Mansoor Bahrebar
Mansoor Bahrebar, The Iranian Contemporary Artist[edit]
Mansoor Bahrebar was born on the 20th of June 1967 to a Baseri tribal family in Fars province. He was upraised in a tribal family with acclaimed artistic background and got acquainted to handwoven nomadic art so that living and growing in such natural and colourful environment with its inherent beauties seeded in his soul the desire to pursuit a career as a contemporary artist, eventually leading the way for him to become a national award-winning painter and sculptor. Mansoor completed his high school graduates in a tribal school setting founded by the eminent Iranian scholar- Mohammad Bahman Beigi. His teachers and tribal mentors had a great impact on him, helping him develop artistic skills by introducing him to literacy, Drama and contemporary art curriculum. In 1988 he entered to Tehran University Art School and completed his academic studies subsequently. There in Tehran University, he succeeded to develop painting skills as well as getting acquainted with famous Iranian scholars. Later, he managed to apply his inherent talent, inherited from a tribal artistic background to his academic studies and create contemporary modern art-works in form of paintings and sculptures with a vivid link to traditional handwoven signs and symbols seen in the ancient Persian tribal setting. The most western artistic inspiration which indeed affected his art-works deeply, came from the expressionist school of art, although in wider picture, he was involved with a broad range of western artistic schools and styles due to his academic studies in Tehran University.
His life experiences and academic studies merged together to create most of his art-works that a couple of them were chosen by the Tehran Museum of Contemporary Art for its annual public exhibition which one also - My Homeland Painting was depicted in the Iranian Paintings Booklet published every two years[1] by the Tehran Museum of Contemporary Art. His artworks were exhibited for public viewing in Tehran, Shiraz and his hometown – Marvdasht that was appreciated and supported by many art-lovers and enthusiasts. Inspired by the ancient Iranian artworks, sculptures and relishes found in the Persepolis (also near his birth-town Marvdasht), in years to come Mansoor sculpted magnificent statues and relishes out of stone to decorate altars or the interior and the exterior facades of public monuments and private constructions. Unfortunately in 21th of July 2014 while working on a scaffolding to complete decorative paintings for a construction project, Mansoor fell off from the height and broke both his legs and his right wrist and also sustained other Physical injuries. As s result of those injuries and poor hospital care, his condition deteriorated overtime and Mansoor passed away due to cardiac arrest in the early hours of 22th of June 2014. After his tragic pass all his works and writings were depicted in a book titled in his name[2] which was introduced to the public in two separate book events in Shiraz and Marvdasht.
In his personal diaries he writes: ‘’ The art of hand-weaving among the nomadic tribes of Fars province has been transmitted through generations from flank to flank and nowadays has been consolidated as a cultural identity for them. Just like painting, hand-weaving is another product of human imagination that uses the same mental tools and techniques in regards to the visionary elements and the intermediary relations and dimensions between the shape, colour, volume and surface area to produce art and entertain the viewers. Art in general terms reflects the artist’s emotional perceptions from the surrounding environment and lies close to the deep human understandings and thoughts. The artist then uses its physical tools and techniques to produce art-works generated from those individual perceptions and deep understandings.’’
The eminent German poet ‘’Goethe’’ believes that the nature by itself is a great artist and is indeed an inspiration source for its apprentice – ‘’the human artist’’. He instructs the artworkers and painters to enhance the quality of their art by surveying the nature. Afterall the mother nature is the primary source for the man’s creative sense.
As a contemporary painter, Mansoor had received the Goethe’s message well and interpreted it in a way to realize that the tribal handwoven rugs and cloths were originated from the hand skills of the tribal women and girls; that it was perpetuated in their hearts and souls who got the inspiration from their surroundings as a plain consequence of their natural way of life. He had seen it with his own eyes that the tribal women (his mother Shirin included) indeed spent their whole life with the natural shapes, symbols and colours. And just for the same reason he valued the tribal handwoven art as one of the accustomed art platforms used by the modern European painters and scholars. In his writings partly depicted in the book ‘’Tracing down Shirin’s footsteps’’, he vividly refers to great artworks produced by iconic European painters (such as Victor Vasarely, Maurits Cornelis Esher, Paul Gauguin and Paul Cezanne) and compares it with the tribal handwoven art to conclude that the geometrical shapes and symbols used in the modern academic European paintings can be seen in the handwoven art created in the hands of the illiterate tribal nomadic women. (as a matter of comparison he chooses one of the Paul Clee’s geometrical forms and juxtapose it to a couple of tribal handwoven items). Henceforth culminating that may the handwoven tribal art be inspected through the lens of the academic studies and trials, even the roots of today’s vanguard art could be traced back to tribal ancestry lines transmitted flank by flank through different generations. Many art galleries and museums have been decorated by such extravagant artworks yet only few have been surveyed in such manner that reveals from Mansoor’s eyes.
References[edit]
- ↑ طعم رؤیا با نگاهی به آثار پنجمین نمایشگاه دوسالانه نقاشی معاصر ایران. Tehran: Nazar. 2000. p. 27. ISBN 9646994067. Search this book on
- ↑ Bahrebar, Masoud (2016). رد پای شیرین: نقاشیها، نوشتهها و آثار منصور بهره بر. Shiraz: Hamara. ISBN 978-600-6822-50-1. Search this book on
Mansoor bahrebar[edit]
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