Rokn al-Din Haerizadeh, nicknamed Rokni Haeri, is a contemporary Iranian painter. In his expressive paintings, he uses ancient and contemporary elements of Iranian identity. The ironic, biting, and explicit tone towards political, social, and cultural issues is one of the main features of Rokni's artworks. Rokni Haerizadeh traces his roots to his involvement with art as a child: "Television programs at that time mostly depicted Islamic propaganda of war, martyrs, and religion, but sometimes on the weekends, films by directors such as Andrei Tarkovsky, Kurosawa, and Eisenstein were shown. For example, seeing a man walking in a beautiful landscape in ten minutes of silence impressed me, and I wondered: Is this a movie? "Is this art?" 

He later went to Ahmad Aminnazar and became a painter. Haeri held his first solo performance at Elahe Gallery. His work was selected for the sixth Tehran Biennial in 2003. The success of Iranian art modernists and his success in the biennial led to immigration to Dubai. He has lived in Dubai with his nephew Ramin Haerizadeh since 2009 and has continued his artistic activity in this country. Over the years, he has collaborated continuously with the Dutch-Emirati Gallery Isabelle van den Eynde. Rokni Haeri was the first Iranian artist whose artworks were purchased by Saatchi Gallery, and his two paintings, "Knife Dance" and "Iranian Celebration," became the property of Saatchi in 2008.

In his artworks, Haeri uses the political, social, and cultural issues of Iran and the Middle East as a theme, and by using some motifs and types of identity, he gives a local color to his paintings. In addressing these issues, he creates grotesque overlays by emphasizing contradictions and exaggerations in bodily postures, angles, perspectives, and overall composition. Criticism of patriarchal culture is one of the recurring concerns in his work. 

For example, the Saatchi Gallery describes the painting "A Traditional Iranian Wedding": "Rokni Haerizadeh uses painting to critique the hypocritical aspects of his culture. The "Traditional Iranian weddings'' portrayed by Haerizadeh ironically describe the Iranian-style marriage process. The men and women are represented like two herds of mammoths and are physically divided into two groups. The two spaces, separated by a curtain, connect to form a large hall. Guests spin among watering tables, live music, and lush floral decorations on the men's side. While the women's section is very disciplined and lavish. Aside from the grotesque "fashion show" adorned by wives and girlfriends, there is only one dirty turkey, and the lights are on so as not to over-excite the party spirit. "Haerizadeh depicts these scenes with a humorous taste and considers all the details like a cruel and precise caricature."