About > Biography


Mohammad Ehsaei was born in 1318 in Qazvin and graduated from the Faculty of Fine Arts, University of Tehran. [2] He started his career as a professional with the former magazine Shir and Khorshid Youth Magazine and then joined the textbook organization, where he was paginated and then supervised. Graphic studio was busy. After a while, he started working as an expert in art books for the third year. The experiences that followed his collaboration with the Pars Art Foundation and his association with people such as Morteza Momayez, Aydin Aghdashloo, Ali Asghar Masoumi and many others made him closer to graphic art as a painter and calligrapher. Gradually, his presence in the field of graphic design and especially typography and aesthetic play with Iranian and Islamic letters is felt more than in areas such as painting. Due to his extensive experience in graphics, he was instrumental in launching the field of graphics at the Faculty of Fine Arts, University of Tehran.

Mohammad Ehsaei is considered to be the inventor of calligraphy in Iran and was the first person to use letters as a means of personal expression in “Khayyam’s Knots” in 1347. He was able to call himself a Saqakhan painter to “tradition”. And then he considered “calligraphy” and most importantly “calligraphy” closer, and the reason for this was loyalty to the traditions of calligraphy and connection to the real form of letters, and his approach was to move from calligraphy to painting and to use visual and conceptual elements and arrays of painting in He paid for his calligraphy.

Khayyam’s Knots, oil on canvas, ???x ???cm, private collection, 1968

This work was done by this artist a few years after the Saqakhaneh painters, and was first opposed and then faced with a flood of calligraphers. He was also more diligent in his calligraphy, presentation and development than others, and still continues to be The domestic and international arenas have shone brightly.
Ehsaii started painting paintings in 1975, which are mainly formed with the word “Allah” or the verse “La ilaha illa Allah” and, according to him, is a kind of pictorial mention of “Allah” and a manifestation of Islamic mysticism and Sufism. He has done these works several times so far, which is known as the works of God, and in his latest achievement, he has completely eliminated color in order to create a new design in the colorlessness and helplessness of white on white and black with black, which are both manifestations of light. Be. This form of his work is also known as the “Eternal Alphabet”.

Ethernal Words, white oil on paper, 70x70cm, private collection, 1998

Other notable works include the design of signs for the Nahj al-Balaghah Foundation, the Niavaran Cultural Center, the Academy of Arts and the Textbook Organization, the Graphic Museum of Iran, as well as the titles of many recent newspapers. Mohammad Ehsaei has participated in dozens of solo and group exhibitions before and after the revolution in Iran and other countries, including the annual Swiss Ball Exhibitions, the Bologna, Hangzhou and Ishia Society exhibitions in New York.

Logotype, Nahj-ol Balaghe, 1982 / Logotype, Iranian Textbooks Organoization, xxxx

Statistical work in the field of graphic design has a calligraphic appearance and from the poster to his signs, all of them are first summarized in letters and structured and measured games with a combination of letters and finally play a graphic role. Due to the combination of tradition with innovation, the audience finds a favorable relationship with his works, and perhaps this is the point that has caused his works to always be considered by artistic circles, both in the years before and after the revolution. In addition to official success, statistics on the sale of works of art at home and abroad have also been record-breaking. In April 2008, at the Christie’s Dubai International Museum of Modern and Contemporary Art, her work sold for $ 1.8 million. In later periods, his works sold for $ 650,000 and $ 500,000 at Sotheby’s and Christie’s auctions in London, Dubai and Doha, respectively, and were widely covered by the international media.
Eileen Kinsella, ‘An Emerging Market’, ARTnews, February, 2009

God’s Names, oil on canvas, 200x300cm, private collection, 2004

In addition to official success, statistics have also been recorded in the field of selling works of art inside and outside the country. In 1385, the most expensive calligraphy painting of Christie’s Dubai auction belonged to him called “Asmaullah”. The work sold for more than $ 100,000. In 2007, no trace of statistics was present at the auction. [6] But this year, two of his works were sold at the large exhibition of the group Haft Negah for 20 and 15 million Tomans. [7] In the auction on the second night of November 2007, a painting The artist’s calligraphy sold for 88,000 هزار (more than $ 217,000) at the Sudbys auction in London, which was widely covered by the international media. This work had the highest auction price of the gallery and this is the first time that the calligraphy of a contemporary Iranian artist has been sold for such a large amount.

Mohammad Ehsaei also has valuable works in the form of reliefs. In this part of his artistic activity, the main element of his works is still calligraphy and creative play with letters. The most famous and popular of them is the prominent role of the meeting hall of the Faculty of Theology, University of Tehran, which he performed in 1977.

Hall of Faculty of Theology, University of Tehran, 1977

A great work that in the form of letters and games with movement and combination of words has a sensory representation of Attar’s poem in the region of Al-Tair and the ups and downs of Simorgh. Another work that is a statue in the form of a relief is the facade of the Iranian embassy in Abu Dhabi, where the way of creating art is completely different from the hall of the Faculty of Theology in Tehran, and the monolithic letters are on a seemingly ancient, geometric and abstract background. Letters that make our calligraphic art intertwined and common with the Arabs in lines such as the third and the researcher, and also arouse their interest.