Simurgh’s Story

” Simurgh” is inspired by a tale named The Conference of the Birds or Speech of the Birds (Persian: منطق الطیر‎‎, Manṭiq-uṭ-Ṭayr, also known as مقامات الطیورMaqāmāt-uṭ-Ṭuyūr; 1177),which is a celebrated literary masterpiece of Persian literature by poet Farid ud-Din Attar (ca. 1142–1220), commonly known as Attar of Nishapur. The story is as follows: The birds assemble to select a king so that they can live more harmoniously. Among them, the hoopoe, who was the ambassador sent by Sulaiman to the Queen of Sheba, considers the Simurgh, or a Persian mythical bird, which lives behind Mount Qaf, to be the most worthy of this title. When the other birds make excuses to avoid making a decision, the hoopoe answers each bird satisfactorily by telling anecdotes, and when they complain about the severity and harshness of the journey to Mount Qaf, the hoopoe tries to persuade them. Finally, the hoopoe succeeds in convincing the birds to undertake the journey to meet the Simurgh, their “lost paradise”. The birds strive to traverse seven valleys: quest, love, gnosis, contentment, unity, wonder, and poverty. Finally, only thirty birds reach the abode of the Simurgh, and there each one sees his/her reflection in the celestial bird. Thus, thirty birds see the Simurgh as none other than themselves.

The work ( composition) Simurgh is an effort to contemporize the Myth that studies (observes) the personality of Simurgh in the modern society.

Each period of time creates it’s own and exclusive myth, according to the particular features and the distress of it’s generation. It seems that today Simurgh has a potential meaning, and although And although the seed of wisdom, integrity and meaning lies within it, it is about to disintegrate and fragmentate due to the concerns and characteristics of its time and it is still dormant in its nucleus and seed, and stravaigs through the questions of staying still or transforming.


This work is made of ceramic by casting technique , .first, a gypsum mold is made and then the slip is poured into it and finally, it is removed from the mold after some time. . The material of the body consists of: kaolin 50%, Balkly 20%, Feldspars 20%, Silica 8%, Bentonite 2%. In the first phase the body  was heated to 900 ° C in a klin and after firing, the body was glazed by spraying method and fired at 1100 ° C

Two distinct techniques have been used in order to glaze the work:  oxidation and reduction firings. By this mean each group of the eggs could get a different appearance and clearly distinct features and as a result of adding some details each of them obtains its own personality which is completely corresponding  to  the main idea of Simurgh.

This site uses Akismet to reduce spam. Learn how your comment data is processed.