- Farhad Moshiri
- signed, titled and dated Farhad Moshiri 2003; signed, titled and dated in Farsi on the reverse
- oil, acrylic and glue on canvas
- 167 by 132cm.; 65 3/4 by 52in.
Acquired directly from the above by the present owner in 2008
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Easily discernible to the Middle Eastern eye, the canvas clearly draws upon the supernatural relationship with numerology, a notion that still remains in many provincial pockets of the region, and which thrived until the late 19th century. The recognition of magical forces in Islamic culture manifested itself in many ways, from magic bowls inscribed with numerals and symbols that would cure the patient if he drank from it to talismanic shirts worn beneath armour that protected the soldier in battle.
For centuries mystic thinkers of the Islamic world pondered the hidden significance of letters, giving them not only a phonetic value but also an arithmetic one. These arithmetic values gave much room for interpretation, for predicting the future, for finding divinity in the written word and for many other purposes. The abjad system was a codification of the Arabic alphabet that applied numerical values to each letter and was used on scientific instruments, and for talismanic codes and magical operations.
Characteristic of Farhad Moshiri’s oeuvre, the artist magnifies his calligraphy to an immense scale, isolating and highlighting his numerology; something that would have often been compositionally embedded in earlier Islamic objects. In this series featuring numbers and letters overlaid and intertwined to form either an abstract design or a meaningful pattern depending on the perspective, Moshiri crafts a nearly celestial optical illusion yet one imbued with cultural commentary.