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Hamed
Behrouzkar
Iranian
Dreams
It
was
exactly
twenty-five
years
ago
when
I
become
acquainted
with
Hamed
Behrouzkar
in
Student
Art
Competition.
It
was
due
to
one
of
his
painting.
It
was
a
certified
copy
of a
Nasrolah
Kasraeian’s
photo
that
was
painted
by
pastels.
Perhaps
it
was
because
of a
definition
of
painting
among
youngsters,
which
must
be
realistic
to
the
end,
or
maybe
it
was
because
of
an
unconscious
attraction
to a
local
image
that
I
was
attracted
to
his
work.
Hamed
Behrouzkar
was
interested
in
Iranian
Art
very
much
as I
knew
him
those
days.
He
was
interested
in
Persian
poetry
and
calligraphy
as
well
as
handicrafts.
He
was
also
interested
in
Iranian
miniature
and
book
illustration,
traditional
and
religious
architecture.
In
addition,
Iranian
music
was
always
heard
at
the
background.
Ironically
he
studied
Painting
in
Isfahan
to
be
fallen
in
love
with
the
city
which
includes
all
these
arts.
So
he
was
fascinated
by
this
city
as
far
as
he
lived
fourteen
to
fifteen
years
there
instead
of a
few-years
of
study
accommodation.
It
is
interesting
about
art
that
artists
remain
loyal
to
their
concerns
whole
their
lives
or
in
other
words
their
concerns
don’t
let
them
go.
At
least,
Hamed
Behrouzkar
is
such
an
artist
as I
know
him
in a
quarter
of a
century.
He
moved
from
Realism
of
youngster
days
toward
such
an
Abstractionism
which
is
in
front
of
us
now.
But
from
my
viewpoint
as
an
interested
amateur
viewer,
his
works
are
included
those
old
concerns.
In
compositions
that
sometimes
associate
miniature
and
sometimes
evoke
Islamic-Iranian
architecture,
we
can
see
patterns
that
the
main
formation
of
them
are
given
from
Nasta'liq
but
are
neither
script
nor
calligraphy.
Moreover,
some
repeated
old
stamps
and
some
tiled
pieces
come
next
to
each
other
to
create
an
image
which
is
both,
all
of
them,
and
narrates
something
beyond
them
all.
These
paintings
are
formed
by
putting
bunch
of
details
next
to
each
other
to
create
a
great
whole
remembering
the
old
artistic
tradition
of
this
homeland.
These
details
include
tiling,
miniature,
calligraphy,
carpeting
and
Khatam.
The
main
element
of
Iranian
Dreams
by
Behrouzkar
are
trees.
These
trees
are
sometimes
originated
from
Iranian
Gardens
and
sometimes
from
miniatures
but
they
have
reached
a
modern
Abstractionism.
Even
men
associate
trees.
These
trees
are
formed
from
lying
men
and
take
us
to
the
painter’s
dreams.
Dreams
which
are
bright
and
colorful,
and
like
those
youngster
days
full
of
hope
and
optimism.
These
sweet
dreams
might
be
formed
because
of
the
fact
that
he
spends
many
hours,
days
and
months
in
his
awakening
to
create
a
dream
full
of
details.
Behnam
Behzadi
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