Photoblog by Amelia Taeed
Amelia Taeed was born in Iran, grew up in The Netherlands, studied Applied Arts at the "Ecole Supérieure des Arts Appliqués" in Paris and International Communication Policies’ at the London City University. She began her diverse artistic career in Hong Kong, where she worked as a freelance designer for several jewelry houses.
In the Netherlands, she made, in collaboration with the 'Royal Delft Blue', a series of tile panels for an exhibition at the Dutch Tile Museum in 2004. Besides several exhibitions and ‘Art for Public Spaces,’ in the Benelux, her artwork is permanently present as the wall decoration at the cruise ship Ms. New Amsterdam Holland - America Line. In 2012 Amelia’s selected manipulative photography was projected on Time Square billboard. Her work has been published in several Dutch newspapers and magazines.
In Fall 2015, the prestigious 'Performance Hall of Amsterdam' hosted her show - 'From Form to Feeling', based on awareness motivation: Vimeo.com/ameliataeed
Amelia researches art beyond its material aspect, and through the spiritual language behind the pattern design, finds the comparison between different cultures at different times.
All Photos courtesy of Creative Commons, Alamy, Inbound Persia Travel Agency, Victoria Albert Museum and Met Museum.
A Journey of Transformation Through a Grammar of Art Design
Unravel the mysteries behind the styles and patterns in Persian Art and Architecture
The Arabesque Patterns
The geometric and abstract arabesque patterns create ‘movement.’ Abstract lines allow the viewer to move from one line to another and use their imagination. ‘Movement’ represents reflection and thinking. The point of intersection of lines - the ‘halt’ - represents concentration.
The concept of ‘movement’ and ‘halt’ is demonstrated by an optical effect in my ceramic tableau- Movement & Peace. The ‘symmetrical placement’ of paisley, showing the state of static, next to the ‘a-symmetrical placement,’ showing the state of motion.
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The Arts & Crafts Movement (from 19th Century, England) believed that the Iranian artists had studied the order of nature and thoroughly understood it, and not just imitated it.
William Morris, one of the founders of this Movement, stated that: “Iran for us pattern- designers, has become a holy land, for there in the process of time our art was perfected."
The ancient patterns of arabesque carry a mixture of motifs rooted in different cultures and beliefs, depicting nature, which in itself is a Divine reflection.
The Element of Unity
The element of ‘unity’ manifests itself through the pattern of design in which all the lines move inwardly and outwardly, becoming united with each other and with the center. This unification and movement are pulled by the central point or ‘central power.’ It’s through the connection with ourselves and the surrounding that our consciousness can elevate to the next level.
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In these Sassanid arabesque metal bowls, the interlaced lines showing the element ‘unity.’
This pattern was imported into the West through the Muslims living in Venice during the Renaissance; Leonardo Da Vinci made his own, and it got the name of Leonardo’s Knot.
The ‘unity with the ‘central power’ in the garden design is represented through the central pool- symbolizing ‘water of life’- which runs in four directions. In this way, a Chahar-Bagh (four gardens) comes into existence. This garden design was first used at the palaces of Persepolis. Among famous Chahar-Bagh gardens, Chahar-Bagh in Isfahan, the garden of Taj Mahal Palace, Lion Court of Alhambra palace in Spain, and the Moorish Court in Port Lympne in Kent.
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The Element of Infinity
The Persian carpet expresses the element of ‘infinity’ through