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Nature, My
True Inspiration

Visitors are haunted by the tranquility they find in Majid Saraafi’s paintings

Green, as I want you,
Green the wind blows through,
Green the leaves stand,
A horse on the high land,
A boat in the sea,
A little girl will see,
Dreaming in shadows,
From head to toes,
Hair and faces green,
People of metal green,
Green, as I want you …
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Water colors lingering in gentle shades of green, trees across plains, clouds moving to horizons. These are some characteristics of Majid Saraafi’s paintings. Born in 1947, Majid Saraafi majored in English Literature. He has been painting since early 1960s, while practicing calligraphy as a second passion. Believing that his works were “too personal”, Saraafi refused staging an exhibition for several years.
Finally after 30 years, he gave in to the insistence and encouragement of friends by staging an exhibition of 99 paintings in 1994. This led to other exhibitions, all of which welcomed by great public enthusiasm. In the following interview, the artist explains about his paintings, his style and his inspirations:

How do you interpret the public enthusiasm toward your exhibitions?

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Visitors say that they see a new, alternative style in my paintings. I believe they find some kind of tranquility in my works. This tranquility lies deep in the heart of nature and green is the main color to relay this sense. As a result of this acceptance, a majority of my 99 paintings created in the past 30 years have been sold in recent exhibitions. Such enthusiasm, of course, encouraged me to stage more exhibitions.

What are the main reasons behind your inspiration by nature? How is nature formed on your mind in the way that you describe?

The main feature in my paintings is “green” factor found in natural settings such as farms, plants and particularly trees. Trees have various forms, colors and outfits that add a unique beauty to the nature. The nature’s green element indicates life, growth and evolution. One can find life wherever there is the green of nature. Scenic forests, green orchards, expansive farms and green pastures are in fact the results of my mental and visual inspiration. You can establish a special relation with trees by combining passion and precise vision.
Some trees are bulky, some tall and some small. This beauty can be very exciting if noticed carefully. Also, the colors of trees and plants scattered in nature create charming contrasts under sunlight. Rays of sunlight or moonlight through the trees will double the beauty of the whole setting.

Please elaborate on your collection called “Nature in Vision”.

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Paintings in this collection are generally my impressions of nature through a lifetime. Some of them have been painted consciously, and some others subconsciously. They are manifestations of my mentality; none of them has ever been inspired by an external theme. In other words, none of the paintings represent a specific setting or a particular scene. They are purely mental and experimental expressions.
Therefore, it is impossible to match my paintings with reality and the title “Nature in Vision” refers to this fact. No fixed rule has been observed in painting these works. For instance, perspectives and dimensions may seem odd in some cases; just as human imagination does not follow any rules. An absolutely free choice of colors has been used to represent the nature while light beams have been applied for separation of scenes.
Single colors will be no more than elements in a work of art; like words in a literary criticism. However, when combined with other elements, they create fascinating scenes which become innovative works. Accordingly, human imagination records scenes of nature in special forms. Reflection of mentalities and recollections to visualize painting is a process of recalling past experiences. Consequently, natural scenes in one’s mind float between dream and reality.

What is your style of painting?

Let me first provide an introduction. In 19th and 20th centuries, different styles were created in painting and artistic creation which led to a new dimension in visual and mental application. The results were new works of art based on personal experiences. This development emerged in all fields of science and humanities. Afterwards, a new development started in imaginative arts that created a new atmosphere in artistic impressions. Following this trend, I only paint my mental impressions and refuse to mention a title for my style.

How do you evaluate the status of art and young painters in Iran?

Before adopting a style, an artist must reach a level to relay a mentality in his work. A valuable work is an original piece, not a copy. There must be powerful means to introduce art and art galleries to the youth. It takes publicity and a cultural trend to attract the youth to art galleries and cultural centers. To artists, public acceptance and enthusiasm is the strongest encouragement.

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