HORMOZ SOIL CARPET | No 1

 

Hormuz Soil Carpet 

It was the winter of 2004 when I was in Hormuz Island and I was painting the landscape in front of me on the eastern side of the island, known as Chaah Tolombeh location, which is the present location of environment research site. ‌‌‌ After the end of painting, I went backward a little and looked at it. I went a little more backward again and this time, I was somehow doubtful. What I had just painted was exaggerated; the colors looked sharp and unusual.‌‌‌‌‌ I looked more carefully at the landscape again, the colors were the same which I drew on the canvas! ‌ Suddenly I came up with an idea: If the colors are the same which exist in the nature in front of me, at the Valley of Colors, why shouldn't I use the soil itself as a material to paint? ‌‌‌‌‌‌

After going through years of collecting soil spectrum samples in different colors, I was finally able to paint with them. I found a natural stabilizer for all types of materials in the very nature of the island. It was a kind of natural glue which firmly fixed all types of soil for a long time.‌‌‌‌‌‌‌‌‌‌

Now that I could paint with them, there was another issue to deal with: Why shouldn't I release the soil again?‌‌‌ Was it possible to design a kind of painting or make a kind of presentation using the soil of the island which is not limited to the canvas, and is in the environment, without any limitation?‌‌‌

This was the beginning of “Manasimba” design and performance. Manasimba, originally the name of a song in Zaar ceremony, was a performance art performed in an open environment. ‌‌ At that performance, the performers painted with the colorful soil, sang, danced and invited everyone to this small ceremony. At the end, the artists and the audience made a common work of art.‌‌‌‌‌‌ The performers of this interactive performance were: Mohammad Sayebani, Behrang Abbaspour, Ehsan Mirhosseini, Masoumeh Zakeri, Iman Keikha, Khayam Moayedi, and Gholamreza Rahimian. This artwork was then performed in Tehran and some other cities in September 2008.

 After the Manasimba experience, the idea of a work in larger scale was formed. In fact, what remained from the Manasimba performance were colorful and attractive patterns which remained in the environment for a while and as the main idea of these works was their mortality nature, they 

had better be performed in the environment.‌‌‌‌

The primary research of this big project was begun through some research trips for locating the place of performance. I photographed the appropriate locations and before the performance, I reviewed all possibilities by digital modeling. ‌‌‌

To perform this big project, a specialized team was formed with each member having a definite role.‌‌ The specialized teams visited the location a few times and investigated and confirmed the measures of the location. The land art was determined to be performed in 30x40 meters.‌ The original teams were divided into two major design and support teams. The head of design team was Laleh Falahati and Mohammad Banouj was the head of support team.‌‌‌

Members of the design team: Amir Moslemzadeh and Amir Ghaffarzadeh (motif and layout design); Abouzar Norouzinezhad (design research); Ameneh Raeisi, Ehsan Mirhosseini, Soheila Kashfi, and Farzaneh Jalali (motif and margin design).‌‌‌

 

HORMOZ SOIL CARPET | No 2

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HORMOZ SOIL CARPET | No 3

HORMOZ SOIL CARPET | No 4

مـِــلمـِداس

اسطوره را محصول فرهنگ جوامع ابتدایی می دانند ، یکی از ویژگی های اساسی افسانه ها و اسطوره ها این است که در میان مردم نسل به نسل به صورت شفاهی منتقل شده است . اسطوره ها موجودات یا انسان های ما فوق طبیعی هستند که به دلیل ویژگی های خاصی که به آنها منصوب کرده اند شناخته شده و شهرت دارند . در طراحی فرش خاکی هرمز  واکاوی دوباره اسطوره های گذشته گان و ارتباط آن با دنیای  معاصر مد نظر است . اسطوره انتخاب شده برای چهارمین فرش خاکی هرمز ملمداس نامیده می شود .  این طرح با تطبیق اسطوره ی ملمداس با مقوله تکنولوژی های نوین ارتباطی و اطلاعاتی سعی در ایجاد پلی برای انتقال مفاهیم مشترک از گذشته به امروز دارد . 

ملمداس موجودی است  همچون پری دریایی زیبا که شب های مهتابی بر روی آب می آید تا جاشو ها و ناخدایان کشتی را اغوا کند ، مردان دریا بعد از دیدن او به خیال آنکه پری دریایی زیبایی دیده اند به آب می‌پرند تا به او برسند غافل از آنکه پاهای او به شکل داس اند و به محض نزدیک شدن ،ملمداس آنها را با پاهای خود به دو نیم می کند. پس بزرگان همیشه توصیه کرده اند که با دیدن  ملمداس زیبا به او زیاده نزدیک نشوند چرا که این نزدیکی باعث مرگ آنها خواهد شد . این اثر بر همین مبنا وسایل الکترونیکی و ارتباطی دنیای معاصر را در حکم ملمداس جهان معاصر می داند که در صورت زیاده روی در استفاده از آن و غرق شدن در دنیایشان انزوا و مرگ اجتماعی افراد ، پیامدش خواهد بود.

در این اثر از نشانه های دنیای ارتباطی که برای عموم مردم آشنا و قابل درک است به عنوان نماد هایی از دنیای امروز بهره گرفته شده است .

MELMEDAS

The myth comes from the line that means writing, but doesn›t have any link with the article! Because transfering orally between people from one generation to another is one of the basic features of legends and stories! The myth is known as a product of primitive societies, the product that not only had functional features but also was found Inherent dignity and regularly was reproduced in primitive societies to impose regular and lack of reason norms to primitive societies. The myths are creatures or Supernatural beings that have been appointed because of their special characteristics. The myths are known as ancient people and cultures Libido. «Honar No Hormoz» Group artists› Creative look is re-analyzing persistent myths in the contemporary world. In this regard, artists of this group attempt to make soiled carpets by using of Hormozgan particular mythology. The selected myth for Hormuz island fourth soiled carpet is called Melmedas. Designers by adopting this myth with modern information and communication technologies, try to create a bridge for transfering of the common concepts of the past to today.

There are two narrative of Melmedas; water narrative and land narrative, that in implemented design, water narrative is selected base on having functional properties and Certain aesthetic elements. Melmedas is a woman who is beautiful and seductive up to the waist and from the waist to down, has feet like sickle, If the sailors approached her, they will be killed. on the same basis, designers of this Environmental art know the Electronics and communication devices like Melmedas of the contemporary world that it›s result will be social isolation and death, In case of excessive use of these devices.

In this design, the signs that are familiar and understandable to the public telecommunications as symbols of the modern world are applied.

HORMOZ SOIL CARPET | No 5

دامـــــاهی

 بر اساس آنچه از افسانه‌های محلی هرمزگان و فرهنگ شفاهی این مردم به ما رسیده است، چنین بر می‌آید که «داماهی» نام ماهی عظیم‌الجثه‌ای بوده که در هنگامه‌ی گرفتاری‌ها به یاری مردمان بومی جنوب می‌شتافته و ما اعضای «گروه هنر نو هرمز» برای توصیف این موجود اساطیری از چهار روایت که مبتنی بر عناصر چهارگانه (آب، باد، خاک و آتش) بهره برده‌ایم که بن‌مایه‌ی طرح پنجمین فرش خاکی هرمز قرار گرفته است.

 روایت اول مبتنی بر کهن‌الگوی آتش، داستان عشق پسر فقیری به نام عالی به فاطی دختر پادشاه و دلدادگی آن دو به یکدیگر است که با مخالفت پادشاه همراه و منجر به فرار این دو دلداده‌ی هرمزگانی از دست مأموران پادشاه می‌گردد. در این تعقیب و گریز است که «داماهی» به مدد این دو عاشق آمده، آن‌ها را در دل خود جای می‌دهد و به جزیره‌ی هرمز می‌رساند.

 روایت دوم مبتنی بر کهن‌الگوی خاک، داستان فقر ساحل‌نشینان و ظاهرشدن «داماهی» در کناره‌ی ساحل است. در این داستان، داماهی مرواریدهایی را که از دل دریا جمع‌آوری کرده است به ساحل‌نشینان فقیر می‌بخشد.

 در روایت سوم مبتنی بر کهن‌الگوی آب، نقل می‌شود که در هنگام بادِ کوش (Koush) بادی که دریا را متلاطم می‌کند و با امواجی خروشان همراه است - «داماهی» به کمک ناخدایان و جاشوهایی می‌آید که لنجشان گرفتار طوفان شده است تا آن‌ها را به‌سلامت به ساحل امن برساند.

 در روایت چهارم مبتنی بر کهن‌الگوی باد، نقل می‌شود که دروازه‌ی هرموز از جمجمه‌ی «داماهی» ساخته شده بود؛ جمجمه‌ای آن‌قدر بزرگ که دهانش محل ورود و خروج مردمان به جزیره‌ی رنگ‌ها بوده. از حفره‌ی یک‌چشم، خورشید طلوع و در حفره‌ی خالی چشم دیگر، غروب می‌کرده است.

 همان‌گونه که اشاره شد برای توصیف این موجود اساطیری از چهار روایت مذکور استفاده و در چهارگوشه‌ی طرح، تصویرسازی شده است تا داستانی بر پایه‌ی اتصال آن‌ها به هم با عنوان «داماهی» شکل‌گرفته و به‌واقع، داستانِ طرح پنجمین فرش خاکی هرمز باشد. اسپیرالی با چهار درگاه ورودی به مرکزِ طرح یا همان دل داماهی؛ در این میانه، شهود و شناخت به آرمان‌شهری می‌رود که از آن در افسانه‌های ملل مختلف بارها خوانده و شنیده‌ایم. اسپیرالی به درون، حال آن که غافل مردمانی عمر خود را بر سر جُستار این اتوپیا وقف کرده، از دریاها و کوه‌ها گذشته و ناکام بازگشته‌اند.

 اعتقاد بر این بوده و هست که دل داماهی سرشار از حاصلخیزی و نشاط و شادمانی است؛ در دل داماهی خبری از کشتار، شکنجه و جنگ نیست و تنها صدای ماندگار، صدای صلح است. طرح ما، چهار درگاه به‌سوی صلح است که با ورود شما به طرح به‌عنوان مخاطب تمامیت خود را باز می‌یابد تا فرشِ امسال، سوار بر پیکر داماهی، پهنه‌ی اقیانوس‌ها و دریاها را شکافته، قاره به قاره بگذرد و در شهرهای مختلف دنیا، پیام و سرود صلح مردمان ایران‌زمین را به‌تمامی انسان‌ها، فارغ از هرگونه نژاد، مذهب و ملیتی برساند.

DAMAHI

According to Hormozgan Local myth and verbal culture of people, it’s assumed that “Damahy» was the name of a giant fish that helped to helpless local people. Now, the members of “Hormoz New Art Group” have used this mythological creature based on the four narratives included four elements (water, wind, soil and fire) that is the main idea for the Designing of the 5th soil carpet of Hormoz.

The first narrative is based on the archetype of fire, and it’s a love story of a poor boy called Ali and king›s daughter called Fati, this love was faced with king’s disagreement and made them escape from king Officers. In this chase and escape, Damahi helped them and gave them a place in its belly and took them to Hormoz Island. 

The second narrative is based on the archetype of the soil, and it’s a poverty story of low landers and appearance of Damahi at the edge of the beach. Based on this story Damahi donated all the collected pearls deep inside of the sea.

In the third narrative based on the archetype of the water, it’s been said that when Koush wind is blowing (the wind that makes the stormy sea and splashing waves) Damahi helped the captains and seamen that their boats were trapped in a storm to take them to the safe shore.

In the 4th narrative based on the archetype of the wind, it’s been said that Hormoz gate was made of the Damahi skull. The Skull was large enough that its mouth was a gate for people entrance and exit to island of colours. From one eye, the sun was rising and in the other eye, the sun was going down.

As mentioned before, we use each of these four narrative story on the each corner of the soil carpet design and connected them to form the Damahi that was the main idea for the 5th soil carpet of Hormoz. A Spiral with four doorways to the center of design or the Damahi’s belly. In the meantime, Intuition and knowledge will end to the Utopia that we have read and heard it many times in legends of different nations. A Spiral to inside, while unaware people endow their life to finding this Utopia, have passed the sea and the mountains and have returned Disappointed.

There is a belief that Damahi’s belly is full of fertility and happiness and joy. In the belly of Damahy, there is no news of killings, torture and war and the only steady voice is the voice of peace. Our design is four doorways toward peace that will find its entirety again with your entry to the design as an audience. With your visit, This carpet, riding on the Damahi’s body, splits the oceans and seas, passes Continent by Continent and sends anthem and message of Peace of Iranian people to all human beings, regardless of any race, religion and nationality in different cities of the world.