IRAN IMPERIAL
The Sovereign Soltan Qeumars Shah Qajar
‘Beloved Aborigines’ Arts and Exhibition
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IRAN IMPERIAL شاهنشاهی ایران
‘Beloved Aborigines’ Arts and Exhibition

Welcome to this website. The artwork presented on this site was created by His Majesty The Sovereign Soltan Qeumars Shah Qajar Head of Monarchy.

                                                              Background and Inspiration

‘Beloved Aborigines’ stands as the feature artwork for this Exhibition. The unique illustration reflects the experience of Aboriginal people who have been dispossessed of their culture, tradition, spiritual history and connection with their sacred lands. It is a portrait of a young Tasmanian Aboriginal man, an ancestor of Wurundjeri people. As we look upon this pure and innocent human being, who lived in times when their lives and their lands were pristine, our conscience is the reflection of there experiences, particularly when you read the words that have been used to create the illustration.

His Majesty The Sovereign devotes this Exhibition to the Australian indigenous people to whom he expresses his gratitude and acknowledgement for the respect and gifts they have honoured him with. Through some unexplainable connection the Australian indigenous people have given immeasurable recognition and support on a number of occasions. Some of these events are capsulated within the artwork. You may also read about some of the relevant historic events on this website.

The illustrations are uniquely composed of the words of His Majesty’s poetic verses, mostly in English, and are revolutionary in the history of Art. These illustrations are titled ‘talking pictures’. Almost everyone who has seen His Majesty’s artwork, have titled him ‘Soltan of hearts’. Many people have expressed their view that the illustrations are as revolutionary in the 21st century as the works of Leonardo da Vinci was in the 16th century.

His Majesty The Sovereign explains his works by saying "Every letter has its own soul, every true word has its own spirit, and thus, the spirits of true words create the illustrations." The Exhibition demonstrates his journey through life by artistically reflecting his experiences and worldly knowledge within his artwork. These artistic stories are poetic and will undoubtedly touch the heart of those who take the time to understand them, as well as appreciate their intricacy.

His Majesty The Sovereign was kidnapped in 1987 whilst visiting Turkey. Taken to underground prison cells and did not see the outside world. Between 1987 and 1990, the actual date still unknown, he was brought to Australia without his express consent and against his will.

Through his journey of life, His Majesty The Sovereign has made many paintings, drawings, illustrations, photography, verses and poetries, including pearl, opals and jewellery designs, sculptures, pottery, and many more. In 1996 he designed and then built a full scale 16th century majestic Galleon which is fixed to the land and forms a shopping centre known as ‘The Ark’, situated in Kuranda, North Queensland. Almost all of his earlier paintings and artworks have been stolen, damaged or destroyed in circumstances that cannot be summarised in this article.

Amongst the collection of his artworks and paintings include the emblem of ‘The Guardian for Justice and the Peace’, which His Majesty made it in 1984 in Iran at the age of 15. His Majesty advocates the splendour of Persian arts and the thousand of years the perception of its magnificence will remain for eternity. The collection also includes magnificent landscapes and amazingly life like representations of wildlife, as well as life drawings, including "The emblem of ‘Freedom is our inheritance’ - both in Persian and in English", Dove of Peace, The Sacred House of Kaaba, The illustration of Jesus in Persian language, The Crucifixion and Flame, Bird of paradise, and many more.

                                           Brief description of the artworks in the Exhibition

Each illustration has taken weeks and sometimes months of fulltime work, except for the ‘Pledge of Eagles’ which contains detailed tracks and pathways within. This work ‘Pledge of Eagles’ contains a diagram of ancient indigenous pathways, (explained below), and took almost nine years to complete. In every illustration, immense knowledge and history is involved with their creation.

Beloved Aborigines : Notably the ‘Beloved Aborigines’ is a unique illustration that reflects the experience of Aboriginal people, whom it is now acknowledged, were dispossessed of their culture, tradition, spiritual history and connection with their sacred lands. It is a portrait of a young Tasmanian Aboriginal man, an ancestor of Wurundjeri people who had inhabited and respected their lands for over 35,000 years before being subjected to Genocide in the late 18th Century. The acknowledgment he makes to all Aboriginal people for the dispossession they have suffered is very evident in this artwork and draws an analogy from His Majesty’s own life experiences. It is intended for the painting to be taken on a journey through the ancient pathways for surviving clan groups in Australia to endorse their own art upon it. The reasoning for this is to represent their own acknowledgement of its truth, and their endeavours to maintain and restore their culture, tradition, spiritual history and connection with their sacred lands.

‘Tjukurrpa … Dreamtime’ : This illustration has the most sacred meaning. Tjukurrpa is symbolic of the central law of Aboriginal people. This illustration contains over 50 thousand years history. His Majesty The Sovereign has interpreted the ancestral beings of the Dreamtime with the stories of past and the present events in graphic verses, demonstrating the revelation of a new song for Tjukurrpa. In this sacred illustration, the seven sisters of Tjukurrpa appear as doves of peace from Heaven travelled from the Milky Way Dreaming. It depicts Tjukurrpa with the digging stick of Wisdom, plants the beans of Faith in the sacred ground (the cross), bringing about that new revelation.

The Constitution 1901 : This historical illustration expresses an overview of events from 1788 to 1967, and particularly the Mabo decision of the High Court of Australia in 1992. The profound significance of this illustration is that section 127 of the Constitution referring to “natives” was not repealed. In this illustration, the cockatoo, the amphibian frog, the appealing koala and the hopping kangaroo step from the door carrying the memories of past, and preach of the present events in the spiritual lives of Aboriginal people.

‘Rose’ : This illustration is the portrait of His Majesty’s hand holding a pen and writing a greeting in the form of a Rose. This portrait demonstrates the secret of life in a simple lyrical movement and beckons those who may seek such understanding.

‘Journey of life’ : This illustration depicts the wild flowers, proud cockatoo, and the fearful koala, demonstrating the fear from the cruelty of the industrial world and the effect upon the sacred land. It portrays our present time where man versus man looking for a spell to cast on nature so as to control the world by economic and political manipulation.

‘Dream’ : An illustration of a 16th century sailing ship. The secrets of Dream are written in the words that build up this magnificent illustration, and display the powerful but gliding movement of this sailing ship. It takes the viewer into a tranquil world of warmth and peace.

‘Darvish’ and ‘Wisdom’ : These correlating illustrations incorporate typically Persian illustrations and verses in English. ‘Darvish’ depicts his care for a simple but beautiful flower blossoming in a pot, while he calls for love and freedom. ‘Wisdom’ displays the flower grown into beautiful lady, responding to Darvish’s call by offering him to drink from the water of knowledge.


Pledge of Eagles : Some may see this piece as controversial, but that is not so. This is probable the most intricate of all the artworks in this Exhibition and took almost nine years to reach completion on 15 October 2013. This magnificent work depicts the CRUX AUSTRALIS (The Southern Cross), and a semblance of body of Jesus on the lap of his mother Mary after the Crucifixion. The two eagles symbolise the strength and vigilance of the eagle’s spirit watching over us at all times. It is by their unity that they watch and protect all of our native lands and inhabitants. Their constant observation of our lives should remind us to observe the natural laws, and the verses contained in the illustration. This piece also beckons the dawn of manifestation, whereby human consciousness may reach a higher level of understanding. Each of the wings of the eagles emerge as the wings of Mary, appearing as the central feature, and consists of a likeness to the “Pieta” (1498-1499), a sculpture by Michelangelo, housed in St. Peter's Basilica, Vatican City.

This majestic, most powerful, and blessing illustration is also a detailed map within the illustration. An observer, by noting the position of the Southern Cross in the sky, to the north from Torres Strait Island towards Tasmania, and from the east or west by the latitude of about 34° south, and from any place more than 34° south of the Equator, will be guided to the Seven most sacred and holy locations in Australia. The illustration also contains and blesses the tribal lands, tracks and pathways of Aboriginal ancestors. For example, in this blessing illustration, the head of Jesus and the head of Mary is the margin of Northern Territory, and from the sacred wound on the right hand of Jesus, begins the pathway from Central Australia to the native tribal lands, Aranda, Pitjantjatjara, Warlpiri, Luritja, Anmatjera, and then continues to the native tribal lands in New South Wales, Victoria, Tasmania, Western Australia, Northern Territory, Queensland, Torres Strait. These actual tribal lands, tracks and pathways are not the sacred site locations. Those sacred locations, can only be revealed to those who have be blessed to find them within the illustration, and determined through the position of the Cross and whatever point may be overhead at the time of seeking such direction.

These sacred locations are the places that for many years held the only Holy treasure of God on earth. There is much fascination in the mystical journey by which it reached Australia and was protected by the Aboriginal ancestors as it was moved from one sacred site to another. This Holy treasure was delivered to His Majesty The Sovereign on 26 January 2004 by the Court of Motherland of Aboriginal and Torres Strait Island Communities who gathered in a formal Court of indigenous representatives from all over Australia.

On 26 January 2004 Aboriginal elders in this Court of Motherland of Aboriginal and Torres Strait Island Communities, through that forum, legally and constitutionally declared His Majesty as their son, “the son of the great spirit of their ancestors”. The Court of Motherland of Aboriginal and Torres Strait Island of Australia uttered “We shall remember this moment forever”.

Now, by the last Testamentary Deed and Will of The Sovereign recorded with United Nations at UN Headquarters, First Avenue at 46th Street, New York, NY 10017 USA, as Trustee, the Holy treasure awaits for its sacred journey to be returned back to it previous place of rest.

His Majesty The Sovereign has been asked, “Was the illustration made because of religious views connotations?” To which his response is, “No, the purpose of drawing Mary and Jesus is that indigenous people of Australia and Torres Strait, talk of their land as mother earth. An analogy also given throughout the world, such as the indigenous people of America and Canada. The illustration of Mary holding her son removed from cross depicts the great suffering of a mother witnessing and suffering and death of her son. The ‘Pledge of Eagles’ demonstrates the motherland of Australia having witnessed the death of the indigenous people, the stolen children, the desecration of sacred sights and so many other injustices in recent Australian history. The spirit of the words that are contained within the illustration do not refer to religious views or beliefs.”