● Birthplace: Hamedan
Biography
He attended elementary school in Hamadan and immigrated to Tehran with his family from 1956, when he began his secondary education. He started his calligraphy activities in the school of the late Hossein Agha in Hamedan in 1953. From 1961 to 1966 he tried and experienced in the field of calligraphy and in 1967 he worked in independent studio and gained various experiences. His first meeting with Master Seyyed Hassan Mirkhani (Seraj Olkottab) took place in 1968 and from 1968 to 1972 he taught calligraphy in the presence of Master Seyyed Hassan Mirkhani. He got married in 1971 and held his first individual exhibition in Seyhoun Gallery in 1973 as his first child was born. “The charm of the line was always with me,” says Master Rasouli, of his calligraphic activities, and that led me to skip the lesson. I was extremely intrigued by the beauty and beauty of it, and to say the least, it hunted me since I was 8 years old. In high school, I was fired from the classroom by some teachers because of my strong interest in drawing and painting. May God have mercy on my late father; they came to high school one day to reject my education. They had been told that this boy was not studying. Honestly, I was so caught up in it that my whole life was drawn to drawing and painting. During high school, we had a wall newspaper every week, with calligraphy, paintings, drawing and caricature with me, and every Saturday the high school kids came to the newspaper and we were well-known. My interest in drawing and painting was so intense that I had to leave school for a year or two, and it was during that time that I worked in several places. I worked for many years and gained many experiences, doing whatever was common in calligraphy at the time. I was interested, going and receiving and learning quickly. That is, I learned some of the things some had learned over the years, in the shortest possible time, such as silk printing and neon design. At the age of 21, I set up an office in the Berlin alley of Tehran at the time, and I was mostly involved in design and engraving. I remember in those years I had the ability to write a word in 50 different forms and I had a whole name.
After a while, I realized these things would no longer satisfy me and I thought they were very light. I started to write. I had a friend whom God had mercy on. One day he came to my office and suggested that I go to the Calligraphy Society, and then one day we went with him to the Society, where I met the late Professor Seyyed Hassan Mirkhani and got acquainted with them. When I saw Master Hassan’s writing, I was struck.
Eventually I enrolled and the first example of the late Master Seyyed Hassan Mirkhani was given to me: “This world is awake, no more sleep” I had been a student for about three years. I had given up all my drawings and had written the late Master Hassan’s disciple and each of them in 60 pages. They encouraged me very much, because they recognized my perseverance and I was finally able to receive a privileged degree within 3 years. My relationship with the late Master Seyed Hassan Mirkhani continued after I left the community. They had an office in the Sepah Salar Mosque at the time when I met with them regularly. They loved me and I loved them. My best time was with him. After hours of talking and drinking a few cups of pale tea with candy and with a world of intimacy and simplicity, one of my honors was my relationship with the late Master Hassan Mirkhani, who continued until his death and still a small disciple. I know the deceased. He was a great man, with piety and light.
Little by little I felt I could organize an exhibition. It’s also from the Chalipa and Siahmashgh. Previously, because I had worked with paint and knew colors, so I turned to painting. Needless to say, two exhibitions were held before me by the late Professor Reza Mani, who was also one of the Muslim professors of the line. After him, Mr. Zendeh Roudi, who is now in Paris, and the late Pierre Arman, a professor of statistics who are still present, as well as Professor Afchei, worked on the exhibition. My first exhibition was at the Sayeh Gallery. Here’s a point to remind my dear youth. It’s not like one night, they have to work hard. Anyway, the head of the gallery, when he saw my work, said, “That’s it.” Where have you been so far? My first exhibition was flowered and raised. I bought a few examples of my work that first night, which was very interesting to me and gave me a whole lot of motivation.
The opening of my exhibition was very good and made me leave the exhibition behind. It was at the third fair that I got married. Since I was a person starting from scratch and standing on my own, I worked a lot, but I also did market work to make a living. My goal was to set up an exhibition, because I believed and if I had to say something I would have to share my work with people. It was at these exhibitions that I realized that those who opposed me were being taught a whole lot.
I organized 30 exhibitions in this way and every year my exhibitions differed in content and composition from other exhibitions and I always amazed my audience with new work and new ways. Of course, I cannot forget the role of God healing that motivated me.
I published several book titles with my own capital: “World Cup”, “Memorial of Love” and …
My books have had a large audience in the Arab countries, and all the Arab calligraphers are friends with me. I have held over 20 exhibitions in countries such as China, Italy, England, Germany, Qatar, Dubai, Pakistan, Syria, Turkey, Lebanon. One of my good works of scripture was the court of the Holy Imam Khomeini that I did calligraphy. I was given this page by page to make a calligraphy. Imam Khomeini was alive at that time and the late Haji Ahmad Agha was giving me page after page until I finished the book.
The other book I wrote was Nahjul Balagha, which is unfortunately half-finished. I have done some things for the holy shrine of Imam Reza (AS). I haven’t accepted custom work for about 16 years. The last thing I did a year ago in the holy shrine of Prophet Masoumeh (SA) included an outer dome inscribed on two 37-meter axes. Today, I am glad that the dome line of Prophet Muhammad (PBUH) is my work because I was very careful about that line and for that work.
Earlier, I exhibited 70 or 80 works at Niavaran Cultural Center for 20 days, visited by most of the country’s calligraphers. I also invited Mr. Khatami to come. I told them: “I did not sell my paintings for sale, but I put it up for the museum. I was promised, but unfortunately nothing happened in practice. If God wants me to be alive, I am going to showcase 40 pictures that have been shaped and valuable to me for four years. These works are the result of all my forty years of experience.
Why did the old masters do their work wholeheartedly when drawing the line at the edge of domes or elsewhere? The calligrapher must be in love, that is, even beyond his feet and in madness. I’ve worked for 43 years, 18 hours a day. Young people know that they have to work hard. God also has mercy on me and has given me a wife who owes me a great deal of my success because she has lived with me for thirty years and knows the style of all lines. I remember occasionally having dinner and I didn’t realize it. The food was cold and heated it up again, and this happened several times. I used to do this; sometimes the lady would ask if the food was delicious. it was good? And I was surprised to tell him, I didn’t really understand what I was eating.
I don’t accept any of my work 20 years ago. I don’t even accept my job last night. In my opinion, it is love that creates pure art and no power other than love can do it. It’s not all about mastering the technique. I believe that creation is only about the One God. I am a tool when I create a work and enjoy it myself, I say: God. This is what you are writing. You put this art in my hands to write this line, I don’t see myself involved in it. Because if I wanted to be effective in myself, I sure wouldn’t come here and get what I needed.
Sometimes I choose a story, a sentence, and I am very eager to write. For example, at one point, eight years ago, I told God I wanted to advertise to you and I knew you didn’t need to. But I want to write to you. It was a poem from the book “Nebuchadnezzar” which is the Persian translation: “God says to David: Go say this to my servants, those who have turned on me, if they knew how I would expect them and How eager I was to abandon their disobedience, they were desperately dying, and their organs were falling apart because of my love. ” I did this with crying. There is a time when it is accidentally a matter of writing and sometimes a flash is enough, and sometimes even a word from an average person has given me a 4 year trajectory. Someone who writes a good line and feels that he is pleasing and eye-catching, as if God has given him a world that is sufficient for man.
I’m an active, hard-working person, and no one’s definition of happiness has made me happy or denied anyone. After 40 years of working in the art world, because of its vastness and its infinity, I have reached the point that I am nothing. I am very labored and bloodthirsty and I love my job and this love is no different from my early years. I consider calligraphy the most fascinating art. Calligraphy is a form of worship for me. When I am writing Surat al-Hamad, I do not feel like writing “Nastain” more beautiful; rather I feel that God is speaking to me and that this is a loving and valuable work. I’ve put my life on the line.
Calligraphy is a very difficult task and it takes a lot of blood to write a Chalipa. Getting a new style is not like going to bed at night and getting up in the morning and offering a new style. Any change in style, such as shrinking or enlarging circles, is constantly happening, but what is happening is something else. Our present calligraphy has its roots in the tradition of the past, and any innovation that is not based on genuine calligraphy is worthless. Innovation is valuable when you know classic work. The same is true in music and painting. Someone is allowed to innovate that has made his work acceptable and not everyone can. There are some people who do line painting. I say to you, go learn the line first, then come and advertise. One would prefer to work in black ink, white paper, and pen, and write smoothly and go forward, even without composition. Another person works in black and another says I want to work on some of my sex and spend my soul on it. If one’s technical skill evolves, Miramad’s work will be rewritten.
At the last exhibition, at the Niavaran Cultural Center, I had a poster of “Surat al-Hamad” written by Miramad, but I thought I was trying to draw my soul in this line, namely my line, the line of Galilee Rasooli with its own coordinates. In my opinion, if anyone today has style and style, he is an absolute artist and no one can say anything about it. Old calligraphers used to write “only” only 5 kilograms of paper, because art must have mastery, practice, and practice to evolve. But if you have been wanting to innovate, I’m against it. We have to accept a fact that art is approaching the frontiers of innovation and updating, but the realities are also worthwhile. I wrote in the World Cup book a few years ago: “I uphold and respect the traditional principles of calligraphy, but I intend to take you to another banquet with the relief of eager eyes.” Someone who is a student of the late Seyyed Hassan Mirkhani is a fanatic but does not believe in being a fan.
The use of oil paint has the benefit of being well-worked and the rule is to use dark color first and light color is the last step to show the work. If we want the letters we want to look farther away, we should use the darker color, and vice versa, we want the letters closer to the lighter color, of course, depending on the background color. Gave. I’ve never been a master at familiarizing and using colors, but because of the love and the many trips I had to Paris and going to the Louvre, I learned it.
I remember being interviewed at an exhibition I had in Japan. I told them, Master was the late Master Hassan, and they asked me what kind of college you studied in, and what kind of color combination. I said, “I have never had a master class in this field.
There are some things that the design wants to do, first I visualize a small design of the work and do it automatically on paper and edit it enough to come close to the original; . The type and composition of colors must be carefully calculated, as otherwise poor color can affect a strong, mature line. I believe if anyone doesn’t know the color, don’t use it at all. But I do some things without design, mostly with ink and gouache and watermarks. The work itself can not be done with oil paint, but these works can sometimes create a lasting effect that is lasting. Your brain, your hand, and your soul must work like a computer to do the heavy work. You have to have calm nerves, be optimistic and look at the beautiful world so that your soul will be blown away. In my opinion, moderation is not possible for the creation of artwork, except close to God.
Calligraphy is a sacred and spiritual art. If society says that Rasuli is successful, it is because he has tried to draw close to God. I haven’t been completely, but I have tried my best.
Anyone who wants to bring modern art into the work must know the classical work as a whole; that is, if its classical work is poor, it will lose its value. Anyone who wants to paint must know the design well, must know the anatomy of the objects.
So to keep the art of calligraphy in place and not obsolete, we can give it a modern-day color, but with dignity and transcendence. One who has mastered classical calligraphy is not always going to do the same until his 90s, but he can use his taste according to his abilities, and by recognizing their color and composition, the hand To be creative. To enter the realm of new approaches, one must be very careful. The line painting is much different than the black one. I’ve done it myself many times to put in a spot, hours where to put it. Innovation needs to be bold, not bold in its negative sense, but positive.
I have always set the price for my own work and I do not allow anyone to set a price for my work. Many years ago I had done something related to Surah Noor, one meter by two meters, working on a gold plate. They came from the Cultural Heritage Organization to see and buy some samples. They liked it very much and asked for a price. I said they came from Kuwait and I have offered 12 million Toman, but I will give you 8 million Toman, because the board will stay inside the country. They said we would later report that they did not, the Kuwaitis also came and bought and took 12 million Toman boards at the same price.
I told Mr. Khatami about this and asked them not to let my signs go out of the country. The picture I gave was about 8 years ago, but my new work has prices that I don’t think anyone would dare step forward. So far, I haven’t chosen a technique for selling my boards that sells good or bad. I have done everything I have thought and thought. So far I have never written a greeting for anyone and everything I wrote was my own will. Technique is a personal essence and not a grammar. An artist needs to know which direction his soul is heading, there is no force to do.
Arab countries like Qatar, Kuwait, Lebanon and Syria are more eager to buy my paintings. I have no faith in modern Western art, especially in line art, because we are so capitalist in this area that we do not need to beg Westerners. . I’m not saying it’s 100 percent bad, you can help, but calligraphy is a well-known way. In drawing the line, we have such a vast and profound scope that we do not need to rely on Western art. Of course they have to be understood, I believe in the technique but I do not believe in foreign “isms”. I love the modern line and in the last 40 panels ready for the exhibition, I find that my work is modern, but all of them are Iranian.
I think I will do the same that the deceased was Master Hassan. I remember when we were to teach him a quarter of poetry, and a quarter was discussing the ethics and humanity. “It was a good man to become an artist,” he said.
I accept everybody, I just compete with myself and try to do something that will be accepted and respected by future generations. I’m not trying to shrink anyone and I have a lot of respect for calligraphers. At a ceremony for permanent figures, after receiving the award, I said in an interview that I know this award belongs to all Iranian calligraphers, and I am honored that I’ve been able to appreciate the art of calligraphy. In my opinion, if you were to pursue a small and subtle competition in the name of competition, you would fall short of the facts. You must empower yourself on your way to achieving your goal.
Activities and Works
– Dozens of exhibitions at home and abroad, the result of more than 40 years of practice and hard work. He is well known and respected by many in many countries, such as Syria, Lebanon, Kuwait, Qatar, France, England, China, Italy, Germany, Turkey and Pakistan, etc. Master exhibitions are well received. His commemoration was held in year 4. During his years of artistic activity, he visited the works of European artists. Jalil Rasouli’s paintings have been exhibited at home and abroad many times, and have been welcomed by foreign and domestic audiences, along with acclaimed art critics.
– The Book of the Court of Imam Khomeini – Fifth Edition
– Book of landing story from Shahnameh Ferdowsi
– Jan-e Janan (Collection of Works)
– Four Chapters (Collection of Works)
– A Memoir of Love (Collection of Works)
– Translated by Nahjul Balagheh Dr. Shahidi
– The Garden of Heaven (Collection of Works) – Dedicated to Salar Karbala, Imam Hussein (AS)
– Green garden bench
– Memorial board
– Collection of 30 years of effort in the field of Calligraphy and Paint Calligraphy
– To be selected at the Islamic World Calligraphy Festival in Tehran
– Noor Ali Noor – (A Collection of Works) – Focused on Quranic Matters in the Form of Drawings
– A bit of Ferdowsi with this artist’s calligraphy on the back of a five thousand Toman note.
– The name of the movie was written by Mohammad – Made by Majid Majidi
He wrote about how to create a Sign of movie Mohammad said: After a while I wrote a graphic Prophet Muhammad that I thought was a good and different work and also stronger than the works we had judged but after a few days I only looked at this work I came to the conclusion that it is not a film, and although it is a good name, it cannot convey the message of the film. He continued: Finally I appealed to the Prophet himself and unconsciously put a brown compound in front of me and began to write with my index finger, which was the first time in my entire calligraphy practice. When I first started writing, my finger was shaking, which was surprising to me because I was famous for the power of the hand, but after a while my whole body shook and I realized that what I was doing was right and finished with it. Professor Rasooli said at the end: “I am honored that my title will play on the front of this film and I am sure that Mohammad Rasolullah’s movie will be honored in the Islamic world.”
