continued to paint and do calligraphy separately until I was accepted into Medical School. Since Medical School required a lot of studying, I only did artwork on the holidays. I put on my first exhibition of my work when I was in the second grade on school grounds, which had a positive effect in continuing my work. It was 2004 when I took part in a registered calligraphy examination. To be qualified as a first degree calligraphist; one must pass a 3-step exam that I took successfully. In 2006 I was chosen to organize an Iranian cultural event in Italy at the Academy of the Fine Arts in Rome. This was my first exhibition outside of Iran and it was here that I understood that I was successful in manifesting my feeling onto paper and it effected my work immensely. Overseas exhibitions helped elevate my work and I enjoy contact and collaboration with other artists. It helps me to benefit from their insights and experiences. Even though thus far I have considered the medical field as my chosen profession, I have recently decided to pursue art more professionally and if possible more academically. More specifically I would like to study the history of art at a recognized school of art. I believe that art belongs to all people. Art is best not kept within the bounds of borders and specific cultures. Art is the language of sentiment and sentiment belongs to humanity regardless of geographical and cultural differences. Art is inherently limitless and without bounds. It must be independent and free of outside influences. To create a truly unique work of art it is essential for the artist to achieve absolute autonomy in using any tool, style, technique and in any form or shape they feel best represents their identity. At the same time I believe a conscious appreciation for the traditional art of all nations is imperative.
Calligraphy has a deep root in Iranian art for millennia. Traditionally it is written in black ink on white sheets of paper following a set of strict and detailed principals. It is comprised of some main styles, all of which, my works contain. After taking part in the exams for the Iranian Foundation of Calligraphers in all three styles, I received the certificate of excellence. Poems of many of the great Iranian poets revolve around the Gnostics, romanticism and the romantic endeavors such as separation, longing and reunification. I have always had a profound appreciation and love for Farsi literature; I studied and sometimes recited the poems by heart. Always contemplating their feelings and their state of mind, this eventually led me to use color too paint alongside the calligraphy, enabling me to portray the mood and sentiments of the poem on to the paper thus exiting from the normal set of principals of calligraphy and entering the realm of a new style of art known as the painting-calligraphy (NAGHASHI KHAT). Naghashi Khat is a relatively new art and has very few artists’ following the most important prerequisite to enter this style of art with a complete understanding of classic calligraphy. After receiving the award of excellence, I started working in that style more avidly and involved. Naghashi-khat gives the artist the power and freedom of expressing the mood and feeling of the poem in such a way, that a person with no knowledge of Farsi would be able to feel the message of the poems whether it is sorrow, joy, love or intoxication and a drunken state. I was never classically trained and never worked under a specific instructor. I have always come up with ideas at the observation of other artists’ works.
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