The book “Iron Doors of Tabarestan”.
Author: Rouhollah Teimouri
Mehr & Mah (sun & moon) publication
Price: 7000 Tomans
As the pictures pass and the photographs come one by one and you enjoy visually, you are certain (you reach this certainty) that some concepts are hidden beyond these colors and ornaments which should be discovered and understood (perceived). Since you know that each work (artistic work) has an appearance and an inner part. The appearance makes the inner part and expresses it. Therefore, the more forward you go, you find out that you should be more careful (precise) and you should pay attention to lower (beneath) layers of the work either.
In the first view (sight), the photographs (pictures) don’t show something more than simple graphic selections in which the relationship between the lines and surfaces and colors and combinations are addressed. But when you pay attention to the footnotes of artistic works and photography places; more importantly, if you look at the whole encountering photographs and whatever which has not been included (involved) in this small collection as united and consolidated, you are sure that like throughout the history, simple and various ornaments which are implemented in everyday (daily) life, indicate the knowledge, insight and culture of people who apply them. Therefore, the artistic works should be viewed from both angles of formationalism and conceptualism.
From formalistic view, Rooha’s photography works are very simple and mostly minimalistic and incline in one of the main (original) characteristics of graphics, i.e., minimalization and expression of maximum  (maximal expression) by help of the least components of picture. Regarding his educational field and working (occupational) records, this was not and is not far from the mind. In this direction; considering all static aspects of classic and modern art (artistic) works, he complements public graphics and selects the best examples (samples) of entrance doors. By simple view angle and a vis-a- vis (face- to face) view and by help of flat light (in most cases), he tries to create (generate) a pleasant graphic picture.
From conceptual view (as mentioned), the whole photographs should be viewed as a united collection, not an individual (single) photograph. Because each of the potographs cannot convey (transfer) the desired concept of the artistic work’s owner to the audience by itself (individually). Like the pieces of a puzzle, if we put them together, it will cause to complete the concept. Each photograph from this collection has more formalistic values than semantic (conceptual) load of the artistic work.
Therefore, the single photographs in this collection are small and beautiful components by themselves which their existence (presence) is essential and necessary to construct the whole (which suffers the semantic/ conceptual load).
The photographs of this collection represent and carry the kind of insight and contact of a population of Mazandaran’s people in implementing the components of picture (visual factors and elements) in a small part of their daily lives (entrance doors of houses).
The discussion (dispute) about the accuracy or inaccuracy of this way of implementation asks for another opportunity. Therefore, the quality of showing this subject is not contained in this issue.
In these pictures, Rooha tried (attempted) to form (shape) and present his works far from any kind of apparent and inner complexities and to the highest extent of simplicity and unadorned.
Travelling to every corner of mazandaran (here and there); particularly by getting away from the cities and the civilized places where are very highly influenced by western art and technology, he attempts to have better options to show his native (folklore) culture.
In these photographs, he shows that how people simply  and free from any kind of luxury, create a precise harmony of colors and colorful (colored) surfaces. Finally, they abstract the simplicity of natural elements to the initial (primary) visual elements (point, line, surface, volume) and/ or use them in a symbolic form (such as the abstracted pictures of moon, sun and stars which are appeared on the doors in the form of primary surfaces and/ or these works have waves because of implementing blue color, and the greenness of plains, forests and rice farms is implemented by green color which is manifested in doors. Visiting these artistic works, the viewer should asks himself/ herself why warm (hot) colors are less seen in these photographs?
Why some  colors have more been repeated?
Why some   ornaments and designs  have more been repeated?
and many other questions which it is better to be designed (posed) by the searcher audience mind and their responses should be the searcher audience mind and their responses should be sought in the encountering artistic works.
But finally, besides the above- mentioned issues, what was and is valuable in this project for me as the writer, is the selection of subject and the quality of its presentation which indicates the attempt followed by creativity and innovation by Rooha.
Mir safi Andikolayee- 2011