She visualizes the patterns and motifs in her mind, puts them on paper and later decorates the silk with her beautiful patterns.
Depicting historical Arg-e Bam (Kerman Prov.) , Vakil Mosque (Fars Prov.) , Soltanieh Dome (Zanjan Prov.), Marlik Cup, Hassanloo Cup, and Boroujerdiha’s House (Kashan) are among her works.
“One must not portray the ancient monuments as she desires. They must be depicted as what they originally were," said the artist.
She inherited the art of batik from her father who was a prominent artist. “I once attended a class of batik some years ago to see the differences between batik in the past and present. I hardly saw any difference,” she said.
"I am an Iranian and I am highly interested in my country’s cultural heritage, so I decided to be innovative in my work,” added Asadnia.
Asadnia has no students at the moment, but she is quite eager to organize a workshop to transfer her knowledge to other enthusiasts. She rarely holds an exhibition because of her old age. Her last exhibit was held two years ago in Tehran’s Laleh Gallery, and she is determined to depict Ferdowsi’s mausoleum in her future programs.
Batik (Javanese, “wax painting”) is a technique of textile design by negative, or resist, dyeing and the resulting fabric. Designs are first painted in melted wax on both sides of a cloth. The cloth is then dipped in a dye, which is absorbed by the uncovered areas but resisted by waxed areas, thus creating a light pattern on a dark background. After the wax is removed (by boiling or dissolving), the process may be repeated many times over to achieve great intricacies in design and richness of color.
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