هادی ضیا الدینی
هادی ضیاالدینی طراح است، طراحی پر کاری است. ویژگیهای خوب طراحی های وی در این چند واژه خلاصه می شوند؛ تند، روان و بدیهه سرا. یکی از استعداد های او – که تا به حال به خودش نگفته ام و حالا می گویم- این است که حافظه عجیبی در طراحی کردن دارد. نظیر آن را در هیچ کس ندیده ام. او قیافه ها، نوع لباس ها، طرز نشستن ها و بسیاری حالت ها را در حافظه دارد و این ویژگی به او کمک می کند تا آنها را بی نیاز از مشاهده و تکرارشان، به تصویر بکشد. لباس و روسریهای کردی و نقش و نگارشان به سادگی در مقابل چشمانش حضور می یابند و او آنها را طراحی می کند. مکتب های امپرسیونیست و نیز رمانتیک را گاهی شیرین تر و رمانتیک تر از همه بدست می آورد. مهر او به تصویرمردم زادگاهش بسیار دردانه است. در فرنگ می دانم هنرآموزان از مربی بودن می ترسند، چون به آنها لطمه می زند. هادی مشکل لطمه خوردن را برای خودش حل کرده است. این آگاهی در معلمی او هم حضور دارد.هیچ وقت از تقلید هنر جویان از کارش نترسیده است. این برخورد، آن نگرانی نوع فرنگی را خنثی کرده است. مهم و درست ترهم این است که طراح در جسارت و تجربه ای نو، از پدید آوردن طراحی بد نترسد، خطا کردن مهم ترین نشان نترسیدن است. مهم ترین راز هنرهای تصویری – که هادی در پرکاری هایش گفته است- بی ترس طراحی کردن است.
هانیبال الخاص
Designer, Painter & Scultor : Hadi Zia'od Dini
Now, after years of drawing, I persistendy fettered by this belief that the subjective way of drawing is the shortest distance a designer can take to achieve the "essence of the subject".
Though my drills of nature and live model are unlimited, this book is a collection of my subjective creations which mark the life, behavior and dealings of those people among whom I have lived, and whom I love. Perhaps it is why I would rather be and grow beside them than living in the center.
I have never picked out between "what to draw" and "how to draw". To me, the subject or the content was as important as transforming it into an art form, for as far as I know, the tendency to each of them would cause a slip in formalism in its general meaning.
I have abidingly tried to be in contact with the data of my time, however, I haven't preferred the old to new or the modern to traditional. "A drawing is either an artwork or not. Thus, the selection of the works in the present book is only due to their congruity and their disparity with my novel experiences.
I want to sincerely thank all my professors or anyone who has taught me a single word, and thanks are also due to those people, whom I have drawn their gestures and acts in the street and learnt from them a lot.
پس از سالها کار طراحی ، حال بر این باور پایبندم که شیوه کار ذهنی، کوتاهترین فاصله ای است که طراح برای رسیدن به " جان مطلب" می تواند برگزیند.
هر چند مشق هایم از روی طبیعت و مدل زنده غیر قابل شمارش است، اما آثار چاپ شده در این کتاب مجموعه است از کارهای زندگی ام که نشان از زندگی ، رفتار و روابط آدم هایی دارند که در میانشان زیسته ام و دوستشان دارم. شاید به همین خاطر است که بودن و شدن در کنار آنها را هیچ گاه بر مرکز نشینی ترجیح نداده ام.
هرگز میان "چه چیز را کشیدن" و" چگونه کشیدن" یکی را برنگزیده ام، برایم موضوع و محتوا به همان اندازه اهمیت داشت که تبدیل آن به هنر، زیرا می دانم گرایش به هر کدام، در واقع لغزش در گزارشگونگی یا فرمالیسم به معنای کلی آن خواهد بود.
تلاشی مداوم داشته تا در جریان داده های عصر خود باشم اما برتری میان کهنه و تازه، جدید و قدیم، معنی نداشته است و چیزی به ماهیت هنری افزوده و یا کم نمی کند. « یک اثر یا هنر است یا نیست، پس انتخاب آثار حاضر در این کتاب ، صرفا به خاطر هم سنخ بودن آنها و تفاوت شان با تجربه های تازه ام بوده است.»
Future, Sensitivity and Unanimity
. . .After making foray into the realm of painting and acquiring considerable proficiency in the field of drawing, Zia'-od Dini wants to know my idea regarding his designs, especially those which are to be published. I understand art through the whole I have read, seen and experienced. As I am involved in drawing, I have experienced that the look of a designer differs from that of a person who writes about this form of art, criticizes it or does business with it. Writings which rose from experience add a page to the art history as evidence to the art of their time; however, where we live, it cannot guarantee financial prosperity. The artistic experience causes the works of the ancients to be judged by the principal criteria confirmed by world's artistic authorities. This experience consists of the conveyance of old artworks to the modern time. The modern time affects the past time and vice versa. An artwork, like other phenomena, can be used in different cases, however for the artist it is not an article but it's a live and generative phenomenon. Here, we have nothing to do with the so-called "soi-disant paintings" which can be seen every where. A true work of art is beyond description. Anyway, Zia'-od Dini has asked my idea in this regard; I would like to say, before hand, that these are a type of placebo for both me and Zia'-od Dini, and also for the reader.
Before reviewing Zia'-od Dini's drawings I have to note that there have always been two basic misunderstandings about drawing: first, this illusion that there may be a pattern namely "fine drawing" which is an original form of drawing for reflecting reality; second: the dominant belief that all of the old master designers' drawings are in conformity with the rules of "fine drawing" stated by them or their olden masters. However, these beliefs are completely wrong; the logic for the artistic drawing does not match it. Throughout history and in the visual traditions, drawing has acted as a lens through which the designer, respecting visual disciplines, has observed their surrounding life.
Zia'-od Dini's drawing results in a bright understanding of the art of drawing and originates from two resources: first, the traditional concept of drawing; second, the theory and individual procedure which he has designed to solve the problem produced for himself. In most cases, released from the rigidity of classic mannerism, these two resources associate, and take shape as a constant move which is impeded by author's sense and thought or his free will. The creation of these designs resulted in the designer's benign look to the subject matter he is drawing; should it exists, it will establish collaboration between the subject and the designer and will create a visual intimacy.
Devoid from boasting about his drawings and freed from beautifying style and form, Zia'-od Dini, freed from visual formalities, draws explicitly and clearly. His figures, like encountering a metamorphosis process, have taken the shape of basic factors of human organ. Obviously, he draws his figures as they occur to his mind and his effort is to develop the conceptual aspects of images and to apply the quality of a fact to the area of the other. This excursion influences viewer's experiences and evokes an experience of passing from a tangible incident. The outer shape of some of his figures has taken the shape of the remains of an image, the great part of which, on the shore of the sea of the designer's mind, has been washed by successive tides of artistic theory.
Though none of these designs are like the original model, each one has their own reason for being clear that the complexion of people has nothing to do with their superiority or inferiority.
-Once mankind -for example a painter- recognized social classes, it became clear for them that portraying a poor individual is not worth less than portraying a beautiful aristocrat lady.
-Once sociologists or artists paid respect to the relative superiority of the local art it became clear that their apparently incomplete works -or works which were not the exact reality- not only are not imperfect but they also are more innovative and more inspiring.
-And also the function and value of the nationalistic movement which starts from Europe and developed into other continents afterwards. It is obvious that the effects of this movement were subsequently applied to nations who have not a country of their own name or language.
-I believe that during my late 50s, the history of civil man has been flourished. I would like to add that my reference to the period of understanding the beauty of the local art attributes to the age which, influenced by Picasso, brought about the creation of Cubism or adaptation of African or American Indian art.
In our culture, arrogance is disapproved. I have always tried not to attribute the supernatural genius and talent of a painter to me or to a dear friend like you; I rather like to presume kindness, love for family, folklore and language, a passion which can prove a child to be genius.
In this stage of your national renascence, I conceive of your drawing, your painting, what you would draw and what you would do, to be permanent. There is a confidence and a dignity in the word "permanent" that trembles me. All the time I intimidate myself not to have said nonsense.
According to Freud, these arrogance and humility should always run in modern man. However, a kind of wise reduction and humility is much more correct.
Now I can say that Hadi Zia'-od Dini is a designer. He is a hardworking designer. Of his characteristics can be mentioned speed, fluency and improvisation. One of his capacities is that he has a strange memory in drawing, of which I have not reminded him yet. I have not seen the like in
anybody yet. He has in mind all the miens, types of clothing, the sitting fashions and other poses which help him to illustrate them devoid of observing and repeating them. The variously-designed Kurdish costume and shawls simply represent opposite his eyes and he draws them.
Most often he employs the Impressionism and Romanticism schools. In Europe, as I know, students fear from becoming a trainer for it hurts them. Hadi has solved this problem because he is conscious in his teaching. He has never afraid of being copied by his students, hence annulling the European type of anxiety. It is more important that a designer dose not fear from creating a bad drawing. Making mistakes is the most usual sign of courage. The most significant mystery of pictorial arts is to draw fearlessly.
I am not worry to use words like sweet, unique and especially romantic, for gradually I see that Romanticism, right against Classicism, has an endless extent. Innovation means creating a balance against wisdom by a word namely «passion». I have seen your innovation in your sculptures or drawings; in your lines once the tip of pen hardly takes off the paper, or in lines which speak properly, rapidly and concise to pour a load of sensation on the paper.
I hope to remain unemotional once I receive your book of drawings. I have long-lived more than what I thought and I wish more than that for you.
Do love my daughter-in-law and grand children.
Hanibal Alkhas
هادي ضياالديني
طراح : هادي ضياءالديني
ترجمه انگليسي: سونيا رضاپور
تفکیک رنگ: فرآیند گویا
لیتو گرافی : نقش آفرین
چاپ دوم ، 1390 ، رنگ پنجم
تیراژ: 3000 نسخه
ناشر: انتشارات یساولی
تهران: میدان انقلاب، بازارچه کتاب، تلفن: 66461003، نمابر
66411913
تهران: خیابان کریم خان زند، پلاک 78، تلفن: 88300415، نمابر: 88832038
شابک: 7-490-306-964-978
بها: 7000 تومان
حق چاپ محفوظ
Hadi Zia'-od Dini
© 2010,1 1 by Yassavoli Publications, Tehran
Painter: Hadi Zia'-od Dini
English Translator: Sonia Rezapour
First Edition: 2009, Rang-e Panjom
Bazaarcheh Ketab, Enqelab Ave. ,13146, Tehran , Iran.
Tel: (9821) 66461003 Fax:(9821)66411913
78, Karim Khan Ave. , Tehran , Iran .
Tel.: (9821) 88300415 Fax: (9821) 88832038
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ISBN: 978-964-306-490-7
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