Azizart

Oil painting & sculpture

To show social problems using Surrealism and Qajar art

2014

Aziz Grizli777

10/15/2014

Part of the

The unknown world painting

Oil painting & sculpture With Aziz’s

paintings enter your world of imagination!

A sample of Qajar art

http://www.aziz-anzabi.com

http://www.aziz-anzabi.com

http://www.aziz-anzabi.com

Life that is

forgotten

In this painting I tried to show the

Cause of migration of people or

Self-imposed exile. The four people

that have a disappeared face are

the most Major world powers of the

nation and the king is a sign of a

Puppet government which for them

the people’s life doesn't matter and

they don't evaluate people’s life.

They are all watching people

fighting and they are like the

watchers of a football

match and don't care for their lives

and what is happening in their lives.

And the woman which is going with

a suitcase and colourful balloons is a

sign of her sweet wishes and with

the thoughts and hopes she has she

is leaving her country. I used a

shadow the opposite way of her to

show that even though she is

leaving her roots and family are in

her country for always

Original

Oil and Acrylic on Canvas

100cm x 100cm

Meeting with:

Diego Rodríguez de Silva y Velázquez

(Spanish pronunciation: baptized June 6,

1599 – August 6, 1660)

was a

Spanish

painter

who was

the leading

artist in the

court of

King Philip

IV and one

of the most

important

painters of the Spanish Golden Age. He

was an individualistic artist of the

contemporary Baroque period, important

as a portrait artist. In addition to

numerous renditions of scenes of

historical and cultural significance, he

painted scores of portraits of the Spanish

royal family, other notable European

figures, and commoners, culminating in

the production of his masterpiece Las

Meninas (1656).

From the first quarter of the nineteenth

century, Velázquez's artwork was a model

for the realist and impressionist painters,

in particular Édouard Manet. Since that

time, famous modern artists, including

Pablo Picasso, Salvador Dalí and Francis

Bacon, have paid tribute to Velázquez by

recreating several of his most famous

works

Knowing more about

Qajar art refers to the art,

architecture, and art-forms of the Qajar

dynasty of the late Persian Empire, which

lasted from 1781 to 1925.

The boom in artistic expression that

occurred during the Qajar era was the

fortunate side effect of the period of

relative peace that accompanied the rule

of Agha Muhammad Khan and his

descendants. With his ascension, the

bloody turmoil that had been the

eighteenth century in Persia came to a

close, and made it possible for the

peacetime arts to again flourish.

Qajar painting

[Most notably, Qajar art is recognizable

for its distinctive style of portraiture.

Origins and influences

The roots of traditional Qajar painting can

be found in the style of painting that arose

during the preceding Safavid empire.

During this time, there was a great deal of

European influence on Persian culture,

especially in the arts of the royalty and

noble classes. European art was

undergoing a period of realism and this

can be seen in the depiction of objects

especially by Qajar artists. The European

influence is very well evidenced in the

preëminent position and prestige of oil

painting. While oil paintings had been par

for the course during previous periods of

Persian art, it was the influence of the

European masters, like Reubens and

Rembrandt, the true masters of oil

portraiture, that raised it to the highest

level. Heavy application of paint and dark,

rich, saturated colors are elements of

Qajar painting that owe their influences

directly to the European style.

Development of painting style

While the depiction of inanimate objects

and still lifes is seen to be very realistic in

Qajar painting, the depiction of human

beings is decidedly idealised. This is

especially evident in the portrayal of Qajar

royalty, where the subjects of the

paintings are very formulaicly placed and

situated to achieve a desired effect.

Two panels of earthenware tiles painted

with polychrome glazes over a white

glaze. (19th)

Royal portraiture

Most famous of the Qajar artworks are

the portraits that were made of the

various Persian Shahs. Each ruler, and

many of their sons and other relatives,

commissioned official portraits of

themselves either for private use or public

display. The most famous of these are of

course the myriad portraits which were

painted of Fath Ali Shah Qajar, who, with

his narrow waist, long black bifurcated

beard and deepset eyes, has come to

exemplify the Romantic image of the

great Oriental Ruler. Many of these

paintings were by the artist Mihr 'Ali.

While the portraits were executed at

various points throughout the life of the

Shah, they adhere to a canon in which the

distinctive features of the ruler are

emphasized. Portraits exist of Fath Ali

Shah in a very wide assortment of

situations, from the armor-clad warrior

king to the flower smelling gentleman, but

all are similar in their depiction of the

Shah, differing only slightly, usually due to

the specific artist of the portrait. It is only

appropriate that this particular Shah be so

immortalized in this style, as it was under

his rule as the second Qajar shah that the

style truly flourished. One reason for this

were the stronger and stronger diplomatic

ties that the Qajar rulers were nurturing

with European powers.

While Fath Ali Shah himself never visited

Europe, many portraits of him were sent

with envoys in the effort to convey the

imperial majesty of the Persian court.

With the rise of Nassirudin Shah,

photography became much more

important in the art of the period, and

portraiture, while still used for official

purposes, fell gradually out of favor. In

addition, as Nassirudin Shah was the first

Persian ruler to visit Europe, the official

sending of portraits was left by the

wayside, a relic of times gone by.

Other portraiture

The depiction of nonroyal persons also

has a very important place in the

explanation and understanding of Qajar

art. While naturally not commoners, the

subjects of these portraits were often

minor princes (of which there were

many!), the grandsons, nephews, and

great-nephews of the ruling or previously

ruling Shahs. These princes, with the

wealth and position of their families, had

very little else to do but contribute to the

arts, so their patronage was certainly less

than detrimental to the arts of the time.

Often, portraits of this class would be

commissioned as depictions of family

groups, depicting the male, an idealized,

nubile wife, and their perfectly formed

child. Other times, they would be in the

form of a royal portrait, depicting solely

the male commissioner, but with subtle

variations making it clear that the sitter is

not a Royal. One way that this was

accomplished was through a cartouche

that was displayed next to the head of

each portrait's subject, clarifying who was

being depicted, and any relevant titles

(such as Soltān, shāhzādeh, &c.). For the

ruling head of Persia, this cartouche is

fairly regulated, ("al-soltān Official name

Shāh Qājār"), while for anyone else, it may

include a longer name, a lesser title or a

short genealogy.

Depiction of women

One of the most unusual practices in

Qajar art is the depiction of women. In

such a strongly Islamic society, it seems to

contradict that view that the women of

Qajar Persia are depicted in much art as

wearing very little in the way of modest

clothing. This is strikingly at odds with the

prevalent use of the chādor (Persian: چادر,‎,

lit. "tent") in Persia.

Muqarna at the Nasir al-Mulk Mosque.

Qavam—Ghavam House facade and

balcony.

"Kushk of Ahmad Shah" at the Niavaran

Palace Complex.

Calligraphy in the Qajar era[edit]

Calligraphy is and has been the definitive

Persian art form. There exists a

prohibition in Islam against the depiction

of human beings, similar to the Jewish

rule against graven images, and as such,

calligraphy and its associated art forms

became a very important part of Islamic

expression. Upon the introduction of the

Arabic script to Persia, the people therein

set themselves to making it their own.

This is best evidenced in the creation of

the Nasta'liq style of calligraphy, which is

now used for most of the non-Arabic

South Asian languages, such as Urdu and

Kashmiri, as well as Punjabi.

The Shāhanshāhnāmeh

painted tiles with design of birds, hunting

and nice flowers from Qajar dynasty

During the reign of Fath Ali Shah Qajar, a

work of literature and art was

commissioned that was intended to rival

the work of Ferdowsi. This book was

called the Shāhanshāhnāmeh (شاهنشاهنامه,

lit. "Book of the King of Kings"). It is

apparent to the scholar of Persian art and

literature that this book is based upon the

work of art known as the Shāhnāmeh (

lit. "Book of Kings") which was ,شاهنامه

written by Ferdowsi in the year 1000 . The

Shahnameh, in brief, chronicles the quasi-

mythical founding of the Persian Empire

and the heroes and villains who

punctuated its inception. Also, the

Shahanshahnameh is related to a long

tradition of Mughal literature, in the form

of the Baburnameh and the Akbarnameh,

similar books which chronicle the

occurrences that punctuated the reigns of

their respective Mughal Shahs. This

Sahanshahnameh is now situated in the

National Library of Vienna, Austria.

Qajar textile arts

The sartorial inclinations of the Qajar

period were not so very different from

those of earlier period until the latter half

of the era. As is evidenced by the early

portraiture of Fath Ali Shah Qajar and

Mohammad Shah Qajar, the traditional

styles of dress in Persia were preserved,

but as Western influences became more

and more prevalent, the royal portraits

began to depict the Shah in a more

Western, military style garb (such as the

portrait of Nassirudin Shah Qajar above).

This is not to say, however, that the

traditional textile arts of Persia had fallen

into disuse. While the Shah wished to

appear advanced and western to

European monarchs and diplomats, it was

still his duty to exude the pride and

ancient glory of the Persian Empire, so

court dress retained very strong elements

of traditional dress.

One of the most unusual practices in

Qajar art is the depiction of women. In

such a strongly Islamic society, it seems to

contradict that view that the women of

Qajar Persia are depicted in much art as

wearing very little in the way of modest

clothing. This is strikingly at odds with the

prevalent use of the chādor (Persian: چادر,‎,

lit. "tent") in Persia.

The unknown world

In this painting I tried to show the

emotional feelings between men and women. The happiness inside some man's heart

depends on women. When a drawer of a man's heart is open you can realize his feelings.

Some people in the world enjoy of women all of the time and don’t think about anything

else. They are unaware of social problems. In the left hand side of the painting there are

people protest which are trying to achieve the goal of social and they accept the danger of

the government. The person standing in the middle is the

governor (solder) which is always looking at people to get them or arrest them to make

other people think that he is a powerful person to make people scared of him

Original

Oil and Acrylic on Canvas 102cm x 102cm

Aziz Art http://www.aziz-anzabi.com/

Biography:

Aziz Anzabi, original from Iran and London based, He was born in Tehran in 1970 and grew

up between the Iraq and Iran's war and this has affected his art .He has finished his PHD

degree in family counselling in Tehran

His focus is art in sculpture and painting.

Anzabi’s art have as main concept myths and rituals. Exploring these aspects and aiming for

an unconscious emotional state within the viewer, Anzabi art takes form in both figurative

and abstract styles. “My ultimate goal is to have the viewer feeling a sense of familiarity

with the work, a sense of having experienced this before.”

Anzabi art describes a fantasy that shelters the individual in order to lead him throughout

life. With strong surreal influences, Anzabi creates a universe proclaiming harmony.

Aziz Anzabi work has been displayed and purchased worldwide, from UK, USA, Spain, Italy

and Dubai. Aziz Anzabi is also an academic, who also has written and produced books on

the subjects of art such as mathematics, being previously a professor at Tehran University."

Life

Mind's eye is so powerful that it can visualize a lush green garden with flowing water just

across a rugged desert.

helpless man can do nothing but to take refuge in fantasies , exploiting dreams of his

mature mind to lead him to throughout his life. Fantasies rapidly vanish into thin air. My

fantasy is an complete universe, that every humankind can use their humanity. It is a wrong

universe miscalculations about life right now . continually blaming my self for not sizing the

day and for having to bid farewell to the departed one after the other.

From dawn of creation, mankind has proclaimed the harmony "Look how clear water is

falling down from between your fingers like the freedom that falls down from Humankind

fingers!”

Statement

Myths... Rituals. I have long been intrigued and fascinated by these concepts. In my

sculptures and painting, both figurative and abstract, I employ these aspects of a collective

unconscious to evoke an emotional state within the viewer. In my figurative work, my goal is

to capture the myriad changing state of the human condition through subtle changes in

facial countenance and body language. The end result shows how the inner condition is

expressed by the outward form while also conveying a timeless quality to human emotion.

In my abstract sculptures, I have recreated the numinous quality of subconsciously shared

images, stories, and ceremonial rites. The sculptures, themselves, are composed of abstract

forms that are covered with a rich, textural surface. The end result is a complex organic

piece that evokes a sense of ancient artifacts, of ritualistic objects from some unknown

culture, or of imagined landscapes.

However, be it figurative or abstract, my ultimate goal is to have the viewer feel a sense of

familiarity with the work...a sense of having experienced this before. I believe this feeling of

arises from both the collective unconscious and a mystical center we all

share.........................

Sad but true

The problem of people living in Kiribati

Island which is a country in the lowest

point of earth in Pacific Ocean and is constantly going under the water because of the global

warming and this country is going to be gone forever. I try to show this problem for the

people the two hands are a symbol of natural hazards that cause human Suffering that

human do this themselves and the conclusion is the ruining of earth that makes humans die.

and the pieces of the mirror are a sign to show that it can happen to you (the reflection)

Oil on canvas

102cm x 102cm

Beginning And End

In this painting I tried to show after the industrial age humans started changing the majority

in the world and these changes were good to human beings but not for nature. And when

humans started creations and manipulation agent’s new problems and diseases around the

world started. The horse and the elephant are a symbol of the earth changing in many

different ways. The person who is leaning on the the horse’s leg is a meaning of people that

think this change to nature is a support to them to live and it has to be there. When it only

fits for humans and damages nature. In the sky there is two people a man and a woman

which are going to opposite directions and they are a couple they have chosen to be

separated from each other. This is because they had problems living their expectations from

each other had gone higher because of the changes made on earth and they choose to be

parted because they thought they should get a better living.The other people in the painting

are the people who have their normal routine in life and don’t care about the changes made

on earth.

Original

Oil on canvas

102cm x 102cm

Eye See You All Day

In this painting I tried to show an eye of

people that are aware of things around

them and their feelings. The eye of the

people is always aware of social

problems. The people dropping off the

eyes are peoples feelings about social

problems that people see and their

feelings drop down in different forms.

On the left hand side the three soldiers

are a sign of soldiers that help

government which always are keeping the aware people save from the help of government

without the government knowing. The eyelashes are like the jungle. The people in the world

are living like a jungle

Original

Oil on canvas

66cm x 66cm

Meeting with...

Salvador Domingo Felipe

Jacinto Dalí i Domènech

, 1st Marqués de Dalí de Pubol

(May 11, 1904 – January 23,

1989), known as Salvador Dalí

(Catalan pronunciation: )

was a prominent Spanish

Catalan surrealist painter born

in Figueres, Spain.

Dalí was a skilled draftsman,

best known for the striking

and bizarre images in his

surrealist work. His painterly

skills are often attributed to

the influence of Renaissance

masters. His best-known work,

The Persistence of Memory,

was completed in August

1931. Dalí's expansive artistic

repertoire included film,

sculpture, and photography, in

collaboration with a range of

artists in a variety of media.

Dalí attributed his "love of

everything that is gilded and

excessive, my passion for

luxury and my love of oriental

clothes"to an "Arab lineage",

claiming that his ancestors

were descended from the

Moors.

Dalí was highly imaginative,

and also enjoyed indulging in

unusual and grandiose

behavior. His eccentric manner

and attention-grabbing public

actions sometimes drew more

attention than his artwork, to

the dismay of those who held

his work in high esteem, and

to the irritation of his critics.

Biography

Early life

The Dalí family in 1910: from

the upper left, aunt Maria

Teresa, mother, father,

Salvador Dalí, aunt Catherine

(later became second wife of

father), sister Ana Maria and

grandmother Ana

Salvador Domingo Felipe

Jacinto Dalí i Domènech was

born on May 11, 1904, at 8:45

am GMT[6] in the town of

Figueres, in the Empordà

region, close to the French

border in Catalonia, Spain

Dalí's older brother, also

named Salvador (born October

12, 1901), had died of

gastroenteritis nine months

earlier, on August 1, 1903. His

father, Salvador Dalí i Cusí, was

a middle-class lawyer and

notary[8] whose strict

disciplinary approach was

tempered by his wife, Felipa

Domenech Ferrés, who

encouraged her son's artistic

endeavors.

When he was five, Dalí was

taken to his brother's grave

and told by his parents that he

was his brother's

reincarnation,[10] a concept

which he came to believe. Of

his brother, Dalí said, "...[we]

resembled each other like two

drops of water, but we had

different reflections."He "was

probably a first version of

myself but conceived too

much in the absolute."Images

of his long-dead brother would

reappear embedded in his

later works, including Portrait

of My Dead Brother (1963).

Dalí also had a sister, Ana

María, who was three years

younger.In 1949, she

published a book about her

brother, Dalí As Seen By His

Sister. His childhood friends

included future FC Barcelona

footballers Sagibarba and

Josep Samitier. During holidays

at the Catalan resort of

Cadaqués, the trio played

football together.

Dalí attended drawing school.

In 1916, Dalí also discovered

modern painting on a summer

vacation trip to Cadaqués with

the family of Ramon Pichot, a

local artist who made regular

trips to Paris.[8] The next year,

Dalí's father organized an

exhibition of his charcoal

drawings in their family home.

He had his first public

exhibition at the Municipal

Theater in Figueres in 1919, a

site he would return to

decades later.

In February 1921, Dalí's

mother died of breast cancer.

Dalí was 16 years old; he later

said his mother's death "was

the greatest blow I had

experienced in my life. I

worshipped her... I could not

resign myself to the loss of a

being on whom I counted to

make invisible the unavoidable

blemishes of my soul." After

her death, Dalí's father

married his deceased wife's

sister. Dalí did not resent this

marriage, because he had a

great love and respect for his

aunt.

Battl

in some nations like the middle east people are not

allowed to express their feelings and thoughts. In

this painting I tried to show this situation and the

after of someone expressing their feelings and

thoughts when they were not allowed to express

their selves and what happened to them. The drawer which has opened in the Forehead of the man shows him

expressing his thoughts which he is not allowed to express them. And in the bottom left hand side there is a

Corridor which is the heart of the man and since he can't express his feelings he if fighting with his thoughts

inside his heart. In this Corridor which is like prison the government is the Prison guard to keep peoples

Freedom of speech. On the right hand side there is two people which are Iranians myth in Persian in a book

called Shahnameh which a father ( Rostam ) kills his own son in war without knowing that he was his son

(Sohrab) which at the end of Shrubs’ last words Rostam realizes that Sohrab was his own son . In this part the

meaning of this is that people kill their own thoughts and feelings so they won't be killed. The other people in

the painting are a sign of different social classes which without knowing the social problems carry on living.

Original

Oil and Acrylic on Canvas

100cm x 100cm

One

more

step

In this painting I tried to show

from a Psychology point of view

that in every man there is a

woman and in every woman there

is a man which either the woman is

good in that person or man. In the

pocket of the angel I have put a

Qajar woman to represent a

Psychology point of view.

The thought that always

angels are women has changed in my painting and I have shown that in this painting even a modern style man

can be a angel.

Original

Oil and Acrylic on Canvas

102cm x 66cm

AZiZ ART

http://www.azizanza-com