History of art(west and Iranian)-contemporary art

1. Sadegh Tabrizi
Nov2015
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Sadegh Hedayat
Sparta
Gallri
Urmia-Iran
Derrick Fielding
Competition
Iran

2. Director: Aziz Anzabi
Editor and translator :
Asra Yaghoubi
Research: Zohreh Nazari
http://www.aziz-anzabi.com
1.Sadegh Tabrizi
8.Sparta Gallery
10. Clemente Modigliani
15. Competition
16. Sadegh Hedayat
20. Derrick Fielding
21. Urmia
25. Competition

3. Sadegh Tabrizi
is one of the few Iranian
contemporary artists who have
made a great contribution both to
the "creation" and the "dissection"
of Modern art in Iran. Therefore, it
bears some significance to look at
him from the "creation" point of
view to be able to understand his
pool of creativity, a perspective that
encompasses both the artist and
his art. This necessity has been
spelled out through recent
movements by some artists who,
in establishing the foundations of
their art, imitated and employed
the roots of his style. In doing so,
these artists have set off on the
road to imitating what he had once
practiced but no longer practices,
or what he had skipped on his way
to eminence.
Tabrizi can be considered a holistic
artist with a multifaceted vision of
reality who, in giving dimension to
his practice, bestows new angles to
Iranian contemporary art.
This is so intensified that one
cannot
ignore a pervasive approach to
indigenizing the Western Modern
and Post-modern art through the
Saqqakhaneh semi-school and the
work of one of its central figures,
Sadegh Tabrizi. He offered a series
of “proposals” a few decades ago
which, despite commonalities with
other pioneers of the Saqqakhaneh
School, surpassed them with a
diverse series of experiments.
Hence, he has played a vital role in
dissecting contemporary
intermediary art – a style that
mixes Western and Iranian
traditional art. Prerequisites of such
a holistic approach can be traced in
Tabrizi's searching soul. Even before
examining intermediary art at the
Faculty of Decorative Arts, Tabrizi
had built up a reputation for
himself in traditional art and its
vocabulary. Explorations in this
apparently fantastic and
experimental course assumed more
serious aspects later when playing
a significant role in the
development of modern and
contemporary Iranian art. What has
been neglected to date is a
complete catalog of Tabrizi’s work.
So one has to resort to storytelling
to be able to show his real art and
to fathom the genesis of his artistic
career.
1

4. Upon graduating from three years
of high school in miniature
painting, and after employment in
the ceramic workshop of the
Administrative Office of Fine Arts
in 1959, Sadegh Tabrizi chose to
practice painting on pottery. This
novel experience gave him an
opportunity to work with glaze
and fire.
Unpredictable happenings and
interactions were the most
enjoyable moments in that work.
The year 1959 was a very fateful
year for Tabrizi's artistic
endeavors. While preparing
inscriptions for a mosque, a tile
worker by the name of Sanaee
made Tabrizi realize how beautiful
inscriptions were, and tempted him
to make a free composition with
letters and words. The result of this
temptation was a ceramic panel
(70 x 70 cm) that yielded a new
composition in white and azure,
the colors of inscriptions in
mosques. The juxtaposition of
letters neither expressed a concept
nor produced an expression. This
delightful experience encouraged
the artist to employ the same
technique in painting on jugs,
bowls, and plates using ochre and
brown colors on a cream
background, and azure and
turquoise on a white background.
The significance of this ostensibly
minor incident and its continuation
led to numerous arguments about
the emergence of calligraphy in
Iranian contemporary art. In fact, it
can be said that the trend known as
“calligraphy-based painting,” which
later emerged in the work of
Saqqakhaneh painters and again in
the work of calligraphers (from a
different perspective and through
calligraphy-based painting),
originated from Tabrizi’s innovative
practice. This can be substantiated
by the works and written
documents of the time that point
to the quality of this movement.
Therefore, this incidental stance of
the artist toward calligraphy and its
visual and non-verbal qualities can
be considered the first period of his
artistic career. The term
“incidental” points to the fact that
in the second half of the 20th
century, Western art, which was
joined with some delay by Iranian
contemporary art, has often
incorporated incidents rather than
following a school-based approach.

5. Upon the inauguration in 1960 of
the Faculty of Decorative Arts,
which was established to offer
complementary courses for high
school graduates in arts from
Tehran, Tabriz, and Isfahan, Tabrizi
joined the students and found
himself in the same course along
with Mansour Ghandriz, Faramarz
Pilaram, Massoud Arabshahi, and
Hossein Zenderoudi. This new
environment had an extensive
library that provided students with
a rare opportunity to conduct
research on past and present
Iranian and world art, and to avoid
repetition of ideas in their practice.
Here, this small group of students
devised a sort of intermediary art,
which observes principles of
modern Western art while
employing traditional elements
from Iranian art. Tabrizi and
Arabshahi held a joint exhibition of
their ceramic works in 1961 at the
France Club. Hossein Kazemi, who
had returned from Europe and was
running the Tabriz School of Arts,
simultaneously held an exhibition
of his Dadaist ceramic work at
Farhang Auditorium. The difference
between these two exhibitions was
the Iranian atmosphere in the
former, something Kazemi admits
to in all modesty.

6. Tabrizi expanded the domain of his
explorations and, using traditional
Iranian motifs and techniques,
created numerous works in fresh
forms. These techniques included
tile work, engraving, book
illustration, plaster work, collage,
painting on old inscriptions,
painting on glass, use of mirrors in
painting, and use of padlocks,
chains, and various objects. These
techniques are examples of
proposals that the artists offered
to the Iranian contemporary art
world. Tabrizi made a
juxtaposition of his personal
documents – including school
workbooks, identification
notebook, school identification
cards, certificates, bank notebooks,
athletic club cards, and university
entrance exam card – on a panel
within a composition decorated
with sealing wax and the common
inscriptions found on documents
and seals. Entitled Life Workbook,
the work was displayed along with
other works inspired by spells and
the illustrated pages of books that
were shown along with Massoud
Arabshahi's relief works at the
Faculty of Fine Arts of Tehran
University in 1964. Life Workbook
can be considered a proposition for
"conceptual art," but this was not
what Tabrizi intended.
Tabrizi graduated from university in
1964, and decided to continue for a
Master's degree along with
Ghandriz, Pilaram, and Arabshahi.
Top students of the Faculty of Fine
Arts, including Morteza Momayez,
Rouyin Pakbaz, Hadi Hazaveyee,
Sirous Malek, and Mohammad
Mahalati, who would be considered
an opposite camp to the students
of the Faculty of Decorative Arts,
established a gallery along with
Tabrizi, Pilaram, Arabshahi, and
Ghandriz. This effort had been
previously made by others, but had
never succeeded. This group of
thirteen artists succeeded in
gathering many avant-garde artists
together at the Iran Auditorium,
and in organizing the first well-
received exhibition. Activities at the
Iran Auditorium reached a point
where artists that included Sohrab
Sepehri, Bijan Safāri, Marcos
Grigorian, Parviz Tanavoli, and
Manochehr Sheibani, were invited
to hold a group exhibition at the
Saderat Bank building in Jomhouri
St.

7. Tabrizi's work was received
especially warmly in the first
exhibition by spectators and
collectors. He says, "The gathering
at the Iran Auditorium would not
have been possible if it had not
been for Momayez, and their four-
member group would have never
joined the students at Tehran
University without Ghandriz."
Although Ghandriz tried hard to
save the infant he had given birth
to, the group disintegrated after
the first exhibition at the Iran
Auditorium due to disagreements
and disunity. He persistently
continued his work there, but his
death put an end to this effort.
Upon dispersal of the group, some
members quit painting to practice
graphic design, architecture, and
research in art history. Arabshahi,
Pilaram, and Tabrizi, however,
continued painting. Tabrizi's
paintings in the inauguration
of the Iran Auditorium are
reminiscent of miniature
paintings in old books that have
been embellished with abstract
expressionist lines in black and
presented on tanned hide. Azure,
white, gold, orange and turquoise
spots can be detected in
these compositions, and
calligraphic lines can be discovered
through meticulous observation.
This second period of Tabrizi’s
artistic endeavor is presented in a
second group exhibition. The third
period of his creativity includes
collages that are presented in an
exhibition with Massoud Arabshahi
at Tehran University. These four
artists – Tabrizi, Pilaram, Ghandriz,
and Arabshahi – were founders of
the first Office of Interior Design in
Iran, which was established in 1964
and eventually broke up when
Ghandriz died in 1965.

8. Another one of Tabrizi's
experiments, a review of ancient
Iranian arts, was made in 1963.
Copper engraving and the
incorporation of antique stones
and coins on these engravings
mark the fourth period of his
artistic experimentation.
Tabrizi did not veer far from his
original vision during this period,
and other periods of his career.
These periods have their roots in a
single perspective – the depth and
structure of which is a fertile area
of investigation. He created plaster
relief work on panels in the fifth
period of his artistic career.
If we are to assume a sixth period
for the artistic endeavors
of Tabrizi, it includes works on
pages of old books
and inscriptions that sometimes
take the form of written prayers
and lead to collage elements that
appear in the background of
paintings.
Moving to another period, we see
that Tabrizi has only a few works of
stained glass using mirror
instead of color on a black
background. We can find this style
– use of mirror in painting – in the
glass arts of the Qajar period. This
period of his work can be
considered transitory and marked
by proposals.
Tabrizi employs miniature painting
techniques and incorporates
Persian and religious motifs in
large-scale paintings which are
warmly received by the public.
These paintings feature pure gold,
orange, azure, turquoise, green,
and other colors along with black
complementary lines. Large-scale
works of this kind were mounted
on the walls of Nour Auditorium at
the Hilton Hotel in 1969 to
celebrate 2500 years of Persian
history. These works can be
considered to constitute the eighth
period of Tabrizi’s work. They are
mostly images of riders on calm
horses facing each other, or of
lovers found in Persian paintings re-
cast in a fresh form in his work.
Although these works were
leisurely produced through
different periods, they have paved
the way for the most intense period
of Tabrizi’s career in terms of
innovation and quality beginning in
1970.

9. Instead of saturating his work with
illumination and page decoration,
Tabrizi hints at Persian miniature
painting by using inscriptions in the
form of broken Nasta'liq to fill the
negative space of the paintings.
Here he realizes an important
innovation that calligraphy can
create abstract forms in free
compositions. Looking at the
suspended calligraphy-
based motifs of previous works,
Tabrizi comes up with the idea of
an abstract use of them in
individual compositions. This is
perhaps the most successful
period of his career. Inspired by
calligraphy, especially broken
Nasta'liq as an abstract form on
hide in black ink, Tabrizi produces a
large number of works. He adopts
this approach to reach at a
seemingly easy method in painting,
which is inspired by Persian
calligraphy but goes beyond that to
reveal itself as a completely
abstract and expressive form.
Works of this ninth period of
Tabrizi’s career were exhibited
during a solo exhibition first in 1970
at Burgese Gallery and then at
Sirous Gallery in Paris. Interestingly,
the artist uses the same style,
which has unlimited variation, in
large-scale works on rawhide,
canvas, and paper that are
exhibited in Australia and East
Asian countries. This period of
Tabrizi's work can be considered
the result of his diverse research
and experimentation into both
Persian and Western methods and
representation. He later
transformed this exploration into
an "Abstract Expressionism" that
displays a graceful fluidity of mind,
and possesses the same
fundamental characteristics that
are unique to modern Western art.

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8

12. Amedeo Clemente Modigliani
12 July 1884 – 24 January 1920
was an Italian painter and sculptor
who worked mainly in France.
He is known for portraits and
nudes in a modern style
characterized by elongation
of faces and figures,
that were not received well during
his lifetime, but later found
acceptance. Modigliani spent his
youth in Italy, where he studied
the art of antiquity and the
Renaissance, until he moved to
Paris in 1906. There he came into
contact with prominent artists
such as Pablo Picasso and
Constantin Brâncuși.
Modigliani's oeuvre includes
mainly paintings and drawings.
From 1909 to 1914, however, he
devoted himself mainly to
sculpture. His main subject was
portraits and full figures
of humans, both in the images
and in the sculptures. During his
life, Amedeo Modigliani had little
success, but after his death he
achieved greater popularity and his
works of art achieved high prices.
He died at age 35 in Paris of
tubercular meningitis.
Family and early life
Modigliani's birthplace in Livorno
Modigliani was born into a
Sephardic Jewish family in Livorno,
Italy. A port city, Livorno had long
served as a refuge for those
persecuted for their religion, and
was home to a large Jewish
community. His maternal great-
great-grandfather, Solomon Garsin,
had immigrated to Livorno in the
18th century as a refugee.
Modigliani's mother (Eugénie
Garsin), who was born and grew up
in Marseille, was descended from
an intellectual, scholarly family of
Sephardic descent, generations of
whom had resided along the
Mediterranean coastline. Her
ancestors were learned people,
fluent in many languages, known
authorities on sacred Jewish texts,
and founders of a school of
Talmudic studies. Family legend
traced the Garsins' lineage to the
17th-century Dutch philosopher
Baruch Spinoza. The family business
was believed to be a credit agency
with branches in Livorno, Marseille,
Tunis, and London. Their financial
fortunes ebbed and flowed.
10

13. Modigliani’s father, Flaminio,
hailed from a family of successful
businessmen and entrepreneurs.
While not as culturally
sophisticated as the Garsins, they
knew how to invest in and develop
thriving business endeavors. When
the Garsin and Modigliani families
announced the engagement of
their children, Flaminio was a
wealthy young mining engineer. He
managed the mine in Sardinia and
also managed the almost 30,000
acres of timberland the family
owned. A reversal in fortune
occurred to this prosperous family
in 1883. An economic downturn in
the price of metal plunged the
Modiglianis into bankruptcy. Ever
resourceful, Modigliani’s mother
used her social contacts to
establish a school and, along with
her two sisters, made the school
into a successful enterprise.
Modigliani was the fourth child,
whose birth coincided with the
disastrous financial collapse of his
father's business interests.
Amedeo's birth saved the family
from ruin; according to an ancient
law, creditors could not seize the
bed of a pregnant woman or a
mother with a newborn child. The
bailiffs entered the family's home
just as Eugenia went into labour;
the family protected their most
valuable assets by piling them on
top of her.
Modigliani had a close relationship
with his mother, who taught him at
home until he was 10 years. Beset
with health problems after an
attack of pleurisy when he was
about 11, a few years later he
developed a case of typhoid fever.
When he was 16 he was taken ill
again and contracted the
tuberculosis which would later
claim his life. After Modigliani
recovered from the second bout of
pleurisy, his mother took him on a
tour of southern Italy: Naples,
Capri, Rome and Amalfi, then north
to Florence and Venice.

14. His mother was, in many ways,
instrumental in his ability to pursue
art as a vocation. When he was 11
years of age, she had noted in her
diary: "The child's character is still
so unformed that I cannot say what
I think of it. He behaves like a
spoiled child, but he does not lack
intelligence. We shall have to wait
and see what is inside this
chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn
and painted from a very early age,
and thought himself "already a
painter", his mother wrote, even
before beginning formal studies.
Despite her misgivings that
launching him on a course of
studying art would impinge upon
his other studies, his mother
indulged the young Modigliani's
passion for the subject.
At the age of fourteen, while sick
with typhoid fever, he raved in his
delirium that he wanted, above all
else, to see the paintings in the
Palazzo Pitti and the Uffizi in
Florence. As Livorno's local
museum housed only a sparse few
paintings by the Italian
Renaissance masters, the tales he
had heard
about the great works held in
Florence intrigued him, and it was a
source of considerable despair to
him, in his sickened state, that he
might never get the chance to view
them in person. His mother
promised that she would take him
to Florence herself, the moment he
was recovered. Not only did she
fulfil this promise, but she also
undertook to enroll him with the
best painting master in Livorno,
Guglielmo Micheli.
Sculpture
In 1909, Modigliani returned home
to Livorno, sickly and tired from his
wild lifestyle. Soon he was back in
Paris, this time renting a studio in
Montparnasse. He originally saw
himself as a sculptor rather than a
painter, and was encouraged to
continue after Paul Guillaume, an
ambitious young art dealer, took an
interest in his work and introduced
him to sculptor Constantin
Brâncuși. He was Constantin
Brâncuși's disciple for one year.

15. Although a series of Modigliani's
sculptures were exhibited in the
Salon d'Automne of 1912, by 1914
he abandoned sculpting and
focused solely on his painting, a
move precipitated by the difficulty
in acquiring sculptural materials
due to the outbreak of war, and by
Modigliani's physical debilitation.
In June 2010 Modigliani's Tête, a
limestone carving of a woman's
head, became the second most
expensive sculpture ever sold.
Friends and influences
Modigliani painted a series of
portraits of contemporary artists
and friends in Montparnasse:
Chaim Soutine, Moïse Kisling, Pablo
Picasso, Diego Rivera, Marie
"Marevna" Vorobyev-Stebeslka,
Juan Gris, Max Jacob, Blaise
Cendrars, and Jean Cocteau, all sat
for stylized renditions.
The war years
Modigliani, Pablo Picasso and
André Salmon, 1916
At the outset of World War I,
Modigliani tried to enlist in the
army but was refused because of
his poor health.
Known as Modì (which plays on the
French word 'maudit', meaning
'cursed') by many Parisians, but as
Dedo to his family and friends,
Modigliani was a handsome man,
and attracted much female
attention. Women came and went
until Beatrice Hastings entered his
life. She stayed with him for almost
two years, was the subject of
several of his portraits, including
Madame Pompadour, and the
object of much of his drunken
wrath.[citation needed] When the
British painter Nina Hamnett
arrived in Montparnasse in 1914,
on her first evening there the
smiling man at the next table in the
café introduced himself as
"Modigliani, painter and Jew". They
became great friends.
In 1916, Modigliani befriended the
Polish poet and art dealer Léopold
Zborowski and his wife Anna.
Zborowski became Modigliani's
primary art dealer and friend
during the artist's final years,
helping him financially, and also
organizing his show in Paris in 1917

17. 36th Annual College & High School
Photography Contest
Call for Photographers - Deadline:
December 4th, 2015
http://pfmagazine.com/photograph
y-contest/
Photographer's Forum Magazine
presents the 36th Annual College &
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open to all college and high school
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grants awarded!
WINNING PHOTOS will be
published in the May 2016 issue of
Photographer’s Forum Magazine
and exhibited at Brooks Institute.
All contest finalists will be
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Best of College and High School
Photography 2016.
ELIGIBILITY
This contest is open to all college
and high school students in the
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the world.
DEADLINE
Final Deadline :: December 4, 2015
:: $6.95
Entry fee is $6.95 per photo
entered (uploaded or postmarked
on or before December 4, 2015).
PRIZES
2 FIRST PLACE GRAND PRIZES
$2,000 Best COLLEGE Color or BW
$2,000 Best HIGH SCHOOL Color or BW
2 SECOND PLACE AWARDS
$1,250 cash grant 2nd Place College
$1,250 cash grant 2nd Place High School
2 THIRD PLACE AWARDS
$500 cash grant 3rd Place College
$500 cash grant 3rd Place High School
10 FOURTH PLACE AWARDS
Five $250 grants to 4th Place College
Five $250 grants to 4th Place High
School
200 HONORABLE MENTIONS
100 College and 100 High School
Honorable Mentions will be listed in the
May 2016 issue of Photographer’s
Forum magazine and will receive a
certificate of outstanding merit from
Photographer's Forum
15

18. Sadegh Hedayat
February 17, 1903, Tehran - April 9,
1951, Paris was an Iranian writer,
translator and intellectual. He is
one of the earliest Iranian writers
who adopted literary modernism
in their career.
Life
Hedayat was born to a northern
Iranian aristocratic family in Tehran
(his great-grandfather Reza-Qoli
Khan Hedayat was himself a well
respected writer and worked in the
government, as did other relatives)
and was educated at Collège Saint-
Louis (French catholic school) and
Dar ol-Fonoon (1914–1916). In
1925, he was among a select few
students who travelled to Europe to
continue their studies. There, he
initially went on to study
engineering in Belgium, which he
abandoned after a year to study
architecture in France. There he
gave up architecture in turn to
pursue dentistry. In this period he
became acquainted with Thérèse, a
Parisian with whom he had a love
affair. In 1927 Hedayat attempted
suicide by throwing himself into the
Marne, but was rescued by a
fishing boat. After four years in
France, he finally surrendered his
scholarship and returned home in
the summer of 1930 without
receiving a degree. In Iran he held
various jobs for short periods.
Tomb of Sadegh Hedayat, Père
Lachaise Cemetery, Paris.
16

19. Hedayat subsequently devoted his
whole life to studying Western
literature and to learning and
investigating Iranian history and
folklore.
The works of Rainer Maria Rilke,
Edgar Allan Poe, Franz Kafka, Anton
Chekhov and Guy de Maupassant
intrigued him the most. During his
short literary life span, Hedayat
published a substantial number of
short stories and novelettes, two
historical dramas, a play, a
travelogue, and a collection of
satirical parodies and sketches. His
writings also include numerous
literary criticisms, studies in
Persian folklore, and many
translations from Middle Persian
and French. He is credited with
having brought Persian language
and literature
into the mainstream of
international contemporary
writing. There is no doubt that
Hedayat was the most modern of
all modern writers in Iran. Yet, for
Hedayat, modernity was not just a
question of scientific rationality or
a pure imitation of European
values.
In his later years, feeling the socio-
political problems of the time,
Hedayat started attacking the two
major causes of Iran's decimation,
the monarchy and the clergy, and
through his stories he tried to
impute the deafness and blindness
of the nation to the abuses of these
two major powers. Feeling
alienated by everyone around him,
especially by his peers, Hedayat's
last published work, The Message
of Kafka, bespeaks melancholy,
desperation and a sense of doom
experienced only by those
subjected to discrimination and
repression.
Dead body of Hedayat in Paris -
April 1951
Hedayat traveled and stayed in
India from 1936 until 1937, the
mansion at Bombay where he was
staying during his visit at Bombay
has been recently discovered in
2014. Nadeem Akhtar's Hedayat in
India provides us details of Sadegh
Hedayat's sojourn in India.In
Bombay he completed and
published his most enduring work,
The Blind Owl, whose writing he
started as early as 1930 in Paris.
The book was praised by many
including Henry Miller, André
Breton and others

20. It has been called "one of the
most important literary works in
the Persian language.
At the end of 1950, Hedayat left
Iran for Paris. There, on 9 April
1951, he committed suicide by
gassing himself in a small rented
apartment on 37 Rue
Championnet. He had plugged all
the gaps in the windows and door
with cotton and, so it would not
burden anyone, he had placed the
money
(a hundred thousand francs)
for his shroud and burial in his
side wallet in plain view. He was
buried at the division 85 of Père
Lachaise Cemetery. His funeral
was
attended by a number of intimate
friends and close acquaintances,
both Iranian and French.
hedayat handwriting
The English poet
John Heath-Stubbs published an
elegy, 'A Cassida for Sadegh
Hedayat', in A Charm Against the
Toothache in 1954.
Current censorship
His work is coming under
increasing attack in Europe from
political Islamists, and many of his
novels (Haji Aqa in particular) are
no longer stocked in some French
bookshops and libraries. The novels
The Blind Owl and Haji Aqa were
banned from the 18th Tehran
International Book Fair in 2005. The
Blind Owl contains a great deal of
Buddhist and Hindu imagery. In Haji
Aqa his characters explore the lack
of meritocracy in Iran:
In order for the people to be kept in
line, they must be kept hungry,
needy, illiterate, and superstitious.
If the grocer's child becomes
literate, he not only will criticize my
speech, but he will also utter words
that neither you nor I will
understand.... What would happen
if the forage-seller's child turns out
intelligent and capable—and mine,
the son of a Haji, turns out lazy and
foolish?
In November 2006, republication of
Hedayat's work in uncensored form
was banned in Iran, as part of a
sweeping purge. However,
surveillance of book-stalls is limited
and it is apparently still possible to
purchase the originals second-
hand. The official website is also
still online.

22. Derrick Fielding
Born in Liverpool in 1965, I
remember spending much of my
childhood with my head buried
in a comic usually The Beano. I
would often relish being sent to
bed early as a punishment for
some misdemeanour so I could
read the latest escapade of The
Bash Street Kids. From an early
age I loved to draw and as I grew
older, I began to use this passion to
unleash my elaborate imagination
to create games for me and my
neighbourhood friends.
Fortunately, my father was a
painter and decorator so my
earliest canvases were the backs
of rolls of wallpaper that were
supposedly for his customers.
Living on the edge of the city,
I was fascinated by the
surrounding countryside
and would slowly venture further
and further out on my pushbike. I
ended up spending most of my
teenage years travelling around the
country on marathon cycling
holidays with friends whenever the
chance arose. It always occurred to
me that there was so much to see
on my bike that you would never
notice when travelling by car.
It has been this way since my early
childhood in Liverpool when the
night-time scenes were of Beano
characters like Lord Snooty, Dennis
the Menace and Minnie the Minx.
With my head full of comics, I loved
nothing more than to draw and
create games for my friends. Kids
from far and wide would come to
see my latest creation - and this
would eventually lead to an
innovation award in later life.
Art was my favourite subject at
school and when I left, I spent a
number of years as a sign writer
which I am sure influenced my later
animation and graphic style of
painting.
Encouraged by friends and family I
loved to paint nostalgic watercolour
scenes of Liverpool and the success
of these led me to try painting for a
living which was not the easiest or
most lucrative of tasks! 20

23. Urmia is the second largest city in
the north-west of Iran, is a city in
and the capital of West Azerbaijan
Province, Iran. Urmia is situated at
an altitude of 1,330 m above sea
level, and is located along the
Shahar Chay river (City River) on
the Urmia Plain. Lake Urmia, one of
the world's largest salt lakes, lies to
the east of the city and the
mountainous Turkish border area
lies to the west.
Urmia is the 10th most populated
city in Iran. At the 2012 census, its
population was 667,499 with
197,749 households.
The city's inhabitants are
predominantly Iranian Azerbaijanis
who speak the Azerbaijani
language,.There are also minorities
of Kurds, Assyrians, and Armenians.
The city is the trading center for a
fertile agricultural region where
fruits (especially apples and grapes)
and tobacco are grown.
An important town by the 9th
century, Urmia was seized by the
Seljuk Turks (1184), and later
occupied a number of times by the
Ottoman Turks. For centuries the
city has had a diverse population
which has at times included
Muslims (Shias and Sunnis),
Christians (Catholics, Protestants,
Nestorians, and Orthodox), Jews,
Bahá'ís and Sufis. Around 1900,
Christians made up more than 40%
of the city's population, however,
most of the Christians fled in 1918
as a result of the Persian Campaign
during World War I and the
Armenian
Name
The name Urmia originated in the
Kingdom of Urartu. Urartian
fortresses and artifacts found
across Azerbaijan and into the
Azerbaijan province of Iran denote
an Urartian etymology.The city's
Armenian population also
complements the idea of an
Urartian origin. According to
Vladimir Minorsky, there were
villages in the Urmia plain as early
as 2000 B.C., with their civilization
under the influence of the Kingdom
of Van. The excavations of the
ancient ruins near Urmia led to the
discovery of utensils that date to
2000 years B.C.. In ancient times,
the west bank of Urmia Lake was
called Gilzan, and in the ninth
century B.C. an independent
government ruled there, which
later joined the Urartu or Mana
empire; in the eighth century B.C 21

24. the area was a vassal of the Asuzh
government until it joined the
Median Empire after its formation.
Richard Nelson Frye also suggested
an Urartian origin for the name.
T. Burrow connected the origin of
the name Urmia to Indo-Iranian
urmi- "wave" and urmya-
"undulating, wavy",which is due to
the local Assyrian folk etymology
for the name which related "Mia"
to Syriac meaning "water." Hence
Urmia simply means 'Watertown"
— a befitting name for a city
situated by a lake and surrounded
by rivers, would be the cradle of
water.This also suggests, that the
Assyrians referred to the Urartian
influence in Urmia as ancestors of
the inhabitants of the Sumerian city
state Ur, referenced Biblically as "Ur
of the Chaldees". Further
association of the
Urmia/Urartian/Ur etymology from
the Assyrian folk legend is the fact
that the Urartian language is also
referenced as the Chaldean
language, a standardized
simplification of Neo-Assyrian
cuneiform, which originated from
the accreditation to Urartian chief
god Ḫaldi or Khaldi. Thus the root
of Urmia is an Assyrian reference to
the etymology of the Urartu/Ur
Kingdoms and the Aramaic word
"Mia" meaning water, which as T.
Burrow noted, referenced the city
that is situated by a lake and
surrounded by rivers.
As of 1921, Urmia was also called,
Urumia and Urmi. During the
Pahlavi Dynasty (1925–1979), the
city was called Rezaiyeh after Rezā
Shāh, the dynasty's founder, whose
name ultimately derives from the
Islamic concept of rida via the
Eighth Imam in Twelver Shia Islam,
Ali al-Ridha.

25. History
According to historical documents,
the western part of the Urmia Lake
has been a center of attention of
the prehistoric nations, 6 km (3.7
mi) southeast of the lake which
competes with the oldest hills of
Mesopotamia, Asia the Minor, and
the Iranian Plateau.
The Columbia Encyclopedia
mentions that Urmia was an
important town in the region
during the 9th century.
The Ottoman Turks made several
incursions into the city, but the
Safavids were soon able to regain
control over the area. The first
monarch of Iran's Qajar dynasty,
Agha Muhammad Khan, was
crowned in Urmia in 1795.
Due to the presence of substantial
Christian minority at the end of the
19th century, Urmia was also
chosen as a site of the first
American Christian mission in Iran
in 1835. Another mission soon
became operational in nearby
Tabriz as well. During World War I
the population was estimated as
30,000 by Dr. Caujole, a quarter of
which (7,500) were Assyrians and
1,000 were Jews.
During the 19th century, the region
became the center of a short lived
Assyrian renaissance with many
books and newspapers being
published in Syriac. Urmia was also
the seat of a Chaldean diocese.
At the beginning of the First World
War tens of thousands of Assyrians
and Armenians from Anatolia found
refuge in Urmia. The city changed
hands several times between
Russians and Kurds the following
two years. The influx of Christian
refugees and their alliance with the
Russians angered the Muslims who
attacked the Christian quarter in
February 1918, The better armed
Assyrians managed however to
capture the whole city following a
brief battle. The region descended
into chaos again after the
assassination of the Assyrian
patriarch Shimun XXI Benyamin at
the hands of Simko Shikak one
month later. Turkish armies and
Samko managed to finally take and
plunder the city in June/July
1918.[20] Thousands of Assyrians
were massacred as part of the
Assyrian Genocide, others found
refuge under British protection in
Iraq.

26. urmia lake

27. Fabrik Expo Fair
Call for Artists - Deadline:
December 4th, 2015
In the past, galleries played an
important role in representing and
nurturing artists. However, that
system can no longer support the
amount of good artists who seek
representation today, or who are
working in unconventional media
and forms. Through Fabrik Expo,
artists can directly present and
discuss their work with curators,
gallery directors, dealers, collectors,
editors, publishers, writers,
educators, and cultural
organizations, those who seek to
find, invest in, commission,
promote and support the finest
established, emerging and
undiscovered artistic talent
available today.
Fabrik Expo is currently seeking
original works from artists and
designers across the globe. To
ensure the highest caliber work,
our expert Selection Committee
will review all applications and
carefully select the artists who will
exhibit at Fabrik Expo and have the
chance to connect with the
aforementioned professionals, plus
thousands of visitors.
We are seeking artists in the
following genres:
Assemblage
Book and Graphic Arts
Ceramics
Collage
Conceptual Art
Cross-Disciplinary Collaboratives
Digital Media and Interactive Art
Drawing
Environmental and Social Projects
Experimental Architecture
Glass
High Concept Design Arts
Installation
Mixed Media
Painting
Performance Art (including
documentation, props & costumes)
Photography
Printmaking
Public Art
Sculpture
Sound and Video Art
Street Art and Murals
Textile and Fiber Arts
Wearable
25

28. http://www.aziz-anzabi.com