Sheikh Attar 1960

Editor: Hossein Behzad's watercolor miniature, *Sheikh Attar*, painted in 1960, immediately gives me a feeling of serenity. There's such peace in the figure leaning against that tree. What captures your attention when you look at this piece? Curator: Oh, the languid posture, the sheer weight of contemplation. It's more than just a portrait; it's a meditation on the self, isn't it? I think about Persian miniatures, those jewel-like illuminations, and how Behzad both honors that tradition and gently nudges it forward with a modernist sensibility. Look at the colour palette, all delicate creams and ochres, like time itself has mellowed the hues. Editor: The colours are striking. The pastel palette really enhances that mood. Can you talk more about how he updates that tradition? Curator: Consider that naive style in the rendering. A perspective and simplicity more aligned with modern art’s deconstruction, isn't it? Less formal portraiture, more an impression, almost a memory of a holy man. Editor: It definitely feels dreamlike. What about the way the figure is placed in nature? Curator: Nature cradling spirit, wouldn't you say? The Sheikh’s connection to the natural world – the tree, the tiny blossoms – speaks of a unity, an interconnectedness, much like Attar's Sufi poetry itself, you know? A merging of earthly and divine realms, all under the quiet rustle of leaves. What is your feeling about that sense of timelessness when you reflect? Editor: I see it now; that quiet blending of past and present. I initially focused on the serene mood, but understanding the context makes the piece even richer. Curator: Exactly! The way tradition dialogues with the present—art perpetually re-interpreting the threads of existence and of human experience itself.