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An Afghan writer wrote: The works of Faridollah Adib Ahein move away from photography and create a new tradition with its own characteristics. He uses photography and painting to harmonize with nature and is very successful in this field.

ادیب نقاش افغان ترکمن نیوزFaridollah adib 1 300x192 - A review of the critique of the works of Faridollah Adib Ahein

Nematollah Sarvari An art critic from Afghanistan believes: Adib Ahein is an artist whose work has different dimensions and challenges many critics. An art critic and writer from Afghanistan said in a speech entitled Paintings of the early years of literature: There is no contemporary artist like Adib Ahein in Afghanistan whose works have so many different dimensions that they challenge the critics.

According to him, many criticisms have been written about his works so far which shows the ability to analyze the works of Adib Ahein.

He added: Faridollah Adib Ahein’ works have various dimensions And it includes different ranges that are compatible with different art styles such as expressionist abstract, surrealist pop art  etc. and adapts very well to these styles.

This critic noted: The works of Adib Ahein each tell a unique fact and have always been criticized by critics. Which criticizes the literary works of the mass media.

He emphasized: Adib Ahein announced in 2010 that he intends to criticize the world of consumption and mass media in his works.

He said: “For art critics  the series of works of Adib Ahein, under which there are texts has a very high value. Because these works show the connection and recording of events between the art of painting and photography This critic posed two questions in analyzing the works of Adib Ahein And in the first question he emphasized the issue of why

the paintings of Adib Ahein look like a photograph at first sight And he considered the reason in the fears and apprehensions that the arrival of photography destroys the art of

painting He noted: In 1839 an art critic stated a theory That the art of painting is dead and Marcel Duchamp descends the stairs in 1912 due to a naked body confirmed this theory He emphasized: Adib Ahein in this work emphasized that the painting, figurative, is not finished And later by taking a photo of this painting he closed the file of this dispute.

He pointed out: Dushan held an exhibition in the United States in which he took photos of his works in the main work and announced the establishment of this exhibition. Each work is a unique event and has original artistic qualities.

He added: In 2015  Faridollah Adib Ahein resumed painting in his own style And created works such as Opium or Poppy  which is the mind based on the main events. This art critic considered  Anab painting as a way out of the art crisis.

He said: Adib Ahein has accelerated postmodern art in 2015.

He stated: Adib Ahein simulated photography at this time he believed that in the new conditions in which many changes have taken place. The art of painting must adapt to the times and become a photographer and not lose hand conditions such as painting on canvas.

He emphasized: Adib Ahein announced in 2010 that this is the main issue for me To create a photo not to draw it exactly and create photos with other materials.

This critic added: Adib Ahein does not seek composition According to Adib Ahein the ritual of composition means that the subject is in the center of the image He creates photographs that have the characteristics of a painting and are very similar to a photograph؛

In fact Adib Ahein works show a new image of the art of dead painting.

He said: The works of Adib Ahein are far removed from photography and create a new tradition with its own characteristics.

He uses photography and painting to harmonize with nature and is very successful in this field He also addressed this issue in his second question Whether the plans that Adib Ahein works with are coincidental Or that the subjects and paintings of Adib Ahein are the result of his personal experiences,?

The critic said: Art experts always believe that the works of Adib Ahein pursue a kind of personal interest of the artist And this criticism was leveled at his works but critics pointed to a kind of disconnect between the works of Adib Ahein.

And in 2015, a critic announced  In the works of Adib Ahein the lack of composition style and content are the main features.

He emphasized: Adib Ahein has stated in a place that I will never present a subject to the audience of my works. Rather I am influenced by subjects but I must emphasize that the world depicted by photography has different facets in itself. Of course the critics of these words considered Adib Ahein as carrying on his defensive state.

He pointed out: Adib Ahein paints on canvas in different ways the combination of which causes them to be processed as if they have nothing to do with painting.

But with a precise classification and knowledge of the biography of Adib Ahein we come to the conclusion that he reconstructs facts in his works. He added: Adib Ahein once said that the works I create have the same value, but by examining some of his works we find out his personal motives. And years later he admits that the context of my work has been a reflection of my personal and social life. And by not saying this, I have tried to keep my peace of mind.

The critic added: At one point, Adib Ahein stated that the topics he is working on have a message.

Years later he denied it citing that he kept his composure saying I was particularly interested in some subjects. And the opium status signs are tragic for me because I think it reminds me of my childhood and my student days.

He stated: This opium is from the life of Adib Ahein

and himself and he also shows the subject in his other works such as Anab.

He emphasized: Adib Ahein announced years later that neutralizing the content of his paintings was an excuse.

To hide his personal motives in this format and not to label his works as sentimentalism.

He stated: In the paintings of Opium and Raga Mala he has this political meaning and in fact he gets lost in the background of his works.

He wrote about this artst: Faridollah Adib Ahein (born November 7, 1965 in the ancient city of Herat) is an Afghan engineer, inventor, creative innovator, entrepreneur, artist, painter, researcher, researcher and collector living in Iran. Adib Ahein is one of the leading painters of the Abstract Expressionist movement in Afghan post-conceptual art And his genius is especially evident in Afghanistan. He has his own unique for his paintings with action, drawing, spraying techniques Adib Ahein Collection of Nasrollah

Sarvari Paintings Ganjniyeh Honari  Themes (Cultural, Literary, Historical, Social, Political, Philosophical) and Facts have been portrayed in all angles of Afghanistan throughout contemporary history Adib Ahein is known for its

collection of works of art culture and history of Afghanistan. His collection has attracted the attention of many important museums in the world, especially in the Middle East.

Adib Ahein collection has been registered by the General Directorate of Museums of the Ministry of Cultural Heritage of Iran as Azure Way Collection The main asset of Adib Ahein is his collection, which is worth two hundred and fifty million dollars. Adib Ahein had four inventions between 1981 and 1991 And on 6 – 6 – 1991  the invention of welding machine and plastic press on fabric by radio waves For the first time in the world For twenty years Registered in his own name And obtained a patent from the Companies Registration and Industrial Property Office (Iran) In the 1990s  Faridollah Adib Ahein became the operator and designer of

telecommunication systems for mobile to fixed converters for Iran Telecommunication Company for six years. Adib Ahein has been the executor of several innovation projects And is now researching the development of intelligent crop irrigation control intelligence according to FAO Penman Monteith (ASCE) standards.

Author: Nematollah Sarvari

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