Sacred Garden
Anahita Ghazanfari
She has a Master of Art in Illustration, Art University,
Tehran, Iran.
The carpet design structure is mostly a metaphor of life and existence, and links the harmony ( form of harmony) between form and content of that form of appearance to its mythical thought content. The Sacred Garden also seeks to record the pattern of carpet as representative of the world at some point in time to make eternal. One of the most common themes in persian rugs is Floral. The image of a lush garden is one that deeply rooted in both the religious and cultural heritage of the persian design. Garden design is usually based on the formal gardens of ancient persia with their abundance of flora separated by pathways and ornamental panels. It seems the garden is coming straight from heaven, that they want to have it on earth and live on it. The Idea of bringing the garden on earth and walk on it every day feels that you want to keep it in your life forever.
Nature features prominently in Anahita’s body of work, combined with elements of memories from her past and influences from Iranian Islamic art. Despite accepting the modern world, Anahita realizes that nature is all enveloping, and that we, too, are very much a part of nature.
As she said:
“I truly believe that art is soulful and resides deep within oneself. Art is roused by
the harmonious vibes and beauty of nature that envelopes us. Nature is within us
as it is around us and we all hail from nature. Modernity does not annul this fact.
Nature touches and invokes its most primal creativity in an artist. Hence, works of
art are projections of an artist's soul to the outside world. In my case, nature
speaks to my soul and predominantly through its magnificent beauty and
permanence paradoxical to the evanescence imposed by human ambition and
limitations. Nature gives us recognition of source and hope of continuity.”
She has a Master of Art in Illustration, Art University,
Tehran, Iran.
The carpet design structure is mostly a metaphor of life and existence, and links the harmony ( form of harmony) between form and content of that form of appearance to its mythical thought content. The Sacred Garden also seeks to record the pattern of carpet as representative of the world at some point in time to make eternal. One of the most common themes in persian rugs is Floral. The image of a lush garden is one that deeply rooted in both the religious and cultural heritage of the persian design. Garden design is usually based on the formal gardens of ancient persia with their abundance of flora separated by pathways and ornamental panels. It seems the garden is coming straight from heaven, that they want to have it on earth and live on it. The Idea of bringing the garden on earth and walk on it every day feels that you want to keep it in your life forever.
Nature features prominently in Anahita’s body of work, combined with elements of memories from her past and influences from Iranian Islamic art. Despite accepting the modern world, Anahita realizes that nature is all enveloping, and that we, too, are very much a part of nature.
As she said:
“I truly believe that art is soulful and resides deep within oneself. Art is roused by
the harmonious vibes and beauty of nature that envelopes us. Nature is within us
as it is around us and we all hail from nature. Modernity does not annul this fact.
Nature touches and invokes its most primal creativity in an artist. Hence, works of
art are projections of an artist's soul to the outside world. In my case, nature
speaks to my soul and predominantly through its magnificent beauty and
permanence paradoxical to the evanescence imposed by human ambition and
limitations. Nature gives us recognition of source and hope of continuity.”
