Forest Heart Тасвири Ҳезум аз Mohamadali Vadood

Тарҳи Forest Heart Тасвири Ҳезум аз Mohamadali Vadood ғолиби шоистаи ҷоизаи бонуфузи 2020 Ҷоизаи оҳании A' Design Award дар категорияи мусобиқавии Дизайни санъати зебо ва инсталлятсияи ҳунарӣ мебошад.

ОҳанСанъати зебо· 2020

Forest Heart Тасвири Ҳезум

аз ҷониби Mohamadali Vadood

Муштарӣ: Gerdayesh

Ғолиби Ҷоизаи оҳании A' Design Award дар категорияи Санъати зебо

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Ғолиби тасдиқшудаи ҷоиза

Тасдиқи вазъи ҷоиза барои #86837

Ба сайт гузаред Дар A' Design Award дидан Релизи матбуотӣ Нишони ҷоиза

Рангҳо

Тарҳ

Дар бораи Forest Heart Тасвири Ҳезум

Дили ҷангал як кори ба лоиҳа монанд дар Накшбанди аст, ки усули пешкаш кардани хонагӣ буда, идомаи давраи нави таърихи санъати ҳезум мебошад. Дар аввал, он тасвири парранда, ҳар як пораи бадани худро аз чӯби дарахти ҷангал тасвир мекунад. Аммо нуктаи ҷолиби диққат ин на танҳо нигоҳ доштани рангҳои аслии ҳезум мебошад, зеро он маъмулан дар ҳама корҳои мастикӣ иҷро карда мешавад, инчунин намунаҳо, мавҷҳои сояафкан ва матоъро сарфа мекунад. Ҷаҳони кашфиётҳои ҳайратангези ҳар як порча бо ҳатто лифт ба назар мерасанд, бинобар ин тамошобинон он тавоноии табиии ҷангалро дида метавонанд.

Эътироф

Дар бораи Ҷоизаи оҳании A' Design Award

Forest Heart Тасвири Ҳезум ғолиби Ҷоизаи оҳании A' Design Award аст, ки эътирофи обрӯманд буда, ба тарҳҳои хуб дода мешавад, ки талаботи касбӣ ва саноатиро, ки аз офаридаҳои хуб тарҳрезишуда интизор меравад, иҷро мекунанд. Ғолибони оҳан маҳорати бузург, ихтисоси баланд, фаҳмиши коршиносона ва иқтидори эҷодии офаринандагони худро нишон медиҳанд. Интизор меравад, ки Forest Heart Тасвири Ҳезум офаридаи хеле қадршуда, мавриди таҳсин ва маҳбуб бошад, ки амалӣ ва навоварона аст. Ин тарҳи ғолиби Ҷоизаи оҳании A' Design Award беҳтарин амалияи соҳаро муттаҳид мекунад ва хусусиятҳои босалоҳияти фаннӣ дорад, ки бо донишҳои амалӣ ва истеъдод пайваст шудаанд. Forest Heart Тасвири Ҳезум барои диққаткорияш эҳтиром мешавад ва барои таъмини беҳбудиҳои сифати зиндагӣ, ки ба беҳтар кардани ҷаҳон кумак мекунанд, тарҳрезӣ шудааст.

Дар паси тарҳ

Маҷмӯаи матбуотӣ

Кредитҳо, аъзои гурӯҳ ва тафсилоти техникие, ки тарроҳ пешниҳод кардааст.

Хусусиятҳои беназир: 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.
Андоза ва бастабандӣ: 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.
Тегҳо: naqshbandi, wood pattern tracing, marquetry, wood pattern, double cut, wood texture, wood cut, coping saw, wood character, wood art
Технологияи истеҳсол: 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.
Мушкилоти дизайн: 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.
Таҳқиқот: 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.
Илҳом: 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.
Давомнокии лоиҳа: 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.
Ҷараёни кор: 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.
Аъзои гурӯҳ: the artist and the founding father of the method: Mohammad-ali Vadood