Dr. Erik Nakjavani is Professor Emeritus of Humanities at the University of Pittsburgh. He has published on American literature, interdisciplinary studies, literary theory, and psychoanalytic criticism. He specialises in Hemingway Studies with emphasis on philosophy, psychoanalysis and visual arts. He is a founding member of Hemingway Society. His most recent publications include: “Evil: A Psychoanalytic Meditation,” “Alchemy, Memory, and Archetypes: Reading Hemingway’s Under Kilimanjaro as an African Fairy Tale,” and “A Visionary Hermeneutic Appropriation: Meditations on Hemingway’s Influence on Mailer.”
My main concern here is to formulate a viewer’s response to the general aesthetics, mythological structures, and religious elements in which Abbas Kiarostami’s art of photography anchors itself. Kiarostami’s concept of nature as the master artist and indeed the primeval ground of creativity will render my response intelligible. I am aware of the many exhibitions of his photographs in Tehran, Paris, Rome, New York, Tokyo, London, Barcelona, and other cities. I am equally aware that natural phenomena, particularly trees, play a major signifying role in his films such as Through the Olive Trees and Taste of Cherry. Just the same, in what follows, I limit my response to the collection of Kiarostami’s landscape photography, Abbas Kiarostami: photographies, which Michel Ciment has published...