Forest Heart Daim Duab Ntoo los ntawm Mohamadali Vadood

Qhov qauv tsim Forest Heart Daim Duab Ntoo los ntawm Mohamadali Vadood yog tus yeej muaj nqis heev ntawm qhov khoom plig 2020 A' Design Award Hlau hauv Pawg Sib Tw Kev Kos Duab Zoo thiab Kev Teeb Tsa Duab Kos.

HlauKev Kos Duab Zoo· 2020

Forest Heart Daim Duab Ntoo

los ntawm Mohamadali Vadood

Tus Neeg Siv: Gerdayesh

Tus Yeej A' Design Award Hlau hauv Pawg Kev Kos Duab Zoo

16,991

Tus Yeej Khoom Plig Tau Txheeb Xyuas

Txheeb Xyuas Qhov Xwm Txheej Khoom Plig rau #86837

Mus Saib Lub Vev Xaib Saib ntawm A' Design Award Tsab Xov Xwm Daim Phiaj Khoom Plig

Xim

Qhov Tsim

Txog Forest Heart Daim Duab Ntoo

Hav Zoov Lub Plawv yog qhov haujlwm zoo li ua haujlwm hauv Naqshbandi, ib txoj hauv kev ntawm kev ua cov ntaub ntawv hais tias yog kev siv lub sijhawm tshiab ntawm no ntoo kos duab keeb kwm. Thaum pib, nws piav qhia txog daim duab ntawm ib tug noog, txhua daim ntawm nws lub cev los ntawm cov ntoo ntawm ib lub hav zoov ntoo. Cov ntsiab lus zoo kawg, txawm li cas los xij, tsis yog tsuas yog khaws cov xim qub ntawm cov ntoo, raws li nws ib txwm tau ua rau txhua qhov kev ua haujlwm marquetry, nws tseem txuag cov qauv, lub teeb ntxoov ntxoo-vuag, thiab textures. Lub ntiaj teb ntawm kev tsim pom pom txhua daim muaj nrog txawm tias lub ntsej muag zoo dua, yog li nws cov neeg tuaj yeem pom thaj hav zoov 'ntuj hmoov zoo.

Qhov Lees Paub

Txog A' Design Award Hlau

Forest Heart Daim Duab Ntoo yog tus yeej ntawm A' Design Award Hlau, ib qho kev lees paub muaj meej mom uas muab rau cov qauv tsim zoo uas ua tau raws li cov kev xav tau ntawm kev ua haujlwm thiab kev lag luam uas xav tau los ntawm cov khoom tsim zoo. Cov neeg yeej Hlau qhia txog kev txawj loj, kev paub tshwj xeeb siab, kev nkag siab ntawm cov kws tshaj lij thiab lub peev xwm tsim ntawm cov neeg tsim. Forest Heart Daim Duab Ntoo xav tias yuav yog ib qho khoom tsim uas neeg hwm, qhuas thiab hlub uas siv tau thiab tsim tshiab. Cov qauv tsim yeej A' Design Award Hlau no sib xyaw cov kev coj ua zoo tshaj plaws ntawm kev lag luam thiab muaj cov yam ntxwv siv tshuab txawj ntse txuas nrog kev paub thiab txuj ci. Forest Heart Daim Duab Ntoo tau txais kev hwm vim nws tag nrho thiab tsim los muab kev txhim kho rau lub neej uas pab ua rau lub ntiaj teb zoo dua.

Tom Qab Qhov Tsim

Pob Xov Xwm

Cov credit, cov neeg pab thiab cov ntsiab lus kev txawj ntse muab los ntawm tus tsim.

Yam Tshwj Xeeb: This art project tries to fulfill three intended purposes:
1. Taking a fresh look at wood to explore a new perception in it and to harmonize with its pure nature as well, so we can come up with original ideas to create real art.
2. Applying an innovative technique in working with wood and also in using common tools so we could achieve adequate quality in our performance.
3. Discovering, creating and defining new ways to gain desired images by tracing natural patterns in pieces of wood and making a synthesis between them.
Qhov Loj & Ntim: The size is 35 in 60 cm.
The thickness of wood sheets were 4 mm.
The number of pieces are 47.
The weight is 700 gr.
All the colours and shades are chosen carefully to seize the natural fortuities in the woods.
Cov Ntsiab Lus: naqshbandi, wood pattern tracing, marquetry, wood pattern, double cut, wood texture, wood cut, coping saw, wood character, wood art
Thev Naus Laus Zis Tsim Khoom: Defining a geometrical table based on cutting angles plus a method of cutting for even 1 mm pieces, and trying to have desired wood patterns and spots by restoring in perfect conditions like natural moisture percentage, etc. to benefit from bacteria activity were the main production phases.
The types of wood, they were haloxylon for the body and the head, barberry for the tail, fig for the feet, tree of heaven for the nose and the leaves, acer monspessulanum (keykom) for the leaves again, jujube for the beak, European ash for the background and wenge for the margin.
The tools were coping saw, plane, sanding paper, nail and hammer.
Kev Sib Tw Tsim Qauv: Defining geometrical patterns of cuts so that pieces of wood could save their original patterns, overcoming the thickness of cutline without using primer, and coming up with the idea of what I call Double-cut at the time of sanding to prevent the destruction of sub-patterns and sub-textures and save the main image are the parts of this work that ended up being its challenges.
Kev Tshawb Fawb: Naqshbandi is a new method or attitude which is used to create this piece and aims to benefit from connecting lines, expanding textures from one piece to another, and deciding upon the true light shade, not just the colour contrast and various tonalities as it is usual in other works of marquetry. It requires the artist to make a full-hearted attempt to harmonize themselves with the nature of wood as much as possible, and help them grow a clear perception of their work and gain a direct inspiration from natural fortuities given by wood. So, the whole thing will finally sound the art of nature in the eye of beholder.
Kev Txhawb Siab: Natural wood structure, consisting of a variety of colours, illusory lines, special texture and darkened and bright spots with special makeup during the growth of the tree, can broaden any individuals' horizon in many impossible to imagine ways. The cutting angle of the wood makes these motifs look even more varied on the surface of a piece, cut from the main wood. With this discovery of what the cutting angle leads to what l am thinking of, l came up with this idea that I would find a base for this to control the patterns, lines and colors of the wood to create an originally incredible image based on the nature of wood and not manual changes.
Lub Sij Hawm Ua Hauj Lwm: This work was created, in Tehran, started and finished in 2010, and to find appropriate woods they were provided from different places.
It took 6 months to accomplish the project as it turned out to be time-consuming to find desired wood pieces.
Txheej Txheem Ua Hauj Lwm: In this project-like work of art you can see a specific way of working with wood using the fewest pieces and mainly benefiting from the natural colour and also texture of the wood so you can build up a perfectly complete image, which actually cannot be repeated or copied as patterns in each piece are naturlly unique. Thus, it can be artistically used as a piece of decoration, specifically in wood-based decorated spaces on the wall or a shelf.
As for the transformation, it could be carried in a box of the same size and as it deos not weigh that much or take up much space, it does not matter a special transport.
Cov Tswv Cuab Pab: the artist and the founding father of the method: Mohammad-ali Vadood