Forest Heart Hoto Itace daga Mohamadali Vadood

Zane Forest Heart Hoto Itace daga Mohamadali Vadood mai nasara ne mai daraja sosai na 2020 Kyautar A' Design Award ta Baƙin Ƙarfe a Rukunin Gasar Fasaha.

Baƙin ƘarfeFasaha· 2020

Forest Heart Hoto Itace

daga Mohamadali Vadood

Abokin Ciniki: Gerdayesh

Mai Nasarar Kyautar A' Design Award ta Baƙin Ƙarfe a Rukunin Fasaha

16,991

Mai Nasara da Aka Tabbatar

Tabbatar da Matsayin Kyauta na #86837

Ziyarci Shafin Duba a A' Design Award Sanarwar Manema Labarai Alamar Kyauta

Launuka

Ƙirar

Game da Forest Heart Hoto Itace

Zuciyar daji aiki ne mai kama da na Naqshbandi, hanyar yin marquetry mai da'awar cewa shine aiwatar da sabon lokaci a cikin wannan tarihin fasahar katako. A farko, yana nuna adon tsuntsu, kowane yanki na jikinsa daga itacen dazuzzuka. Batun na musamman, duk da haka, ba wai kawai kiyaye launuka na asali na gandun daji ba ne, kamar yadda ake yi a koyaushe a cikin dukkan ayyukan marquetry, yana kuma adana tsari, raƙuman inuwa, da laushi. Duniyar fara binciken abubuwa kowane iri tana da koda irin girman girma, don haka masu kallo zasu iya hango kyawawan abubuwan dazuzzuka.

Amincewa

Game da Kyautar A' Design Award ta Baƙin Ƙarfe

Zanen Forest Heart Hoto Itace ya lashe Kyautar A' Design Award ta Baƙin Ƙarfe, wata karramawa mai daraja da ake bai wa kyawawan zane-zane waɗanda ke cika buƙatun ƙwararru da masana'antu da ake tsammani daga ƙirƙire-ƙirƙire da aka tsara da kyau. Waɗanda suka lashe kyautar Baƙin Ƙarfe suna nuna babban ƙwarewa, ƙwarewa ta musamman, fahimtar ƙwararru da ikon ƙirƙira na masu ƙirƙirar su. Ana sa ran zanen Forest Heart Hoto Itace ya zama ƙirƙira da ake girmamawa sosai, ake sha'awa da ƙauna wacce ke da amfani kuma mai sababbin abubuwa. Wannan zane da ya lashe Kyautar A' Design Award ta Baƙin Ƙarfe yana haɗa mafi kyawun ayyukan fannin kuma yana da halayen fasaha masu cancanta da ke da alaƙa da sanin yadda da baiwa. Ana girmama zanen Forest Heart Hoto Itace saboda cikakkiyar kulawarsa kuma an tsara shi don ba da ingantuwar rayuwa da ke taimakawa wajen mai da duniya wuri mafi kyau.

Bayan Ƙirar

Kayan Manema Labarai

Bayanin ƙungiyar, membobinta da cikakkun bayanai na fasaha da mai ƙirar ya bayar.

Siffofi Na Musamman: This art project tries to fulfill three intended purposes:
1. Taking a fresh look at wood to explore a new perception in it and to harmonize with its pure nature as well, so we can come up with original ideas to create real art.
2. Applying an innovative technique in working with wood and also in using common tools so we could achieve adequate quality in our performance.
3. Discovering, creating and defining new ways to gain desired images by tracing natural patterns in pieces of wood and making a synthesis between them.
Girma da Fakitin: The size is 35 in 60 cm.
The thickness of wood sheets were 4 mm.
The number of pieces are 47.
The weight is 700 gr.
All the colours and shades are chosen carefully to seize the natural fortuities in the woods.
Kalmomin Alama: naqshbandi, wood pattern tracing, marquetry, wood pattern, double cut, wood texture, wood cut, coping saw, wood character, wood art
Fasahar Samarwa: Defining a geometrical table based on cutting angles plus a method of cutting for even 1 mm pieces, and trying to have desired wood patterns and spots by restoring in perfect conditions like natural moisture percentage, etc. to benefit from bacteria activity were the main production phases.
The types of wood, they were haloxylon for the body and the head, barberry for the tail, fig for the feet, tree of heaven for the nose and the leaves, acer monspessulanum (keykom) for the leaves again, jujube for the beak, European ash for the background and wenge for the margin.
The tools were coping saw, plane, sanding paper, nail and hammer.
Ƙalubalen Zane: Defining geometrical patterns of cuts so that pieces of wood could save their original patterns, overcoming the thickness of cutline without using primer, and coming up with the idea of what I call Double-cut at the time of sanding to prevent the destruction of sub-patterns and sub-textures and save the main image are the parts of this work that ended up being its challenges.
Bincike: Naqshbandi is a new method or attitude which is used to create this piece and aims to benefit from connecting lines, expanding textures from one piece to another, and deciding upon the true light shade, not just the colour contrast and various tonalities as it is usual in other works of marquetry. It requires the artist to make a full-hearted attempt to harmonize themselves with the nature of wood as much as possible, and help them grow a clear perception of their work and gain a direct inspiration from natural fortuities given by wood. So, the whole thing will finally sound the art of nature in the eye of beholder.
Wahayi: Natural wood structure, consisting of a variety of colours, illusory lines, special texture and darkened and bright spots with special makeup during the growth of the tree, can broaden any individuals' horizon in many impossible to imagine ways. The cutting angle of the wood makes these motifs look even more varied on the surface of a piece, cut from the main wood. With this discovery of what the cutting angle leads to what l am thinking of, l came up with this idea that I would find a base for this to control the patterns, lines and colors of the wood to create an originally incredible image based on the nature of wood and not manual changes.
Tsawon Lokacin Aikin: This work was created, in Tehran, started and finished in 2010, and to find appropriate woods they were provided from different places.
It took 6 months to accomplish the project as it turned out to be time-consuming to find desired wood pieces.
Tsarin Aiki: In this project-like work of art you can see a specific way of working with wood using the fewest pieces and mainly benefiting from the natural colour and also texture of the wood so you can build up a perfectly complete image, which actually cannot be repeated or copied as patterns in each piece are naturlly unique. Thus, it can be artistically used as a piece of decoration, specifically in wood-based decorated spaces on the wall or a shelf.
As for the transformation, it could be carried in a box of the same size and as it deos not weigh that much or take up much space, it does not matter a special transport.
Mambobin Ƙungiya: the artist and the founding father of the method: Mohammad-ali Vadood