Mohammad Ehsai

Condition: This work is in very good condition. Blue panel: There is a very minute speck of paint loss towards the centre of the upper left quadrant, where the silver leaf underneath is slightly visible. Yellow, Green, Red and Orange panel: There is a faint canvas crease due to the way the canvas was rolled running below the centre of left edge. Colour: The colours in the catalogue illustration are fairly accurate; although, they fail to convey the texture and the quality of the silver leaves used in the original work. The blue tends towards a royal blue, the purple towards a purple lavender, yellow and green tend towards more fluorescent tones, the red towards coral and the orange towards a sandy camel colour in the original work.
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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."

Mohammed Ehsai’s key inspiration derives from religious texts and their calligraphic work. He merges his personal style with his cultural heritage, resulting in works comprised of an aesthetically opulent fusion of the two. Ehsai's unique style is considered highly influential for the younger generation of contemporary Iranian calligraphers and graphic designers. His distinctive blend of traditional techniques with modern style graphics creates a fresh innovative calligraphic artistic form.

Ehsai consider letters as individual visual elements, rather than components of a whole. He first mastered formal calligraphy before exploring the flowing rhythms of the 18^th century cursive Naskh script, the broken form of Shekasteh and the 15^th century Persian Nasta’liq script. His thorough understanding of these ancient forms enables his artworks to transition seamlessly between ancient calligraphy and modern art, pushing aesthetic boundaries and creating a new perspective for lyrical Iranian art.

In this exemplary six part series, we can see the recurring use of the word eshgh meaning love. Ehsai’s chosen word is repeated on each canvas four times, the undecipherable, intertwined letters float upon a reflective silver vacuum in a range of colours. Typical to his style, Ehsai’s work is limited to dual colours; this restriction in palette gives his artwork a brilliant visual contrast with a monumental effect. The use of silver background which is a colour traditionally associated with the moon as a backdrop for acts of devotion is loaded with spiritual symbolism, in this case the word eshgh.

With its rich texture, depth and captivating composition, the definition of eshgh is completely neglected. Ehsai instead focuses on the vibrancy of movement and the poetic curvature of the letter forms, creating an abstract shape, and appealing design, just as the artist once stated "the composition is designed to be seen rather than read".

Ehsai's visual language implemented via his calligraphic paintings is substantially influenced by structural designs and the use of calligraphy in the ornamentation of ancient Islamic architecture.  In this striking series of canvases, Ehsai offers an innovative response to traditional Islamic decoration and calligraphy, transforming preconceived notions via a renewed use of colour, graphic rules, and a variety of materials.