http://www.authorstream.com/Presentation/michaelasanda-1466226-mohammad-ehsai/
Mohammad Ehsai is one of the most renowned innovators in the field ofcalligraphic painting (known as Naghashi-khat in the ...
Nahjol Balagheh (Sermons, Letters andsayings of Imam Ali b. Abi Talib)Logotype, 1982
Loving Whisper
Zekre Allah (15)
Mohabbat (Kindness)
Mohabbat (Compassion)
The Great Congress of Fars Studies, Poster, 2005
The Echo of the Word, 1990 Tehran Museum of Contemporary Art
“Allah”1995
Untitled           Shaghayegh (Poppy Flowers)
Text and pictures: Internet                                                              Copyright: All the images belong ...
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
Mohammad Ehsai Iranian calligraphy6
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Mohammad Ehsai Iranian calligraphy6

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Throughout the years calligraphy has been considered in Iran as a national and noble art, and in the Islamic world, as it is the only way of illustrating the heavenly verses -among the experts and artists it is scrutinized and accepted to be the "heavenly art". Mohammad Ehsai is one of the most renowned innovators in the field of calligraphic painting (known as Naghashi-khat in the Middle East and particularly Iran). He remains an extremely influential figure for the younger generation of artists and graphic designers. He has written articles on calligraphy, Iranian and Islamic art and has lectured widely in Iran and elsewhere. During this time he worked on the layout and calligraphy of various publications and schoolbooks, and was commissioned to work on a number of architectural projects including the inscriptions of the Alghadir Mosque in Tehran, the conference hall of the ‘Ellahiyat’ Faculty of Tehran University and the Iranian Embassy in Abu Dhabi, UAE. His work has been exhibited in noteworthy galleries and art fairs from the early 1970s and he has received multiple awards, including a prize at the Cagnes-sur-Mer Festival (France) in 1976. In 2005 he was awarded Iran’s National Award of Art and Culture.
His works can be found in important collections and museums around the world including The British Museum in London.

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  • He is the Merciful – Oil on canvas by Mohammad Ehsai was sold for $1.1 million.
  • Mohammad Ehsai, born 1939, Qazvin, Iran Education: Graduated from the Faculty of Fine Art, University of Tehran, 1966 Professional Activities: Designer and Calligrapher for educational books on Art, 1964 – 1974 / Teaches in the Visual Communication Department at Faculty of Fine Art, University of Tehran, 1971 Memberships: Official member of the Ministry of Culture and Art, 1958 – 1978 / Member of the Board of the Iranian Institute of Calligraphy, 1985 – 1988 / Member of the Iranian Calligraphers Society, 1996 / Iranian Graphic Designers Society (IGDS) since 1997 and member of the Board of IGDS, 1997 – 2000 / member of the Iranian Academy of Art, 2003 Honours: Calligraphy Award, Student Competition, Ramsar, 1958 / Award for the Best Designer of the Year, 1973 / Honourable Mention, ISESCO, 2005 / National Award for Art and Culture, 2005 Selected Exhibitions: Participated in several national and international exhibitions Selected Bibliography: 8th Tehran International Poster Biennial catalogue, 2004 / “Neshan”, Iranian Graphic Design Magazine no. 2, 2004
  • Mohammad Ehsai is one of the most renowned innovators in the field of calligraphic painting (known as Naghashi-khat in the Middle East and particularly Iran). He remains an extremely influential figure for the younger generation of artists and graphic designers. He has written articles on calligraphy, Iranian and Islamic art and has lectured widely in Iran and elsewhere. Ehsai’s artworks have been shown in many important museums including The State Hermitage Museum’s The Dance of Quill and Ink - Contemporary Art of the Middle East (2007) and The British Museum’s Word into Art exhibitions. An example of his work is included on the Time Line of Art History on the Metropolitan Museum of Art web site. The acclaim his work has achieved among discerning collectors of Middle Eastern art is reflected in the recent Christie’s Art Auction, Dubai (April 2008) where one of his canvases realised over $1 million. Clearly the significance of his art production is being acknowledged on an international level.
  • Ehsai approaches his calligraphy from a religious background; he first mastered formal calligraphy before exploring the flowing rhythms of the Naskh (late eighteenth-century cursive script), Shekasteh (broken form) and Nasta’liq (a variant of taliq, or hanging, script developed by Persians in the late fifteenth century). His calligraphic expertise combined with his knowledge of modern art gave rise to a new visual language of his own. This unique method of transforming the traditional Persian scripts and procedures is an abstract method of self expression that best serves his particular artistic language whilst still respecting the original premise of the sacred art of calligraphy.
  • Zekre Allah is a visual interpretation of the unceasing recitation of the name Allah and the Qur’anic verse: ‘There is no God but Allah’, which is at the foundation of spirituality of the Islamic faith. The unceasing recitation of the name of Allah is a sacred concept, which links Man with the Source of Creation. A fifteen-part painting from his Zekre Allah series made $336,000 at Bonham’s auction in Dubai last year.
  • Brief Biography Ehsai studied at the Faculty of Fine Arts at Tehran University, where he later became a calligraphic instructor. In 1964 he began to use calligraphy in his graphic designs and paintings. During this time he worked on the layout and calligraphy of various publications and schoolbooks, and was commissioned to work on a number of architectural projects including the inscriptions of the Alghadir Mosque in Tehran, the conference hall of the ‘Ellahiyat’ Faculty of Tehran University and the Iranian Embassy in Abu Dhabi, UAE. His work has been exhibited in noteworthy galleries and art fairs from the early 1970s and he has received multiple awards, including a prize at the Cagnes-sur-Mer Festival (France) in 1976. In 2005 he was awarded Iran’s National Award of Art and Culture. His works can be found in important collections and museums around the world including The British Museum in London.
  • Artist/educator Mohammad Ehsai is one of the most renowned trendsetters in what is now called the art of calligraphic painting ( Naghashi-khat ) in the Middle East and specifically Iran. Rarely has the work of Mohammad Ehsai been discussed with an analytical eye or a refined method. Rather, his work has often been intellectually marginalized. By situating him in the modernization movement and culture of his time, this article intends to broaden the discourse both visually and from a theoretical point of view. Looking at Ehsai’s work as “a case study” for calligraphic art in Iran would probably satisfy many, but will be unmerited and lack sophistication. In regards to Iranian modern art, the perception of a link between spirituality, religion, government, and art works have led to art criticisms that stay away from concept analysis and instead focus more on physical and aesthetic aspects. Thus, many works of art are analyzed from visual points of view while the main spiritual content and the meanings are quite often disregarded. Original source materials that can provide local perspectives with critical texts about Ehsai’s work are scarce. Nevertheless, a comparative, interdisciplinary and cutting-edge approach, inspired by trans-regionalism, engrained in the anthropology of his visual culture, and supported by a sophisticated methodological perspective, is the inevitable objective. Ultimately the discussion of Ehsai’s art can be viewed as a vehicle for a multi-faceted approach in cross-cultural exchange.
  • Mohammad Ehsai was born in Qazvin, Iran in 1939. Ehsai was classically trained in traditional calligraphy, such as Nastaliq and Muhaqqaq.  He was one of the leading artists incorporating Persian script, into new artistic expressions shaped by symbolic art forms found in Shi’i religious works.  As an intellectually curious artist, his desire to know more about the way in which art is expressed in different cultures led him to travel and study in several European and Asian countries, where he also exhibited widely. From 1958 to 1978 he taught in schools in Tehran for the Ministry of Culture and Education.  He entered Tehran University as a student in the Fine Art Department in 1966.  After graduating in 1971 he was asked to join the Faculty of Fine Art, Tehran University. In addition to teaching, Ehsai was the Designer, Calligrapher, Art Expert and Editor of art books for Iran Education Books Organization. Ehsai is a member of the Board of the Iranian Institute of Calligraphy, Iranian Calligraphers Society, Iranian Graphic Designers Society (IGDS), the Board of IGDS, member of the Iranian Academy of Art, and an art consultant to Tehran Contemporary Art Museum.
  • Ehsai’s awards and honors are numerous in Iran and elsewhere; among his many awards are the Award for the Best Designer of the Year (1973), French National Award, International Painting Festival, First Prize (1974); Honorable Mention, ISESCO (2005), National Award for Art and Culture (2005), and the National Award (First Degree Medal) of Art and Culture, from the President of Iran (July 14, 2005). Because his artistic vision moves seamlessly across the boundary of traditional calligraphy and new modes of creating design, he has been extremely influential on the younger generation of artists and graphic designers.  He has written articles on calligraphy, and Iranian and Islamic art, and lectured widely in Iran and elsewhere. Ehsai’s artworks have been shown in many important sites including The State Hermitage Museum (The Dance of Quill and Ink. Contemporary Art of the Middle East, 2007).  An example of his work is included on the Time Line of Art History on the Metropolitan Museum of Art web site. The excitement that his work has garnered among discerning collectors of Middle Eastern art is reflected in the recent Christie’s Art Auction, Dubai (April 2008).  Clearly the significance of his art production is being acknowledged on an international level.
  • Ehsai has been prolific in all areas of art making, from teaching students to consulting on various art projects.  His art work ranges from calligraphic paintings to calligraphic murals on architectural structures such as the Iranian Embassy in Abu Dhabi, United Arab Emirates (1988-1991), and other important architectural spaces in Tehran (Natural Museum of Iran and University of Tehran Academy of Theology). Over the course of his career he has moved from traditional calligraphy to the development of a blending of traditional with contemporary modes of artistic production.  His importance to the development of modern graphic design in Iran and elsewhere should not be underestimated
  • Throughout the years calligraphy has been considered in Iran as a national and noble art, and in the Islamic world, as it is the only way of illustrating the heavenly verses -among the experts and artists it is scrutinized and accepted to be the "heavenly art". As a calligrapher, during 45 years of teaching and continuous work I have gathered a number of calligraphies, epigraphs calligraphy paintings, and two samples of relief pottery with dimensions of 450 square meters and 230 square meters. But as a painter, with a personal impression from this national art and an abstractive view, I have produced works that are well known as "Naghashi Khat" in Farsi or "Painting Calligraphy".
  • In these works, news and story telling were deciphered from combinations of letters, well known by the Iranians as a means of communication. I have used this technique in my works and by that I have found fully personal combinations, the visual structure of which is architecture of words. They are poetry-like pieces which in a viewer's perspective look like texts without any misconception; white parts and black parts are two separated texts of the same story. These will take the viewer to a purely imaginary and magical world of words. ...
  • Mohammad Ehsai Iranian calligraphy6

    1. 1. http://www.authorstream.com/Presentation/michaelasanda-1466226-mohammad-ehsai/
    2. 2. Mohammad Ehsai is one of the most renowned innovators in the field ofcalligraphic painting (known as Naghashi-khat in the Middle East andparticularly Iran). He remains an extremely influential figure for theyounger generation of artists and graphic designers. He has writtenarticles on calligraphy, Iranian and Islamic art and has lecturedwidely in Iran and elsewhere.Ehsai’s artworks have been shown in many important museumsincluding The State Hermitage Museum’s The Dance of Quill and Ink -Contemporary Art of the Middle East (2007) and The British Museum’sWord into Art exhibitions. An example of his work is included on theTime Line of Art History on the Metropolitan Museum of Art web site. Theacclaim his work has achieved among discerning collectors of MiddleEastern art is reflected in the Christie’s Art Auction, Dubai (April 2008)where one of his canvases realized over $1 million (slide1). Clearly thesignificance of his art production is being acknowledged on aninternational level. This unique method of transforming thetraditional Persian scripts and procedures is an abstract method of selfexpression that best serves his particular artistic language whilst stillrespecting the original premise of the sacred art of calligraphy.Ehsai studied at the Faculty of Fine Arts at Tehran University, where he later became acalligraphic instructor. His work has been exhibited in noteworthy galleries and art fairs from theearly 1970s and he has received multiple awards, including a prize at the Cagnes-sur-Mer Festival(France) in 1976.In 2005 he was awarded Iran’s National Award of Art and Culture. His works can be found inimportant collections and museums around the world including The British Museum in London.
    3. 3. Nahjol Balagheh (Sermons, Letters andsayings of Imam Ali b. Abi Talib)Logotype, 1982
    4. 4. Loving Whisper
    5. 5. Zekre Allah (15)
    6. 6. Mohabbat (Kindness)
    7. 7. Mohabbat (Compassion)
    8. 8. The Great Congress of Fars Studies, Poster, 2005
    9. 9. The Echo of the Word, 1990 Tehran Museum of Contemporary Art
    10. 10. “Allah”1995
    11. 11. Untitled Shaghayegh (Poppy Flowers)
    12. 12. Text and pictures: Internet Copyright: All the images belong to their authors Arangement: Sanda Foişoreanu www.slideshare.net/michaelasandaSound: Hossein Alizadeh - Avaye Mehr(songs of compassion)

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