Bahram Kalhornia (Persian: بهرام کلهرنیا; 1952) is a drawing artist, sculptor, graphic designer, painter, researcher, and educator in the field of art from Iran.
Throughout his childhood and youth, living in the city and the countryside allowed him to experience the vibrant nature of the western region of Iran, and become familiar with and benefit from the world of plants and animals.
Additionally, his exposure to the stories, beliefs, ethnic experiences, work methods, and lifestyles of the people, as well as hearing epic tales from Ferdowsi's Shahnameh and Kurdish Shahnameh, and blending these concepts with the lifestyle and aspirations of the tribal community, left a profound and lasting impact on him, greatly influencing his life path and the works he created.
In 1972, by entering the University of Decorative Arts in Tehran, Kalhornia became acquainted with a variety of artistic practices and various fields of visual work.
During these years, his presence beside his professors such as Shiddel, Lilit Teryan, Hossein Kazemi, Mohammad Ebrahim Jafari, Gholamhossein Nami, Mirfenderski, Anvari, and Ahrari contributed to the flourishing of his existential values.
More than two years of companionship and collaboration with Professor Shiddel during the execution of a large mural painting at the Agricultural Palace in Tehran led to development of his intellectual and practical abilities in artistic activities.
During his years at the University of Decorative Arts, he carried out pioneering and cultural activities due to social motivations in cooperation with some professors and fellow students.
Initiating the first student magazine, establishing a library, forming a theater group under the guidance of Professor Abolhasan Vandehvar, organizing poetry and literature nights, lectures, and dozens of other efforts all contributed to the creation of a comprehensive and dynamic cultural perspective, and the results of these capabilities proved beneficial in the subsequent years in the course of his educational experiences as an art instructor.
The establishment of the Kermanshah Visual Art School, along with his wife Forough Dorafshan and Morteza Sharifi, created a chance for talented young people to find new opportunities for growth and development.
Planning, consulting, and executing cultural projects, and participating in many art festivals as a member of the policy-making council, director, or judge, are among his activities.
Due to his analytical-critical thinking, extensive engagement in visual projects and educational studies, and dissemination of certain perspectives, Kalhornia has become known as an independent figure and a thinker.
During a period of activities at IRIB, while providing technical consultations to improve production quality in Channel 4, he produced programs such as "Simaye 4" and "Char Khand-e Kherad" in 2007-2008 with a cultural and social focus, presenting analytical and critical analyses.
In 2019, Bahram Kalhornia established "Vard Gallery," a cultural center to fulfill his artistic-cultural desires and aspirations, enabling him to continue his activities in a new role.
In an interview about his artworks in the "Sahm-e Shak (Share of Doubt)” solo exhibition, he said: "In my works, I have placed mirrors in front of my viewers so that they may discover other aspects of their existence.
"[1] Hossein Norouzi, an art critic and painter, wrote about Kalhornia's works in the solo exhibition "Sahm-e Shak (Share of Doubt)”: "Personalities and special talents and creativity of some individuals seem to be overlooked among many, often remaining unseen or barely noticed.
[2] A knowledgeable man and in the old sense, wise, artist, orator, teacher, and capable presenter in grand gatherings and mass media, possessing an eloquent expression, his words are like obedient servants of his sweet discourse and processing mind, and the owner of ideas and thoughts in the field of major management and influential contemporary art in Iran.
In his works, he wholeheartedly reminds us of the solitude of graphite, the seclusion of blacks and grays, and the overlooked value of drawing as an Intersection and fundamental element of many visual arts."