Critics About Master Mahjoubi

Aydin Aqdashlu

Professor Hossein Mahjoubi is one of the pioneers of contemporary Iranian painting. He had his own special and different experiences when Iranian painting was divided into two parts. The students of Kamal al-Mulk and the newly arrived school of modernism were divided, and there was still no room for personal views and achievements, the result of the worldview of independent painters, and the artist had to be placed in narrow or wide frames of resonant and conventional “isms”. He would catch and find his audience. But Hossein Mahjoubi found his way very soon and humbly and without controversy, he referred to the prospects of his hometown and showed a deep sense of attachment and dependence. It was from here that we got to know Mahjoubi with its tall and thought-provoking trees, free horses and yale in nature and the pottery roofs of northern Iran, and we realized that by refining and simplifying the performance and watching the view that everyone else sees and passes, It is possible to create a world in which the landscape becomes that of the artist and his property, and every time we see those slender and delicate parallel trees that have cleared the cloudy sky and the oblique gaps of the red roof tiles and the abandoned horses. , The memory of a veil is renewed in our minds. The veiled visual world is created in an easy and restrained way. By choosing subtle colors and skillful penmanship, he recreates a space that is pleasant and gentle, and at the same time is able to inspire the sadness of homelessness and the desire to refer to immediate memories, distant, noble and beautiful places, and bring everyone to Exploration and reflection in a not so difficult way. Maintain the past that is still available and available. Imagination of an imaginary and indebted world of myths and legends. In his illustration of white and horned horses, he also finds a double presence, and this presence in many examples brings the perspective from his objective and real face, with hidden dimensions, which in the end becomes a narrative of a distant, vague and pure world. Hossein Mahjoubi has always been an independent painter who still remains independent. His revelation is not just an inner and personal affair that finds a simple and pleasant exterior, and if he has remained faithful to the clay roofs and trees for many years. Surely, he has taken great pleasure in this continuity, hard work and skill, and has provided a result that has watered, accompanied and made happy the audience, spectators and lovers of his works for five decades.

Mahdi Hosseini

In the illustrated culture of traditional symbols, the following is the “tree”: the whole universe, the combination of heaven and earth and water: dynamic life in contrast to the rock in which life resides; And interestingly, in all of Master Mahjoubi’s works, there is less than Sangshani. Instead, there are vast plains and green hills that surround the canvas alive and lively. If in some places there are signs of lifeless elements, such as cottages. These huts are not silent and uninhabited and the dynamism of life, they are bright and lively and life and movement flow in them and the flight of birds above them shows the passion of life inside them. The tree ascends to the sky because of its roots in the ground and its stems. In many cultures (Celtic oak, German chamomile, Buddhist fig, Muslim olive) the symbol of the connection between heaven and earth is known. The sky that we have unfortunately forgotten in this day and the earth (the nature that we have destroyed, has not Mahjoubi really warned in these fifty years by creating its curtains? And reviewing the values ​​of these two factors of life, one material and the other spiritual Another element that is constantly repeated in connection with the works of Master Mahjoubi is the symbol of the horse. It is a special symbol of supernatural power, having in the past been held around the horse by the umbrella and carrying the carousel of the sun, as well as the Shakyamuni (Buddha) compound on which it rested when leaving the palace. Fate (death. Plague, war and famine) rides on horseback. In Islamic culture, the horse is a symbol of happiness and health and in Iranian culture is a symbol of four white elements: rain, cloud. They have no contact with the earth and take on an eternal form, as if they have been freed from their first material state and are in the elixir of Ceylon. Mahjoubi has the elegance and rotation of Iranian horses in traditional paintings and their rotation, while preserving the original nature of northern Iran, shows Mahjoubi’s knowledge of the dynamics and movement of the (modern) image. The element of movement in these curtains has played a decisive role during the years of continuous creation of Master Mahjoubi. But this dynamism has occurred in several forms, when in the twist of stems, sometimes in the smooth and fluid motion of horses, and when in the endless wave of hills and fields.


In any case, he is a dynamic pious artist who, through his six years of continuous activity, has inherited a lasting role of his loyalty to the originality for the present and future generations.


Giorgi Kapsh, author. A university professor and Hungarian-American artist, he has authored and published a book entitled Harakat in his collection of numerous and scholarly works. One of the articles in this book is by Hans Richter, a contemporary German painter and filmmaker, entitled My Experience in Movement and Film. In this article, Richter uses words like Motion. Dynamism Dynamism and Rhthm Rhythm. Multiply songs continuously and use them as


The keywords of modern art have benefited. However, Richter’s article is devoted to modern art, especially geometric abstraction in twentieth-century art. However, he did not consider such words as exclusive to modern art and used them far from the same words when explaining the calligraphy of the Far East. With the difference that calligraphy in the Far East is rooted in Eastern illumination and interaction, but the geometric abstraction of the West and the geometric order of motion and dynamism in contrast to static has a profitable basis that originates from Western materialist thought and ultimately has a functional basis. In a part of his article on the expression of Chinese calligraphy, Richter writes: – All the signs (pen movements) have been used to express the function, the principle of movement. The free and at the same time very precise and calculated aesthetic movement of one form is regulated in relation to the function of another form in such a way that a harmonious rhythm is achieved in them, in other words, musical order. Gradually, in later periods, calligraphy became more orderly, a very clear order of movements. Vertical and horizontal rotating, large and small were considered in the compositions.


As I pondered the words and phrases of Hans Richter’s article, the musical order of Master Hossein Mahjoubi came to mind. I saw with what tact and patience this tolerant, humble and at the same time active Iranian artist, whose like can only be found on this side of the universe. Over sixty years. With a careful and delicate look at the nature of the north of our country, how he has created curtains by preserving the national identity and the love that the ancestors of the country’s painters had for nature and recording it on paper and turning that sheet into a golden leaf of ninety colors. Which once again loses man and reminds the contemporary sufferer of the infinite values ​​of nature. Although in the works of the first master Mahjoubi, there is a kind of geometry that governs the collection of works of that period, but gradually, Mahjoubi found himself in a geometry that was not in line with his delicate and lyrical mind. Released and into the elements


As space, rhythm and movement approached, the structure of a large part of his works in these two quarters of a century. The lavender tree of life and immortality and the breath of life. It plays an essential role in the formation of these dynamic works and through ra


Constant wolves themselves are a symbol of life. You are going. grows . He wakes up, falls asleep, and dies again in the resurrection of spring, turns green, and regains his vitality.

Amir Soghrati

Talking to the viewer of heaven


Houses with orange clay roofs, green moss-covered walls, tall, tall trees that reach the blue of the sky; This is a rudimentary but nostalgic definition for a person who was born in the paradise of Gilan. And what a definition of closeness to the outside of the paintings of Master Hossein Mahjoubi. But these sentences do not show the inner part of this artist’s works.


The difficulty of painting of nature begins when the artist is stunned by the creation of nature before beginning the stage of creation; You cannot recreate nature until you understand it. Excitement along with calmness and dignity in Hossein Mahjoubi’s works show his fascination with nature.


This nature that you see every time is not what you have seen before; How can an artist’s work of art be the same as it used to be? Every time you see Hossein Mahjoubi’s paintings, you are enchanted by the magic of excitement and mania. His paintings must be seen many times; This is why it is as if you have to look for something in the distance; In-depth works repeat layers of nature, and in the repetition of trees and horses, layers of lost life appear; The same life we ​​have lost in the hustle and bustle of modern life.


Nature has always been the most important teacher of man and the most important teacher of the artist; Wonderful living beings who, in patience and silence, have sought nothing but a share of the human world. However, humans have paid less attention to seeing these creatures. Although some of Hossein Mahjoubi’s works fall into the realm of nature fantasy, his works are a part of seeing the artist for us who did not see him.


Our perception of reality is always an image that is not reality itself, but only a form of our perception of it. Hossein Mahjoubi’s paintings are also his perceptions of the reality of nature, they are not real, yet they have been painted as existential and subjective truths. In the exhilarating and lively maze of lines, and the red and green colors of his paintings, one can see the calmness and dignity of the painter who has become one with his paintings. From this point of view, whenever I saw Master Hossein Mahjoubi, I did not feel any distance from his paintings. Seeing his paintings takes you as far away from the world of baseless nerves and endless chaotic fantasies as seeing himself. The painter’s unbridled kindness, human fame, and intimacy pervade the painter as if you had seen him for many years and had lived and walked many ways of life with him for years. His paintings have the same character. It seems that his paintings show a place that you have seen before and lived with many times, let’s say they are now unattainable and dreamy.


Watching his works is all about watching love and mania. The artist’s deep attachment to the unique nature of the motherland can be found in each of his works; A habitat that, if for some the resort is a few days of luxury, but for the painter, it has become a transformed form of paradise. The depth of his attachment to the childhood habitat must be seen at the height of the delicacy of the engravings and the enthusiasm for the roles that are rhythmic and delicate.


Human life has become very fragile in immersing itself in countless political issues, and in philosophical, literary, and artistic matters man has turned to the fundamental questions of contemporary human life, but in looking at the works of Hossein Mahjoubi the viewer reaches the age-old question of human life. : Where is heaven? Is it a promise that is a good promise? Where can it be found? The question begins with the fact that Hossein Mahjoubi’s paintings are completely imaginary or does he see this nature? These paintings seem to be the painter’s different views of nature, which have taken on an eternal, eternal form in his calm existence.


Although the painter shows only the heavenly nature, but in each of the works, man’s negligence and neglect of his destiny is evident. Man is not present in the works, but his absence and confrontation with the vitality and excitement of the imaginary paradise make us long to live in the present moment. The tragic process of living in a situation where the world is moving towards destruction has also affected contemporary art. In the meantime, the artist himself, as one of the gears of nervousness and destruction, reproduces the signs of anger and rebellion in order to stand against it by emptying himself of rebellion. Hossein Mahjoubi’s solution to flip over non-existence is to emphasize existence: he kills the kind nature that lives in the hustle and bustle and the endless race for the best, (not only hidden) but in the dementia and sickness of the human condition that is in danger of being destroyed. And it is extinction; Nature, which is not the nature ahead, is the whole destiny of the earth.


“Trees are the earth’s endless endeavor to speak to the hearer of heaven,” says Rabindranath Tagore, and now the trees of Master Hussein Mahjoubi are the painter’s attempt to speak to the seer of heaven.

Asghar Zarabi

The nest that has put the depth and breadth of the idiots and the enmities and hatreds of today and today in the shadow of its noble and honorable abilities and has taken it out of the bed of the bird of love and overflowed and protected our swamp in everyday life which is a habit. Here in this range beyond my head, you, he, we to you. We have come to the feast of always colors and light, to the feast of the immortality of image and sign and thought and astrology and the sun in the form of friendships. Who is this merciful and compassionate, helper and truth? We are all here, in the realm of color banquet and self-discovery, light and emotion and friendship and affection that in the end


The house will be called Mahjoubi. | What does Mahjoubi really say? In what area are the horses barking? These are symbols of strength and maturity and eternal manifestations, beauty, pride, sobriety and decency. Do you look at the trees? These symbols of the continuity and boiling of life and the flow of life on the earth? These are not cages to forget my old age and veto.


) Unobtrusiveness of word loans and role loans owes solely to the essence of pure nature. According to the painter, in this vast expanse of space, which was the universe and is called the universe, even a sub-quantum nucleus of an atom, the Notrino, is the universe as a whole. And one Patical particle of the whole set of this infinitely astonishing. Yes, it is so in the mind of our painter and in this Galaxy. Paths and movements increase every time, and in such undiscovered dynamics we watch the vast circles of the Geodesic, and so on. Most importantly, the mourner and the mourner of man, the man who does not know and does not understand what he says and what he seeks and what he does and what he should do in the arena of this revolving ball and under this dome of value, yes, even in the age of technology. The oppressive Sai Vastvar and the devastating revolution of Phoenix and the fast-paced age of the Internet, and in this field of oppression, which utopia (Never Land) is it going on? Now I am in love with Dow and he warns me hard to talk to him less than a little bit.

Behnam kamrani

Visit to heaven


Hossein Mahjoubi is a painter of the beautiful foggy nature of northern Iran. The soulful green painter of poplars and forests, the painter of the curves of wild white horses and the spring blossoms. Be.


In his old drawings and watercolors we discover the various capacities of a modern painter. His watercolors of nature and the sea and the faces of people around him are in harmony with the various and special experiments of the generation of modern Iranian painters. In each work, Mahjoubi tries to reconcile the modern formalist view with the realistic and imaginative painting. Some of his works are completely abstracted in this approach. In his abstract works, the sky becomes a cascading stream or the ups and downs of the earth become wavy lines. Slopes and huts have been reduced to squares and polygons.


Mahjoubi, however, also captures the Impressionist nature in his paintings: the smile of a face, the dancing branches of trees, the play of cats, and the simplified oranges of an orange on the table.


The painter is the narrator of life and the passion of existence. Perhaps this is why more specific subjects are gradually seen in unobtrusive paintings, and thin and “spiritual” (transparent) colors replace more physical colors. The transparency of the colors, the use of white to express the hazy atmosphere, and the slender stems and branches of the trees that divide the space, and the play and passage of wild horses, give an unobtrusive and spiritual aspect to the unobtrusive paintings. An aspect that is difficult to express, but it is a quality that goes beyond the materiality of a painting and opens the way for imagination, for imagining a dream settlement, for visiting heaven.

Parviz kalantari

From realism to dynamic truth


With Hossein Mahjoubi for the entire period of his studies at the Faculty of Fine Arts, University of Tehran (1338-1332)


I was a fellow student, friend and companion. The college had the atmosphere of the “Bazaar” of Paris in those years. In the studio


Third, we had a gramophone with a collection of classical music by Bach Beethoven, Chopin, Tchaikovsky, and others.


Monthly art sessions include concert lectures, screenings of art films such as Wangog Biography. Rembrandt and…


Poetry reading including college poets, Ismail Shahroudi, Manouchehr Sheibani, Sohrab Sepehri and Heshmatollah


Jazni and sometimes translations of Western poetry were recited. Manouchehr Sheibani graduated before us


But he still came to college and put his painting tripod aside and worked. Me and Mahjoubi


Like him, we were always working non-stop (apart from college programs). From the total number of graduates


Only a few like me and Mahjoubi continued to paint in college, and the others did not know where they went and what they did !?


With the exception of a few, such as Bahman Mohasses, Nasser Assar, who dropped out of school and went to Europe.


Aydin Aghdashloo made himself and became one of the most prominent figures in contemporary Iranian painting.


In fact, leaving school and migrating to Europe was due to the teaching method at the college, which was modeled on the Paris Bazaar.


It was and does not radiate any modern dynamism beyond the academic principles of the student.


But the college library with all the books from world artists and different painting styles, from Impressionism to


Phobism and Cubism and Surrealism and… was a place to teach these styles, we met the elders in the library


We were going, Wangog, Cézanne, Picasso, Brock, Dolly, etc. This is where Mahjoubi accompanied Wangog to


Watching the sunflowers, he went to the flower field and followed Renoir’s words and painted from Pissarro.


He learned the trees and went on a picnic with Monet on the grass for lunch.


Mahjoubi was so fascinated by flowers, plants and pure nature that he finally left the Parks Organization after graduating from college.


The municipality of Tehran. “My father was worried about my future, how about painting,” says Mahjoubi


Will I make a living? Although in the entrance exam of the college for children, I drew antiques and they studied architecture


They were accepted, and most of them later became famous Iranian architects, but I myself did not have a degree in mathematics.


I could not be accepted in the field of architecture, however in the theoretical classes of construction architecture, surveying


Resistance of materials, etc., I participated freely.


I was in the third year of college when I was sketching friends of an architect student, until I was introduced to the German urban planner Arnes in 1363, and in 1363 I was employed by the Tehran Municipality, and at that time, based on the nationalization of forests, Saei Park land in Tehran The 125,000-square-meter area was handed over to the Tehran Municipality from the Ministry of Agriculture, and I was responsible for preparing the plan and its implementation, and this was my first job in clearing the Tehran Municipality. I supervised the city and Azadi Stadium of Tehran’s Mehrabad Airport and the parks of some cities such as Tabriz, Isfahan, Lahijan and.. My job was to build parks and green spaces and at the same time seriously paint and hold exhibitions


A period of Mahjoubi paintings was the inanimate nature that has depicted Gilan dishes such as bald and dolce baths, pottery, baskets, mats, baskets, saber boards and other Gilani kitchen utensils.


I really like this period of unobtrusive work, which unfortunately has not been reflected anywhere.


This inanimate nature of his was created in continuation of the college inanimate nature program and in other programs


School like anatomy design and naked body, mentally veiled public bath that people are


They were washing themselves and Dalak was pouring water on them in the steamy bathroom.


Impressionism was the first veiled practice in the realm of modern art. Exhibitions of works at that time


The younger ones were held, the most important of which was the Tehran Biennale, which was started by Marco Grigorian.


In the first Tehran Biennale, Mahjoubi work (Tabrizi trees growing and with houses with clay roofs)


The judges’ attention was drawn, and from then on it became a distraction to deal with these perspectives, which are memories


He was also born in Lahijan, which continues to this day.


These perspectives were created in the style of Impressionism, while maintaining allegiance to social realism, and gradually took shape.


They found it quite “mental” and poetic, and especially in the collection of Yale horses, which look with soft, fluid lines and a half.


They were created in the style of Iranian miniatures. In the same way and poetic visual language, with fluid lines and colors


Gentle and refreshing foggy atmosphere with views of forest hills with Tabrizi trees


Erect and bare and the trees bloom in pink and white.


If we accept that geography is the main platform of ideas, the geography of Iran, especially the northern landscapes


Alborz and the green land of Gilan, which tells us that this is the land of Ahura, it is natural that Mahjoubi


Constantly watching and following the roles of these eye-catchers and in this way from realism to the way of mental insight


It goes from realism to dynamic reality.


For example: In this difference, the truth is that people are honest and kind to each other, but in reality that


Tear each other with your claws and teeth. Unobtrusive in this transition from reality to truth, in this journey and behavior


Considers it a part of the same glorious nature and the religion of love that in the collective subconscious of him and the people of his land


It’s appropriate, it now appears in his works

Javad Mojabi

Mystical passage in the Iranian campus


Hossein Mahjoubi is a landscape photographer of Iran. Or rather, he travels his paintings


He started romantically from the perspective of his hometown, Lahijan, and at the peak of his artistic career, he


There is a mystic who is the golden meadows of the Eastern painter.


We know that in Iranian miniature, the landscape alone was less the subject of painting, but generally to cover


Capturing gatherings of feasts or battles is used and of course without the views of the garden, mountains and plains, those gatherings


Which was located outdoors, did not have much water and color.


The landscape in miniature sometimes visualizes the background space and is more of an independent decorative aspect.


Somewhere the garden and the plain form the main text of the parliament, as the separation of the narrative of the challenging human beings on the scene


It is not possible from nature to express their external and internal states.


The magical nature of Iran with its ornate gardens, trees, animals and birds, is the basis of skill.


The technique and motivation of the colorful and glossy fantasies of the Iranian painter. Artist of past centuries of reality


Formal and nature dug into the invisible depths and depths and under the brush of its magic, the rocks of the mountains


It took the shape of the face and body of a demon, a charpa and a man, the autumn leaves of a sycamore plant in all colors


The painter tests the painter at an ornamental festival, the cypress and poplar are filled with nightingales, canaries, and cedars, and the plains


Full of deer and horses’ graves and predators. Man’s imagination dominated the formal nature and its interpreter.


In the age of modern painting, naturalists and landscape painters were in small numbers. Mahjoubi is one of the landscape designers


It is tireless to look openly at the Iranian forests and campuses and to meditate and reflect from the procedure to


He had a deep desire


Undoubtedly, two factors are more important in his continuous tendency to campus; First living in the community


North and his long-standing nostalgia for the forests and groves of his hometown and his second career, which he designed and built


It has been the parks of Tehran and other cities that have become preoccupied with him and Baghshahr is constantly with him and in


He took it and brought it. The paintings of the early period contain a subtle and emotional realism


It shows that it is worthy of the Shabab era and has the benefits of Iranian miniatures in terms of technical processing.


Its curtains are often covered with upright or twisted trees that cover the front of the work.


Behind this delicate net with tree trunks, another view of an urban mansion with lots of horses can be seen


Becomes. Sometimes, from behind the vertical structure of the trees, the panel could see the northern urban landscapes from far and near


When we look behind the willows and poplars and alders, we see wild meadows where horses


Miniatures graze easily and are happy or running away and playing love and domination.




In the absence of man and the display of his signs and states in these paintings, the rich nature and flourishing is responsible for this task.


has it. Of course, this nature represents more vitality, youth and fertility than destruction and death. Maybe a dream painter


It embodies growth and flourishing and love in order to escape from exhaustion, disorder and decay. Or by embodying beauty


The ideal gives birth to the ugliness and anomaly that dominates the surrounding reality and the ideal nature alone


It is a refuge


In the final works, he saw a deeper approach to nature and elements of myth and legend entered the works


From the arrival of Tishter and Anahita to the visual interpretations of the numbers four and seven and the like four Akhshij and


It includes four seasons and seven days a week and the sanctity of signs in indigenous beliefs.


A kind of fusion of unity and plurality that is manifested in the easy-to-find symbols of trees. Four seasons of the year


In the foliage of a beautifully represented tree or quadrupeds that circled the Islamic circles of time


They beat. Painter towards philosophical concepts; Humans have tended and tried their reflections on the elements


Everlasting acquaintance: visualize horses and trees and the geometry of the Persian garden


Two curtains of these four-season trees and a curtain drowning in the blue, with raging horses surrounded by seedlings


Crossing the sea willow shows the artist’s success in combining Iranian poetry and painting.


Hossein Mahjoubi with his inner purity and peaceful life, constantly focusing on creating his own special world, with


His paintings invite us to the golden age of idealistic nature, which is the birth of purposeful idealistic thought.


He is the peaceful nature that did not exist in the past or in the destructive civilization of the future.

Safoora Niri

The freshness of life in the paintings of Hossein Mahjoubi


For many years, pure and fresh nature blended with the soul of the painter so much that the philosophy of his life with the unity of existence


The current in the life of the trees and the blossoms and the birds of the abandoned horses and the vast purities of nature become one.


Tall and tall trees, with noble and glorious pride, fill his life. Give her pure beauty


In a word, they bring him to God.


Giving trees that sometimes in the heart of spring, without leaves and rain and all their greenery to the soil, to the baby bushes


They have given to innocent ponds. Trees that are the mother of all growth and reproduction and blessings of the earth.


The transparency and purity of nature, with an exactly “Iranian” identity and with a special technique, is reflected in his paintings.


The flow of life in pure nature but without the existence of man in those rare times when people go to the pleasant meadow


Veiled paintings find their way, they are the ones that are paired with nature and in the style of simple nature.


Hardworking and unaffected. A worker in a project, or women in colorful clothes, working in a paddy field and so on


With trees and shrubs and roofs covered with galls or pottery that can be distinguished from that text full of balance


They are not normal.


Over time, the same Malouf people also fade, as if each in a tree from the congregation to the brave


The trees stand upright, and what remains are the everlasting trees, rooted in the light.


They have and awaken the conscience of nature and keep horses, birds and bushes in a living and kind fence in their arms, from every


They are safe from bites, and thus in his paintings, life is in the cool and delicate veins and skin of shrubs and flowers.


Current and also in the firm body of trees free of ornamental leaves – naked as the prophet David according to Michelangelo, tall


And the thinkers have stood alone with themselves, and sometimes they are so full of leaves and hair, and they are like a willow.


Who shout the passion of life with their veins, life is going on in the white and cloudy bodies of horses.


Horses with innocent and loving eyes that most of the three fathers, mother and child have a strong presence and tongue


Decency indicates longevity.


Life, despite all the pain, wounds and destruction, has a smile on its face in its lifeless paintings, it is a white face


It is blue, white is blue, life without human beings, which is always harmful in the body


Quiet birds, perched on bushes or sitting on top, at the farthest branch of mother trees


Forgiving, growing, growing trees flow.




Mahjoubi has written a poem with such fascination against Layzal’s greatness. And he always said one word.


Has spoken.


The wonderful originality and purity of nature, of which the trees are an extract, along with songbirds and


Abandoned horses, which are the manifestation of deep nobility and enjoy the warmth of light and life, so with his soul


They are immersed in taking on a new life by turning the pen, and in the coolness of the garden of each painting, they tell an eternal story.


They are, a story is repeated every time.


His colors are words. They comfort, they talk, the words are enchanting. Back from the forest party and the smell


Fog and rain and the scent of pine trees, free, alder are a gift to give a color of all annoyances and boredom.


Freshness and spring life.


And these words of Shafiq Tasli, which is a bridge from the rainbow of passionate friendship, between the trio of eyes and colors


And the hearts stand up, they can only flow from a pen that is a cut from green seedlings in a state of honesty.


And self-sacrifice and love