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Everything that you would love to know about Hadi Hezaveiy but you have never dared to ask!!

  • Everything that you would love to know about Hadi Hezaveiy but you have never dared to ask!!

Who stole my art books?( introducing book file)

For whom this book is useful? For whom it is not? What is it about? Why is it good to read? I wish there was an epitome of its essence! I wish I could figure out whether it's useful for me to read or not? I wish there would be a quicker way to understand what is it about? So many art books are out there, which one is practical for me? Why is it so complicated? Why isn't it specialty? Where should I look for my answers? Does art has a kind of philosophy? Why should we know about art? Can you name some art books? All these questions and their answers are provided here in this introducing book file.

Hadi Hezaveiy is one of the artists who is still in his glorious era because they believe in living the life in its true sense. Somewhere in his book he said that: "next to the Ardeshir's tomb, there is a big apple tree. I picked one and ate it!" He answers expressly; therefore, he repeatedly surprises and corrects Darioush Kiaras with his responds. He expresses the culture and custom of Iran in his artworks and still he opens his arms freely to the world. He has travelled many times and along with his travels, he has created his artworks. He has been and is still painting during hard times continuously. When younger, he was one the naughtiest boys in his university. He has got his M.A. in painting and designing from Public University of New York. Creating, researching, writing articles, and teaching are the things he is doing. One of his books consists of 12 chapters that Kiaras named it "Varagh (paper)". Questions in the first chapter are about how Hezaveiy sees the drawing, Ghandriz Hall, and his adventures.

Somewhere in the book he says: " So far, what have artists done for the art of this country? We have so many painters from the greatest one who is living in US to the most unknown one who is teaching art in one of the art schools. Which one of them has dared to move forward, to do something spectacular? In the second, third, and forth chapters he has mentioned and talked about the children during the Revolution, the curds that would be brought to London from Kerman for Agha Khan Mahalati, the Iranian cultures that is through our vessels, and the experience of living with the group of Hispanics gathered together beside a lake in Voudask.

There are also some questions about Hezaveiy education time, the history of his ancestors, and his thoughts about painting have raised up. In one of his chapters he claimed that: "If you find a beautiful girl, love her, marry her, live long together, and have kids; still you would not know her as much as when you her artworks in her art exhibition!" In the fifth chapter he answers the questions about ontology, the loneliness of being in existence and the fact that he continuously draws pictures to escape the pressure of life. Considering death and afterwards, he sarcastically said that: "When I die, I will become to dust; if there would be a cedar, I will be that; or if there would be teasel, I will be that!" In the sixth chapter he represents family, friends, and photos. Then somewhere in the next chapter he talks about how uncaring prejudgments make him upset... : " I am looking for a knife or scissors to cut out your tongue sir! You cannot cross your sword with a man who has worked 50 years, exhibited his artworks, collectors gathered them... and now how dare you call him 'Charlatan'. In the eighth and ninth chapters, he mentioned the years in New York, how he lived there, how hard was that for him to do so, and how he could achieve his place in art. In its following chapter his works, researches, and teaching have been brought up. In the eleventh one, his educating in Medical Science University, some questions, and his memories during autopsies of human bodies and its form have been gathered there, also the effects of doing autopsy on his point of view is mentioned. Then, in the next chapter, some questions about Ghandriz, Pakbaz, and Hossein Mojabi have answered there. Somewhere in the seventh chapter, he talks about his opinion about Iranian arts which is based on his researches on Iranian art that has been gathered in an unfinished book, "from cave to coffeehouse".

Our painting (Iranian painting) is an expressive art for the reality, a kind of storyteller. A good metaphor for flattering people! Flattering to its end of rope and with its smallest details! Kind of details that enthusiasm pool. How does it do that? That's awesome! Bravo. Hence, it's kind of a private art and has little or nothing to do with public, illiterate, superstitious people. They actually won't need it. This old, archaic culture that brought us up to here is no longer capable of comprehending, digesting, changing, transforming, and choosing; therefore, it is breaking down little by little and dares to question our culture. Unfortunately, instead of finding the roots of these questions, we are only answering them. We always wanted to find the questions among the papers of our ancestors.

This is a pleasurable book for the ones who would like to know Hadi Hezaveiy who interviews rarely. The questions of Darioush Kiaras are simple and without any side matters. He talked friendly and that's why there are some information provided. Hezaveiy is a complicated man and is not willing to speak a lot. He is keen and intelligent. Kiaras tried to ask some historical unanswered questions but Hezaveiy answered them conservatively. Kiaras did not try to make him something that he is not, only to introduce him and show his real place in the history of modern art in all these 176 pages.

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