Although never learnt painting in an academic manner and it was only at the age 70 that she began to experience painting, but Monavar Ramezani’s carpet making and designing carpet pattern for several decades, enabled her mind and eyes to apply visual elements and image making concerns, in order to find her own visual language through her personal solutions. On the other hand, this visual language served as her simple and unaffected expression of life. These two together, simplify communicating with her works and the audience can reach her illustrative world by caption keyword and perceive her subjective and pictorial apprehensions.

Interwoven carpet with painting in Naneh Hassan’s works is not restricted to inclusion of carpets in her paintings-either in the interior or exterior scenes. The use of rhythms and repeated motifs, stylization and iteration of figures and translating them into pattern and motif, central forms of circle and rectangle, symmetries and specially borders, liken her paintings to carpets. Sometimes it depicts a scene in regard to sitting beneath the seat or around the tablecloth, with circle and polygons motifs in the middle, and a border similar to the carpet painted at the two sides of fibers (warps) all make the audience wonder if it is actually a painting or a carpet?

Regardless of the art history, academy, theory, artistic traditions and the Iranian and world painting, Naneh Hassan’s painting is the continuation of her carpet making tradition. When she is not curbed by warp and woof, Naneh Hassan figures out solutions on her own initiative, with pure and sharp colors and vibrated lines. How does she paint profile? How does she illustrate people sitting beneath the seats or around the tablecloth in 360 degrees, and all faces can be seen? With maximum simplicity and minimum elements, the figures have personality and are not the type. Carpet weaving taught her accuracy and patience, so that tiny details, excessive punctuation, detailed borders, are just natural to her. Consequently her fully detailed paintings are fluent.

Naneh Hassan unaffectedly depicts her life, ambient, dreams and beliefs in her paintings: she, on one hand, illustrates herself, her childhood, her father, her husband, her son, her lost children; and, on the other hand, the Prophet of Islam, Rostam and Suhrab and so on. Her precise perspective of the milieu encompasses architecture of domestic residences and mosques as well as rivers and the cemetery. She, additionally, portraits wedding ceremonies and Chaharshanbeh Suri and the Yalda night feasts, mourning for and addiction of her relatives along with folklore tales and epics and ritual narratives of her location. Her paintings include a wide range from washing clothes to her dreams, sorrows, joys, and her inner whispers and secrets. Naneh Hassan’s paintings are the continuation of her carpet making tradition and illustrate life in her specific visual language.

Hamid Severi