Haft paykar
Making art in response to issues related to the female body, and female experiences in society as a second-class citizens. My work was based on recent research and lived experience. I was always interested in working with literature and found many related stories within which we can discern women’s issues.
One of these stories was "Haft Paykar | Seven Portraits" written in 1197 by the Persian poet Nizami Ganjavi, better known as Nizami. It incorporates themes of exploitation, ambiguity, beauty, symbolism, multiculturalism, and self-actualization through various literary devices, including non-linearity and epic storytelling. A key segment in the poem is an association of the seven portraits, or seven brides, who are summoned by the story's protagonist—a heroic prince. The portraits (women) originate from various regions of the world such as India, China, Khwarazm (Russia), Siqlab (Slovenia), Magreb (Tunisia), Rum (Greece) and Persia (Iran). Each is designated by a different color, day of the week, and planet, which communicates her attitude and is the expression of her character. In this poem, we see beliefs that place men in power in the culture because the women have no agency and are even bought by the prince…just like property.
The reality is, as a woman no matter where you come from or what your background, from ancient tales to contemporary media, we continue to face narratives that only address half of humanity. In these narratives, the power, the control and the wisdom, all rest with men. Women have to make a great effort to see those things as possible for them, and everyone will have to change to allow true equality to rise.
“Haft paykar”, New York, 2019 © Negin Mahzoun
