This work by Tehran-born artist Charles Hossein Zenderoudi, executed a year after he moved to Paris, embodies the amalgam of national, religious, and personal mythologies that characterizes his practice. Its dense ornamentation reflects the motifs of vernacular prints and astrological talismans found in Tehran’s bazaars, as well as Shiite iconography and sacred calligraphy. At the same time, Zenderoudi has described this work as a depiction of "my father and myself"; the artist appears at left, arms raised and head lowered, while his father appears as a composite figure at right. Zenderoudi was one of a group of artists dubbed Saqqakhaneh, who sought to develop a uniquely Iranian language of modernism in the 1960s. Though the artist’s visual references are culturally specific, his aims are universal. "Men the world over are identical and can all read my work," Zenderoudi once said. "What matters is to achieve a harmony between the person who created it and the spectator."
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