Jalil Ziapour, born April 25, 1920, is a painter, university professor, researcher, and writer, known as the “father of modern Iranian painting.” Jalil Ziapour’s paintings have a personal style and are far from imitation. According to the great men of art, each of Ziapour’s works is not only national cultural support but also a national treasure.
Jalil Ziapour is the father of modern Iranian painting with a personal style and far from imitation. Jalil Ziapour, by using geometric shapes and decorative art derived from Iranian motifs, and also cubism style apportionment, Ziapour has created a new style in modern Iranian art, for the first time. The works of this artist are known for having original Iranian structures, simplification in figures, adherence to traditional surfaces with geometric lines, knowledge of composition, and in general, his specific style of painting. Apart from being a leading painter and flag bearer of moderism in Iran, he has also carried out extensive research in anthropology, study of languages, people’s culture, clothing and ornamental patterns of different regions of Iran, the results of which are studied in the universities as a reference book in this field of studies.
During his artistic and cultural activities, Ziapour has given more than 85 lectures, presented more than 70 cultural and artistic articles, authored 28 volumes of books in the fields of Iranian clothing, art, and history, and created nearly 40 paintings and two sculptures. He was one of the founders of the Fighter cock (Khorus Jangi) Art Association. After returning to Iran from France in 1949, Ziapour and his co-founders founded the Khorus Jangi Art Association, which was a modern association in modern art, especially literature, play, music and painting. A magazine was also published in this name. Ziapour’s atelier was located in Takhte Jamshid Avenue. He had stated that the Khorus Jangi Association aimed at fighting with fogyism and traditionalism which were far from the realities of the time. In 1952 he was invited to cooperate with the Directorate General of National Fine arts, and thus engaged in cultural and art activities, job creating, and establishing visual art schools for boys and girls and the faculty for decorative art, and also was director of the anthropology museum. He retired from government service in 1978. From then until the last days of his life, he researched, wrote, and taught in the faculties of dramatic arts and decorative arts, the University of the Islamic Art Complex, Tarbiat Modares, and Al-Zahra. Professor Jalil Ziapour was born on April 25, 1920 in Bandar Anzali.
After completing his primary education in his hometown, he left for Tehran in 1938 to continue his studies in the fields of his interest. As he arrived in Tehran he took part in the musical entrance exams. After passing the exam he took his first steps in learning the art of music. Jalil Ziapour passed away at 79 on December 21, 1999, after a long illness due to heart failure, and was buried in the Beheshte Zahra artists’ section.
Khordad is the name of the sixth day of each month in the Zoroastrian calendar. It is the fifth Amshaspand and the guardian of water and greenery. Khordad in Avesta is pronounced “Heurvatat”, and in Pahlavi is “Khordat” or “Hordat” meaning ordinance and perfection, which in the Gathas is one of the characters of Ahura Mazda and in the New Avesta it is the name of one of the seven Amshaspands and the symbol of Ahura Mazda. The first part of the word “heurva” is an adjective meaning ordinant, full, right and complete. The second part “tat” is a suffix for noun. “Heurvatat” represents ordinance and perfection of Ahura Mazda.
Khordad Amshaspand is a lady who is responsible for protecting all waters on earth and she helps the thirsty to overcome their thirst. Therefore, as a custom, she is remembered in goodness when drinking water. On this earth she is a guardian of waters. Baad Izad, Tir Izad and Farvardin Izad are Khordad’s associates.
In Yasna, verse 47, it is stated that Ahura Mazda will reach out and give immortality of Amordad to the one whose thoughts, words and deeds are in accordance with the religion of truth and honesty.
In the Gathas, Khordad and Amordad are constantly mentioned together. In the New Avesta, these two Amshaspands are the guardians of the waters and plants that come to the aid of the people to defeat their thirst and hunger.
In the ancient texts of Amshaspand Khordad: The fourth Yasht of the twenty-one yasht of Avesta is dedicated to the praise and worship of Amshaspand Lady Khordad, in which Yasht Ahura Mazda speaks about creating Khordad to help the pure people achieve salvation, peace and prosperity”. And then, it is emphasized that whoever praises Khordad is like one who has honored all Amshaspandans. In Bundahishn it is also mentioned about Khordad: “From all the creations in the universe she accepted the responsibility of the waters and says that life, birth and the growth of all living being on earth is from water, and therefore the earth’s prosperity is because of her.”
