Parviz Tanavoli, born on March 23, 1937, is a sculptor, painter, researcher, and collector. He is considered one of the pioneers of the modernist art movement in Iran. Tanavoli is one of the pioneers of the Saqakhaneh School, and his most famous works are a collection of sculptures from which the most outstanding are “Nothing”, “Hands”, and “Lock and cage”. Some of the world’s most famous art collectors and museums have bought his works for their collections. A statue of him named Persepolis was sold at christie’s auction, in 2008, at 2.5 million. He is also an expert in nomadic carpets and weavings.
In a short period, Tanavoli turned to assimilation and mixed painting with a neo-dadaist tendency. In his compositions he used fluorescent lamps and gilim, and lamps, calligraphic pieces and plastic utensils, and other heterogeneous objects, thus showing the contrast between traditional and modern culture. During this period, he changed from a poet to a satirist and, at the same time, blurred the line between painting and sculpture (Lock and Cage / 1964). At the same time, in one of his works, the word “nothing” was written in Nasta’liq script on a red plastic circle, in which “nothing” came in various sizes and shapes or combinations with other elements. Parviz Tanavoli has participated in more than 20 solo and group exhibitions in Tehran, Paris, Karar, and Minnesota and has exhibited his sculptures many times in Iran, Italy, the USA, Switzerland, Germany, and other countries.
Parviz Tanavoli is a graduate of the Faculty of Fine Arts. In his modernist approach to tradition, he is an artist who has transcended the boundaries of Saqakhaneh, of which he was one of the founders, and has achieved visual equations for literary concepts. In a short period, Tanavoli turned to assimilation and mixed painting with a neo-dadaist tendency. In his compositions he used fluorescent lamps and gilim, became familiar with the human body’s design and sculpture. Also, teachers such as Jalal Al-Ahmad, Simin Daneshvar, and Parviz Marzban introduced him to more knowledge and insight into art. He studied in adibo school and Kamal Ol Molk Art School, and in 1953, when the school of fine arts was founded in Tehran, he enrolled in the field of sculpture. After passing a three-year sculpture course in 1956, he went to Italy. There he studied at the Academy of Fine Arts in Carrara. After returning to Iran in 1954, he exhibited utterly different works, including engravings and pottery sculptures in the hall.
After the exhibition, he met Mehrdad Pahlabad, the then Minister of Culture, and was able to obtain a scholarship from the Ministry of Culture to continue his studies in Italy. He went to Milan and studied for two years at the Brera Academy with Marino Marini, a prominent Italian sculptor. In 1338 (1959) he received his diploma with high marks and won the first rank from Brere academy. 16 of his works, which were named “The best works of a graduate sculptor” were exhibited at the Re Magl Gallery in Milan, that year. In this regard, Ronato Guzzoni Ronato Guzzoni wrote about him: “Sculptor Parviz Tanavoli has the blessing of self-knowledge that not everyone has. The story of his inspirations has its roots in ancient Iranian legends. Sculpture in Iran was abandoned for centuries and was replaced by decorative arts such as carpet weaving, bedding, tiling, etc. Although these arts reached their finest finesse, they could not replace sculpture. “Parviz Irani has filled the vacancy of a thousand years…”. He is the founder of the Art Medal in Iran. Tanavoli started making jewelry in 1349. He has no limit or scale for creating works and has created works with different dimensions. The only art medals that the art community has seen from Iran are his works, which his students see by holding jewelry and sculpture exhibitions in Iran, which play an essential role in conveying root, cultural, historical, creative concepts for the present and the future.
Tanavoli has published the results of his research in several articles and books, including: including “portrait carpets”, which was published in 1968 by Soroush Publications. He wrote about it in the preface of this book: “The distinguishing feature of pictorial rugs in comparison with other Iranian carpets is their subject. Instead of the usual traditional patterns and motifs, these rugs deal with humans and sometimes animals in unusual analogies, which is unprecedented in the Iranian carpet weaving tradition.
“Locks of Iran” is a collection of forgotten Iranian art and includes 700 photographs of locks in Iran from the Sassanid period to the Qajar period. I wrote the subject of “Locks of Iran” in English, which was published in Washington and was very well received. After that, I continued my research to this day, resulting in a complete and comprehensive book on Iranian locks.
The book named “The charm of the traditional graphic of Iran” includes four sections: foregn science, calendar, spell and amulet, and the role of strange animals and creatures, which has been complemented with a preface, introduction, conclusion, notes and a brief bibliography of foreign sciences. The first edition of this book was printed in 2006, in which Tanavoli’s photographs have been included.
Amshaspand Ordibehesht is the guardian of fire are elements that reflect the nature of fire. She is the guarantor of the stability of the world order, whether moral order or physical order (material order).
“Asha is good, Asha is the best, as is always desired.”
Ordibehesht or “Asha Vahishta” is the third day of the month and the second month of the year in the Zoroastrian calendar. Ordibehesht means “the best purity and truth.” It is one of the attributes in the Zoroastrian religion; which, in the spiritual world, is a symbol of purity, innocence, a sign of Asha (the unchangeable law of the universe).
Ordibehesht or Artah Vahishtah or Ashah Vahishtah is the second Amshaspand in Zoroastrian and Persian myths. She is the most beautiful symbol of the world order, the divine law, and ethical order in both worlds. This Ameshaspand not only keeps the world order, but also guards the order of the spiritual world. Her earthly representative is fire.
Amshaspand Ordibehesht is the second Amshaspand after Bahman Amshaspand in terms of importance and respect. This divine creature is similar to the Indian “Arta” or “Rita”, which later on was called Asha Vaheshta, which means the highest Asha or the best Asha or the best Arta (Rasti).
The word Asha is used a lot in Avesta, especially in the Gathas. Asha or the harmony of existence, is manifested in the power to bring order to life, family, society, ecosystem, nature and so on. Therefore, it is proper for a human to constantly cultivate this ability to harmonize with “Asha” and grow truth in himself.
Asha is the harmony that sets the system of the universe and directs it towards enlightenment. This character has been mentioned 162 times in the Nask of Gathas, which are the poems and speeches of Ashura. Asha is the center of the universal pedagogy of Ashura Zoroaster, and all the educational and moral teachings of Ashura Zoroaster revolve around it.
This word is one of the most meaningful and essential words in the Mazdyasna dictionary. The followers of Asha are called Ashavan, meaning those who are truthful in their thoughts, words and deeds. Asha is the same family as the world “Ashu” and is considered the highest degree from the point of view of Zoroastrian mysticism. Ashu is the same word that we use for Zoroaster Spantman, and we call Zarathushtra “Ashu Zarathushtra”. In the Mazdyasna and Zoroastrian culture, morality is the same as religious. Ordibehesht is mentioned in Avesta as “Ash Vahisht.” In Khordeh Avesta, Ordibehesht is the most beautiful Amshaspand.
Ordibehesht means “the best purity and truth” and is one of the attributes of the Zoroastrian religion; it is the symbol of purity, innocence and the sign of Asha (the unchangeable law of the universe). In the material world, Ordibehesh is the guardian of fire. The Izads of Azar, Soroush, and Bahram are the partners of this Amshaspand. How appropriate to go to the fire temple on this day and how joyful to go to gardens.
Masud Sa’d Salman writes: “Today is Ordibehesht, O moon of hearts, today the garden is like heaven.”
In his Gathas, Asha Zarathushtra says that the only way to reach the realm of God is to take the path of “asha”. In yasn 44, verse 11, he says: “I try my best to guide people to Asha.” One of the most reliable Zoroastrian prayers is the prayer of “Ashem Vahu,” in which Asha and truth are praised, is a 12-word pray in which the name Ashe is mentioned three times. The prayer for focusing the mind on the Asha is this: “Righteousness is best (of all that is) good. As desired, what is being expected is truth for him who (represents) best truth.”
In the teachings of Zoroastrianism, physical purity is as important as moral purity. Physical purity means keeping the body and living environment free from all impurities, and therefore, the sedreh and the Kosti, the ritual clothes, and the Zoroastrian symbol are white to show any impurity.
Marjoram is the flower that symbolizes Ordibehesh amshaspand.
