Lot 83: MOHAMMED EHSAI (IRANIAN, B. 1939) Eshgh (Love) signed and dated in Farsi (l

MOHAMMED EHSAI (IRANIAN, B. 1939) Eshgh (Love) signed and dated in Farsi (lower left) acrylic on canvas 55¿ x 55¿in. (140 x 140cm.) Painted in 2006

PROVENANCE: Private Collection, California. Anon. sale, Bonhams London, 7 October 2014, lot 527. Acquired at the above sale by the present owner. Using the pure structure of traditional calligraphic forms in his canvases, Mohammed Ehsai is an artist whose visual language not only mirrors Iran’s rich history but also sheds light onto a time of great artistic production in the country. A leading member of the Naqqashi-khatt school, Ehsai formulates a visual language that suggests a deep respect for traditional calligraphy and Islamic art whilse simultaneously innovating the genre of neo-calligraphy that has become prevalent in Iran. His monumental canvases become a vehicle for his rich visual iconography, constructing an instantly recognisable style that leads his viewers to enter a magical and captivating, pure and magic world of the letter. Favouring bold inclusions of colour and ornamental patterning, Ehsai’s paintings culminate to produce a fascinating body of work. In the present work from the Eshgh (Love) series, Ehsai’s approach to painting gives precedence to form. While the motifs he creates may have been adapted from Farsi scripts, through symmetry and patterning, the words and letters lose their formal qualities and in turn take on a purely Aesthetic value that transcend yet in some ways exemplify the notion of love. Fusing together diferent letters that repeatedly make up the word Eshgh in order to compose one central motif, the artist uses bold, confdent lines to formulate these shapes. Each individual construction relies on repetition and meticulous manipulation in order to compose the central character of the canvas. Drawing inspiration from Farsi lettering, including the Naskh and Thuluth, the artist strongly believes in the pervasive quality of this calligraphic imagery. On a monumental scale, this dramatic reappropriation however, does not take away from the power of their imagery, rather it infuses the artist’s visual language with a rigour of bold expression and unparalleled dynamism. These intricately patterned forms seek inspiration from the swirls and curls of calligraphy, intricately wound and rhythmically beautiful. Taking up almost the entirety of the canvas, the artist confronts his viewers with the power of visual imagery. In the present work, the central design dominates the entirety of the picture plane. While its centre remains the densest, and intricately coiled, the four corners present broader, more swirling loops. Ehsai’s powerful use of colour is a signifcant feature of his work, and is not limited to its pictorial perfection or Aesthetic qualities. Rich in symbolism, the striking colours of black and blue produce a striking contrast that adds to the monumental quality of the canvas. Drawn from ancient Qur’anic scriptures, the artist’s key inspiration derives from religious texts and Islamic calligraphic styles that are indicative of a supreme order derived from centuries of utopian idealism within religion of which these colours point to. Similarly, the use of black and blue are reminiscent of the banners that hang throughout Iran during the Muharram period, the solemnity of the colours exemplifying the deep rooted religious beliefs of the artist whilst cementing the ability for the juxtaposition and balance of this duality aspect to the composition to instill a sense of mysticism in its hypnotic sense of dimensionality.