Zahra Masoumi, 33, who conducts craftsmanship courses in the Ankara, Turkey, started her adventure in the world of ornamentation over 12 years ago in Iran’s capital Tehran. Due to her enthusiasm for handcrafting, Masoumi studied miniature illustration which boosted her interest in the arts.
After two years of study she proceeded to specialize in Islamic art in Iran, where she focused on the art of ornamentation and illumination. Masoumi then decided to further deepen her knowledge and skills in this area and moved to Ankara to get her master’s degree in art history in 2013, Anadolu Agency reported.
“Ornamentation usually goes in line with calligraphy. It is not considered separate because these two arts complement each other,” she said, referring to the practice of illuminated manuscripts – the decoration of manuscripts with patterns, miniatures and other marginalia. Calligraphy came to the forefront first due to a need for handwriting the Holy Qur’an, she added. “Qur’an, as the word of Allah, was originally spread by word of mouth, passing from one person to another, but then there was a need to write it down to pass it on to other generations. This paved the way for the art of ornamentation.”
The Iranian artist noted that with the support of rulers and sultans, some Qur’an copies were produced in Muslim countries, which laid the groundwork for enriching the art of ornamentation and illumination. “While it first appeared with very simple ornaments and colors, later, during the 13th century, the art turned into rich workmanship.” She stressed that ornamentation art not only spread in the territories of Iran and the Ottoman Empire but was also popular in other Muslim countries, including Egypt and Spain.
Noting that every country has its own style of illustration, Masoumi said professional ornamentation artists can clearly differentiate the works based on various patterns used at different time periods and their countries of origin.” After moving to Turkey, I tried to combine the Ottoman ornamentation patterns with the Persian motives that I was familiar with. I am not following the Ottoman or Iranian style alone. I try as much as possible to get these two styles closer to each other and move forward.”
The artist said she probably would not be able to move forward if she restricted herself to the style prevalent in her home country, adding that coming to Turkey, meeting with craft masters, analyzing their works, attending exhibitions and competitions, as well as exchanging ideas and professional comments by academics had a positive influence on her skills.
“I am working on classical ornamentation style, and I can say this is the main feature of my art,” Masoumi said, highlighting that she purposely avoids using the modern style.
The artist underlined that she thinks abandoning the classical style may harm the nature of the art. “In my opinion, the more classical this art is, the more it can show itself and the easier it is to get closer to its essence.” But the artist said the materials she uses are advancing with technology, further supporting the craftsmanship and aiding the artists to create even more beautiful and aesthetic art.
Masoumi said that her most time-consuming work took seven months to finish. “Art is something that touches the soul,” the artist said, noting that this also happens when people spend hours looking and analyzing ornamental illustrations.
The main historical periods of the art of ornamentation are: The Ottoman Empire in what is now Turkey, and the Safavid period in Iran, she said. Stressing that the craftsmen of the period from both empires used to exchange their experiences and influenced each other while working in palaces.
Masoumi said even the patterns are quite similar, with differences only in details. “Since Turkey and Iran are close to each other in terms of language, it helped the countries in reaching common grounds fast in many fields including the arts.”
Recalling that she has attended many competitions in her field and even held an exhibition of her works back in Iran, Masoumi said she is planning to have her first Turkish exhibition in June in Istanbul, where she intends to display classical style art.
Masoumi said Hatai (it focuses on specific flower patterns in the Turkish decorative art) and Rumi motifs are the main constituent patterns that form the art of ornamentation. “The environment, such as nature, flowers and plants take an important place in patterns,” she said.
While Hatai motifs reflect mostly nature, flowers and leaves, it is seen that Rumi motifs are mostly stylized animal patterns, the artist said. She noted that the ornamentation patterns emerge when these two motifs merge. “By staying far from them, we are moving away from its nature, which means we are moving away from the essence of art.”
The Iranian artist said live observation of the masterpieces strongly influences people. “Normally we only see the picture from afar, but coming and seeing the work with the naked eye strengthens our imagination. It feels like we are living history,” Masoumi said.
It takes a newcomer at least one and a half years of non-stop training to learn the basics of the art of ornamentation, Masoumi said, adding that the art doesn’t end with only drawing the patterns but also requires theoretical knowledge and background. “Students also need to see a lot of antique works, and to analyze books in libraries,” she said.
The artist hailed Turkey, especially Istanbul, for hosting diverse cultures and personalities from various crafting schools, whereas the country motivates the craftsmen with historical calligraphy, literature and architecture. “Calligraphy didn’t remain on paper only: It had also been used on buildings, structures and mosques, and the environment was very conducive to that.”
Masoumi added that her dream is to convey her knowledge to students who are curious to learn the art of ornamentation and miniature painting.
“I want this art to be kept alive,” she said.
IranDaily