BY: Azad Karimi
For me, art, although it cannot change the world, can make a valuable contribution from mobilization. This is why it is so important that we explore and refine our technique.
Interview
Argentinian Graphist Mariano Luna
By Azad Karimi
People liked the exaggeration that came from their fantasies and aspirations, and so on the sidelines of events and facts, they added things to the story that sometimes made the heart of reality and the denial of identity and nature, and legends and fairy tales were made from the myths. Like the myth of Maardu-Ka-A, in which all Kurdish historical and cultural elements are manifested in its Mithraic, Zoroastrian, Jewish, Christian, and Mandaean identities. In the seventh century AD and in the sixteenth century, this identity was attacked in two stages.
For the first time by the religion of Islam, which provoked a strong reaction from the Kurds, and with heavy casualties, carried out a large-scale massacre of the invading Muslims and kept them on the southern borders of Iraq and Syria. And in the second stage, with the invasion of Shiite Turks and Sunni Turkman, who with heavy casualties also kept them on the current borders of Taurus and Zagros. But after World War I, a systematic hostility began with the Kurds by the kings of Iran and the governments of the Republic of Turkey, and the newly established Iraq. But the Kurds remained. After every massacre of this nation, they stood up and greeted life and continued, and they saw the disgrace of their enemies, but they remained proud. Because God loves this nation. They are the children of Ijar. Owner of the fountain of the water of life. The arrows of these people are from the fiery water of Duzin and its poison is from the spirit of holy wine and khuma. Their arrows are Bajaar (toxic) and Bajaan (painful).
Jaan means painful, pain that is persistent and inflamed. It is usually used for labor pains.,He is Kesh because he pulls the bow. Khaani or Naazi or Zedaan means the bow of warriors. He is the Shezd, the thumb of Ized Maad. He is the eternal light of the crown of Tir(Mercury). The crown of the arrow means Shurupaak. There is Turaan and Zarathustra was there writing and explaining the wisdom of God. Shid shines from Tiraan(Turaan, Suriaan) and the top of (Shuropaak Mountain) on the springwater of the Shitini, and brings the justice of the Ized Maad, which is manifested in eternal Warmaz, to the people of this land. The appearance of Urmaz is Woshayar. The Savior. Maad Shiz-Gaz or Archer of God. Messiah.
He is the Grejana (Hinged Support) of the cow of creation because when the cow was sacrificed and brought to its knees, its right hand was bent but placed on its back and remained the same. The ox did not fall and the creation remained steadfast and survived. It is a luckiness ball that is manifested in the Zapishwin place in Rapish-ka (cow's carpus in right hand's knee) of the left side of Lla. The represents the victory cup, luck, and fortune-telling.
Therefore, he is Kaarduk, Gobakht, Nawbakht, Godarz,Kawlla, Uala, Llaawar, Wlli, Zaawlla, Zaalla, Zaaplli(under knee), Kaaplli, Kaablli, that is, he holds that cup in the palm of his hand to drink in honor of the victory over the enemies.
His warriors are: Wlli Khaat(Khaani Gaallpaat,Hero) ,PerrawshiDujaa (Flag-keeper), Tellaadaar (rider-scout), Ashkanaaz (Archer has sitt on his knee), Shizi(rider shooter), Kaapeli (Gate-keeper), Mardaasi(Night Warrior), Rrm-abazaaii (spirman), Khaatuzi (Female Warriors), Shurdas (swordsman), Janyaar (martial war and patriotic music player). They are under his protection.
Lla is the guardian of the (Kaapul-in) place, the watergate place. He is the guardian of the city gate. In this water, the Jolla (Weaver) comes and wash his dyed threads to take to the Khaat-Honi, so that she can weave his Zilu again by Nft u Nu or Waart u Wir(Knitting carpet by weft in warp) on her carpetright. like the human after the resurrection.
Khaat-Huni is the weaver. She is Ijaar(Venus)the Ized of eternal and material water.
The guardian of this figure, which is the manifestation of the spirit of the creatures of living beings, is the Kaaka Lla or the yellow lion sitting in the tower of Libra. He is Barzin because he is sitting under and parallel to the Gol-Charmu, and the right hand of Gol-Charmu is Rap(riding) on his back(Zaapin) and Lla (Ized Daadash-Raa) is caused the cow to be steady when the Ized Maad's knife cuts his neck. His manifestation is in the stars of Zargon, Sargon and Zarr-i-Duna, Naawkhasi Hazaraan, Chardori, Sardori, Chardnia and Saturn.
Saturn is a beloved Ized of orcharders, ranchers, farmer because he has the wheel of fortune and fortune and victory and fortune and agriculture in his hands. He gives luck. He is Naw-Bakhtan. He is the Paritun of the Ized Suri. His power is manifested in the Zarna tut or the golden forehead of the farmers' harvest. He is the Lord of hosts, and the spirit of his generosity is immortal. His power is in his crushing paw (Ashkenaz). Ashkenaaz ( Ashkan-Khaat) is the lion of the Ized Maad and with his powerful hands, he establishes justice.
Lack of knowledge about a subject is not a sign of the absence of that subject. Because ignorance is a relative matter, absolute knowledge in man is out of the question. That is not debatable, That is, whoever claims to be the wisest of human beings is only saying this to convince himself.
The treasury of knowledge is much larger than we think it is, but God was the Creator and non-existence surrounds it. We must strive to benefit from it and help human beings.
I would like to write more about this. I hope God helps me. I wish good luck and progress to my dear friend Mariano.
Thank you!
Vestland-Norway
1- Please introduce yourself (name, studies, marital status and ...)
.My name is Mariano Luna, I am Argentine, born in Buenos Aires but I have lived in the province of Córdoba for several years. I am 54 years old, I am married to María de los Ángeles and I have 3 children: Lucio, Paola and Sofía. In addition to being a graphic humorist, I have been an animator for more than 25 years. I alternate my profession as a cartoonist with teaching, Ontological Coaching and my profession as a volunteer firefighter.
2- What is your artistic specialty?
.My heart is with graphic humor but for work reasons I also move in the field of animation, illustration and comic
3- When and how did you become interested in this field of art?
.When I was 6 years old, I won a drawing contest for Billiken, a popular children's magazine in my country. From there I began to draw non-stop, especially because back then, children used much more imagination than now. Drawing was for me, the possibility of creating worlds in which I lived my adventures. Now with the Internet, that ability to dream and recreate our dreams has been lost.
4- Who was your motivator?
.It was definitely the cartoons I saw on TV. At that time, television in my country had only five stations and it was in black and white. It was the time of the wonderful productions of the Hanna Barbera studios and particularly in Argentina, of one of the artists who was a reference for me: Manuel García Ferré who produced both animated series for television and feature films for the cinema. Of course, I cannot forget the Disney films that my mother took me to see as a child in the old cinema "Los Angeles" in the heart of the city of Buenos Aires.
5- What was the reaction of your parents?
.Neither good nor bad. It is difficult, in general terms, for parents to take this vocation very seriously. Yes, I can say that I was lucky that they did not do anything against it, but there was not much support either.
6- When did you start as a professional artist-painter?
.My first job was at 17 years old. I started working in a humble publication of an advertising agency in Buenos Aires, in which I was in charge of the humor column. That's when I really realized how much I liked creating characters that spoke through that humor of reality, sometimes to make people laugh and other times to make readers reflect or be moved.
7- Are you grateful and happy for your activities as an artist?
.Absolutely. Moreover, I am convinced that this is not a simple job, it is a way of looking at life. In fact, it is a philosophy that I apply in all aspects of my life. Each of the things I do are made with the same passion, with the same commitment. And I am not just referring to what has to do with my professions, but I transfer this to my personal life, to my relationship with my affections. I don't think you can separate the artist from the person because that way the art would lose its authenticity.
8- How do you see the gaze on art, painting and the future of culture?
.I believe that art is permanently mutating. Today the digital revolution has spread to all or almost all artistic disciplines, in one way or another. And that seems fine to me. However, I believe that the boundary between art and entertainment has been blurred and for this reason the artist's commitment to his art is increasingly dispensable. Today the environment is full of improvised, conformist "Artists", without training or vocation to explore, which leads to a mercenary art market, full of painters incapable of drawing, with a very limited capacity to communicate. It is a selfish art, more busy showing yourself than sending a message. And art is communication, it is mobilizing the other. An art that is made from individuality is an art that denies itself.
9-Why do some paintings become immortal?
.I don't think there is a single factor for this. I think the art that endures is that which talks about us, about people. In my particular case, I believe that each painting tells a story and there are stories that are latent within all of us and that, to a greater or lesser extent, are common to all. I tell you a personal case. While at the Museum of Fine Arts in Santiago de Chile, I had the opportunity to see a plaster cast of "La piedad" by Miguel Angel. Of course, I was in awe of the technique but at one point, I realized that I was crying, just like that out of nowhere, that it had moved me deeply from one moment to the next. Reflecting later on the experience, I realized that what had moved me was the story that the sculpture told: It was not just an impressive work, it was not even a simple religious image. It was the pain of a mother who had lost her child in the worst way. This sculpture, it was telling me a story.
10- Can you be part of the artistic-cultural movement of motivation in the youth or new generation in your country and so on?
.I think it's part of going through life as an artist. Those of us who have been in this for a long time, we have the obligation to transmit to the youngest, this passion that we carry in our soul. Show them that art is a universal language, something that, if they embrace it with responsibility and commitment, will give them something very important: A reason for their life.
11- How can you help our world become a better place to live?
.For me, art, although it cannot change the world, can make a valuable contribution from mobilization. This is why it is so important that we explore and refine our technique. This will give us many more possibilities to communicate, to send a message as clearly as possible. I do not believe in the provocative artist, by mere provocation. I believe in the artist who works, who explores, who cares about learning because he is convinced that this will allow him to mobilize with his art, whether to address, for example, a social criticism, or to simply provide a temporary space of reflection
12- Do you have any more words to say or suggestion for our readers?
.First of all, thank you for reaching the end of the text. And then, that they take time to enjoy art in any of its expressions and in whatever form. Try to look a little beyond what is in front of your eyes. Do your part in the artist's work, wondering, being moved, reading the story that the artist wanted to tell you with a text, a melody or an image. As I said before, artists are, essentially, communicators, so without anyone who is interested in the message, our work loses its purpose.
