Make sookht effects

Attention to Artists and Art Enthusiasts:

In light of recent events, where certain individuals, under the guise of reviving art, have resorted to profiteering by creating artworks titled “Burned Painting,” I would like to make the following statement:

After the Qajar era and the works under “Lucky Lacquer” and “Padram’s Watercolor” by my father, many of which are still sold under the names of specific artists such as Moein Mosavar, Behzad, Reza Abbasi, and Shafiee Abbasi in Turkey and England, and after the constitutional period and the restoration of the Forty Columns by the order of Reza Shah, and the 140 workshops of my father’s carpet weaving before World War II, “burned art,” which had been used on book covers since the Timurid era until then and was on the verge of oblivion, was revived.

During the years 1921-1931, my late father innovated and completed this art form using ten different art techniques and brought it onto canvas, naming it “Burned Painting.” Samples were created for well-known individuals of that time, including Reza Shah Pahlavi, the families of Dr. Atash, Kazeroni, Hamdani, Kasaii, Dr. Moein, Jaber Ansari, Imami, and others.

Afterward, my late father, along with Mr. Khataei and Mr. Taghi Kalbasi, managed to create marquetry works using skin mummification and 24-carat gold leafing. Although during my father’s time, a student who had been expelled after two years attempted to commercialize and counterfeit this art school by simulating it through painting on leather (non-mummified and superficial leather with weak gold leafing), after the Islamic Revolution, I, along with considerable effort, spent five years in Tehran facing numerous threats and harassments from individuals such as Manouchehr Zolfonoon, who at that time was working as a judicial expert. I succeeded in thwarting a group of forgers who were changing the signatures of my late father’s works, especially those of Ferdowsi’s commemorations in 1931.

Unfortunately, even today, some profit-seeking individuals, with malicious envy and by exploiting images of my works over the years, are making fake works in the style of the Imam School (painting on leather under the title of “burned”), and they continue to mislead even with the age (several decades) of my works.

To esteemed colleagues, I say, be cautious of these deceitful individuals and their expertise. Do not be deceived by their academic credentials and titles. These profit-seekers, who over the years with much jealousy and malicious intent have tried to exploit my father’s signature, are just sparks compared to your own brilliance. Do not owe yourself more than you are.

Their justifications might be that Imam himself was not the founder of this school. My father, on his own, revived the Safavid style of art from beneath the ruins of the great Qapo palace. All carpet weavers of that time, upon his passing, are indebted to his efforts.

I am not saying this; it’s not New York Times saying this. Calligraphers and experts of this art are saying this. He was also an art revivalist of burned art and the innovator of “burned painting.” Being the founder of a school requires first being a master, and mastery requires immense effort, effort, effort.

Zinat al-Sadat Imami