Reviewing the life and works of Bahman Mohassas, a contemporary Iranian artist

Dissertation for Master's Degree

(M.A)

Tension: Painting

Abstract of the thesis (including summary, objectives, implementation methods and results obtained):

Iranian art, like the art of other parts of the world, reacted to the wave of modernism and this new language emerged in different forms in the works of Iranian artists. Bahman Mohassas is one of the prominent artists who deeply understood modernism, and in the application of modernist thought and achievements, he went far beyond superficial and dramatic manifestations, and gave a unique identity to his art. This artist, as he deserves, has not been introduced to the world of art, and his unique and innovative works, whether in the field of painting or sculpture, have not been analyzed and analyzed sufficiently. Since Mohassas is considered one of the pioneers of modern Iranian art, dealing with his life and works inevitably requires investigating and understanding the cultural-artistic atmosphere of Iran during the arrival of modernism, and getting to know the artistic institutions and the first manifestations of modernism in the art of this land. The purpose of this research is to introduce Bahman Mohassas and show his place in the contemporary art of Iran. In this regard, by analyzing the fundamental features of some specific works, the creative aspects of his art and his deep thought and deep understanding of the true nature of modern art are emphasized.

Introduction

In order to accurately understand the characteristics of today's art and how to pass from tradition and turn to modern art, it inevitably requires a careful examination of the works and thoughts of prominent and influential artists, and any research in this field without a detailed understanding of important works Art and the understanding of the thoughts behind it remain from the comprehensive analysis of the artistic space and its evolution, as well as the explanation of the theoretical structures of art in a sufficient and efficient manner. Therefore, researches like this, which make the art and thought of single figures of cultural indicators the subject of detailed and comprehensive analysis, have an undeniable importance. Aghdashloo wrote about this strong generation of Iranian art: "Many of them are no longer known and remembered by many of them, many of them have died from the turmoil of the earth and have joined the earth, some have migrated and left to forget here and be remembered elsewhere, some have remained with their necks high and have vowed to be the guardians of the dignity of work and usefulness, regardless of whether or not they are remembered by someone or a place, and the rest are at the end of three corners." Their souls and their small and accumulated rooms have been bitten in the hope of being discovered again to be called back. What a shame that Their burdens have not reached the right place or the end of the road. It is useless to talk and write about the works of Bahman Mohassas except in different fields of criticism, that is accurate and skillful criticism. What, if there is something to be said outside this area, Mohass's works are more self-explanatory and obvious than anyone and anything, they shout their bitterness and endless isolation, with a clear language that cannot be heard. It doesn't matter if we are from Gilani or from Florence, how old we are or what we do, whoever we are and wherever we are, the judge takes us by the collar and makes us sit down to see what we have built and collected around us. Special people are compressed and humiliated, with contracted muscles that seem to be instantly torn apart. With bones protruding from horror and eyes that are not eyes. Specific people, in a time and place outside of now and far away, in a later history and much later than now, without a past and without a sign, are nostalgic for the lost times that they deliberately and out of necessity seem to have lost and now they are swinging listlessly on the background of what is and is not. Mohass depicts his people - us - in a certain future, as if after the end of every era, every movement and every era. Alone and alone and alone. Lonely tones. Tones that are not so similar anymore. Handless, legless humans and minotaurs, and sometimes several bodies tangled and ruined, which is not so easy to distinguish a single body among them. Minotaurs are the result of anger and betrayal, the result of crooked and blind love, unfulfilled and ineffective relationships, jealousy, annoying sexual relationships, war and destruction, continuous and everyday tragedies and finally, the result of the deep injury of blades, these blades that we, dedicated people, draw on the opponent's body and arm every day with every word and look. The sad injury of these rusty blades. Certain minotaurs, seen in a timeless and geographyless space, in different positions but all unstable and as if suspended, indicate the suspension of time.From the zero point where time and history have lost their definitions and everything remains suspended and fixed forever, except the mind. A fluid mind that, in contrast to the stillness of the body to which it belongs, has no future. There is no time and movement, so there will be no future. The mind goes back and forth between silence and the past, and bitterness and darkness leave the walls of the past, and the result of the debris is a thick, sad silence that engulfs minotaurs and human beings. A timeless mythology, without history, without a story. Chapter 1: Outline of the plan: 1-1) Statement of the research problem: Iran, like other countries that have a unique and long-lasting tradition and covenant in their art, has not been spared from the wave of new styles and ideas in recent decades. The first sparks of this artistic innovation can be traced back to the late 1320s with the establishment of new art bases (such as "The Anthem of the War Rooster"). Bahman Mohassas (1309-1389), although he spent most of his life outside of Iran and in Rome, is one of the artists whose cultural and artistic efforts owe the formation of the modern art movement in Iran. He joined the "War Rooster Association" at the beginning of its formation and was the editor of the literary and artistic weekly "Panje Khoros" for a while. Any research that deals with the issue of the entry and evolution of the modern movement in the realm of recent Iranian art, must dedicate a part of its study to Bahman's special place in the field of Iranian arts, and this requires the analysis of the artworks of this valuable Iranian artist and their accuracy, especially since his diverse artistic works and cultural activities cover a wide range of different arts such as painting, sculpture, translation and theater directing. This research named "Examination of the life and works of Bahman Mohassas, a contemporary Iranian artist" seeks to clarify the role of Bahman Mohassas in the field of modern art in Iran, and for this purpose, his life and works of art are scrutinized. The studies and investigations in this research are trying to find the answer to this central question: "How can the position of this innovative artist in the field of contemporary Iranian art be determined and explained by analyzing the art and thought of Bahman Mohassas and his special view on life and man from a modern perspective?" It examines the growth and evolution of modern art in Iran, the following general and specific goals can be assigned to it:

Describing the entry of new artistic language and its impact on the cultural atmosphere of the society.

Referring to the first bases and cultural and artistic circles and explaining the desire of modern artists to form these independent institutions and membership and activity in them. 

Examination of the role and position of Bahman Mohassas in the world of modern Iranian art and his influence in contemporary Iranian art.

A review of the biography and family of Bahman Mohassas and an examination of his artistic and cultural career.

Analysis and analysis of the paintings and sculptures of Bahman Mohassas and an examination of his special artistic language.

1-3) The importance of the research topic and the reasons for choosing It:

The art of any land in its growth and growth process needs a theoretical framework to formulate the aesthetic system and discourse governing the art of the era. In this regard, a thorough examination of the art and thought of prominent and influential artists is one of the most important necessities, because any research without a detailed knowledge of the important works of art of a land and an understanding of the thought behind them, a comprehensive analysis of the artistic space and its evolution, as well as an explanation of the theoretical structures of art, will remain insufficient and efficient. Therefore, researches like this, which make the art and thought of individual cultural figures the subject of detailed and analytical analysis, are of undeniable importance. Bahman Mohass is not an exception to this rule as an influential artist who is part of his recent artistic history. In particular, unlike many of his contemporaries, he avoids direct reference to past artistic traditions and pursues his own artistic language in the creation of his original creations, thus forming a unique artistic style that deserves further analysis and investigation.