The present work is a calligraphic form of one of the finest poems of Hafiz produced on canvas. A translation of the poem reads:
Plant the seed of friendship that brings fulfillment
Outroot enmity that brings immense agony
The works of Rasouli break the boundaries between calligraphy, painting, and typography. The resulting ambiguity gives rise to an art form with a purely Iranian spirit, capable of existing in this new atmosphere. In other words, the application of canvas and paint as ordinary materials in painting, on the one hand, and readability and meaningfulness, on the other, link aesthetic traditions of Persian calligraphy and literature to the art of painting. This enables figurative lines to change into Conceptual Art. The graceful dance of letters in Jalil Rasouli’s work coupled with Persian taste led traditional calligraphy, which with the emergence of Modernism had already been shrunk to an isolated, introvert art form, to a new world. With an admirable skill and tender fingers, Rasouli tames letters and words; letters are connected to each other softly and gently, and twists and turns make way for an artistic imagery.
Skillful application of paint together with the meaning of the inscribed poem adds to the significance of the work. “Plant the seed of friendship” in red that has taken most of the space is a simile for blood spilled over the black dead heart, wiping out the “agony of enmity”. The formal combination of letters as well as their intertwining recurring forms complement the tradition of calligraphy practice that this time, is represented in a graphic design with modern composition.
Throughout his professional career, Jalil Rasouli has followed the example of pioneers, mentored by masters such as Zarin Khat and Mirkhani. He was a follower of Mir Emad Hassani and Abdolmajid Darvish, working hard for many years to become a calligrapher. Throughout his constant practice, Rasouli never remained an imitator and managed to develop a personal style of his own. He has never abandoned calligraphy. He has always strived to portray something that is legible, as he believes, “Calligraphy is an art form with no ambiguity.”[1] This distinguishes his work from that of the artists who have practiced calligraphy-painting.
[1] A Chat with Jalil Rasouli, Khiyal Quarterly, Autumn 1981, p.193
