ArtDayMe : The creative painter Salman [Abdollah] Moghadasi was born on August 16, 1977, in Tehran.

From childhood hardships to the heights of art

He is the third kid in a huge family of seven. His father, Mokhtar, was a clerk who retired to become a farmer, while his mother patiently and compassionately maintained a pleasant family environment.

Salman's playful and occasionally chaotic childhood made his early education difficult. His scores below ten were evidence of this. Despite failing school for two years, his enthusiasm for art, particularly painting, remained unwavering. He didn't care about calligraphy or even proper writing, but the intricacy and elegance of his paintings set him apart.

On his older brother's urging, he joined the Calligraphers Association before starting high school to better his calligraphy and academic performance. This approach worked, and he registered for the Conservatory's Visual Arts examination, which marked the beginning of his artistic career.

He says that meeting Mohammad Ramin Zia, a master calligrapher and graphics tutor, was the most significant shift in his journey. The Zia's support and lessons, as well as his further studies, led him to the university's Visual Communication program, where he was surrounded by books and pieces of art.

Salman Moghadasi studied advanced calligraphy under the tutelage of masters Abdollah Foradi and Mohammad Heidari. Salman taught that each workout and artistic note should be treasured as a valuable work.

He spent some time teaching art to pupils in elementary school through high school. Regarding his teaching career, he states, “I was learning as much as my pupils in my classes, so I wasn't just a teacher.”

In the course of his university studies, he met and married a Tabriz-based microbiologist.

International success

Salman attended the first International Calligraphy Conference of the Islamic World in 2002, where he won first place in the New Trends category.

The encouragement and support of his family, especially his wife, motivated him to keep studying and practicing more assiduously in spite of the pressures of life and work. These endeavors included a variety of activities such as visiting galleries and museums, discussing ideas with professors and artists, and interacting with experts in other fields such as sociology, history, philosophy, and knowledgeable clerics, as well as studying the incredible creations of Iranian and foreign artists.

He felt that all of this contributed to the coherence and depth of his artistic vision and works. Successful shows in China, Russia, Iran, and the United Arab Emirates were a manifestation of these activities. The "Holly Verses" show in Tehran's Niavaran Cultural Center Gallery in 2021 marked a watershed moment in this journey, drawing the attention of numerous scholars and artists.

Technique alone is insufficient

His artistic message in this exhibition contains some intriguing points:

Salman Moghadasi has spent more than two decades studying and researching world art, particularly pre- and post-Islamic Iran, with a concentration on calligraphy, painting, and architecture.

This is undoubtedly part of Salman's inventive search for work. His creations attempt to bring the contemporary human together through shape and space, pattern and color, and a new yet familiar emotion.

Some art theorists view Salman's distinctive writing style of "Bismillah" (بسم الله in Arabic) as an illustration of his contemporaneity, which provides the audience with a specific address in an abstract environment and without even the slightest adherence to the geography of letters.

Moghadasi appears to believe that simply learning and practicing art will not lead to artistic development. The artist should take advantage of other sciences and life experiences rather than concentrating just on art and aesthetics. An artist's work will be richer and more powerful if their knowledge and experience are more extensive.

Philosophy of Art: From Bismillah to Signature

Salman Moghadasi says: “Like many artists, I have had experiences over the past 20 years that are frequently comparable to hundreds of other instances. I sought to follow a path that was unique, clean, and innovative. But then I understood that dozens, if not hundreds, of individuals had gone before me, and they had done it better.

This surprising fact is both positive and negative! Positive in that my movement is acceptable within the framework of artistic norms; negative in that the beauty of art consists in rediscovering, creating, and reflecting on a component of the universe of meaning for the first time.

As you, filled with pride, raise the flag of victory upon the heights of art, you become aware that this area has been won numerous times before you. Although this is a painful experience, for a passionate artist, it is only temporary and gives place to a fresh effort. The sense of failure quickly transforms into a worthwhile experience.

I've always thought that an artist's level of success is based on how much they know and have experienced. I therefore made an effort to broaden my research and methods. This journey caused a shift in my perspective around 2019. When I was exposed to more seasoned artists, the shifts became more significant. For me, their comments—whether positive or negative—were an indication that I was making progress.

My first idea was to investigate the energy and situational consequences of words and speech, which evolved into a project. Words and sentences have a significant influence on the world around us in Islamic culture. Sometimes this impact can be measured, and other times it cannot.

According to Islam, the power of speech is so great that in some contexts speaking can be viewed as the worst sin or the act that is most antagonistic to God, while in other contexts, not speaking is regarded as the highest virtue.

If we were to choose the shortest, most prolific, and most powerful speech of all, we would arrive at the phrase Bismillah. The core of all Islamic and Quranic knowledge is included in this phrase. The Quran is said to include all of the world's wisdom, and the entire Quran is included in the chapter Al-Fatiha, which is itself included in "Bismillah". This sentence marked the start of an adventure for me: a project that investigates the concept of "signature" using a new philosophy.

Signatures, as the most compact and abstract expressions of personal identification, play an important part in our social lives. This sign, which is frequently a reflection of an individual's personality, self-esteem, and social status, has remained in place from the past to the present. Many people invest money or get training to have a beautiful and justified signature because they believe it is more than simply a sign; it represents an individual's identity and personality.

Despite technical advancements and the introduction of digital signatures, this apparently little mark continues to play an important part in determining our identities. This level of knowledge about the concept of signature inspired me to choose it as an artistic topic and attempt to view "Bismillah" from a new perspective.

These paintings try to depict the relationship between identification and spirituality; Signature represents human identity, while "Bismillah" is an extract of heavenly identity. I used a range of instruments and surfaces in various sizes rather than the standard writing implements, which are pen and ink on paper. This procedure resulted in hitherto unknown forms and shapes of "Bismillah".

The combination of traditional and natural materials, such as gum arabic, as well as authentic hues used in Iranian art, with modern materials and colors, such as acrylic, creates an intriguing experience of the past and present. While developing works based on this, I'm also investigating and exploring new and diverse experiences.

In the art industry, an artist encounters a variety of challenges, including societal constraints, public expectations, and financial issues that all can have an impact on his or her creative process. These difficulties ought to be viewed as a necessary component of the creative process.”

 Moghadasi's showroom on Al Khayat Avenue in Dubai

Following successful shows throughout Iran, the Middle East, China, and Russia, Moghaddasi unveiled a unique and thought-provoking collection in 2023 on Dubai's famed art strip, Al Khayat Avenue.

This phase is the start of new journeys and, in a sense, his second significant and protracted step toward achieving stunning and creative visions.

His life and endeavors are not solely focused on delivering a magnificent work of art. However, it also reflects his great commitment to developing a field of ideas for human beings to achieve perfection. And because of this, he is now one of the most prominent and up-and-coming figures in the field of modern art.