Sadegh Tabrizi was an influential Iranian contemporary artist known for his experimentation and contributions to modernizing Western art styles with Iranian traditions. Over his career from the 1950s-1970s, he progressed through several artistic periods exploring different mediums and techniques. Notable periods included his early incorporation of calligraphy, collaborations with other artists at the Faculty of Decorative Arts, and abstract works using broken calligraphy. However, a complete catalog of his body of work has yet to be compiled.
This document provides biographical information on three artists: Monir Farmanfarmaian, Mohammed Kazem, and David Hockney. It discusses Farmanfarmaian's background, education, artistic journey focusing on mirror mosaics, exile during the Iranian Revolution, and current work in Tehran. For Mohammed Kazem, it outlines his background as a conceptual Emirati artist working in Dubai and his incorporation of new media. David Hockney is also mentioned but no details are provided.
Egon Schiele and Eduardo Paolozzi - Initial ResearchCourtney Grant
Initial research into two artists from the past including a short biography, their influences, quotes, analysis of their works as well as a short comparison.
This document provides an introduction to Chinese calligraphy. It discusses the history and importance of calligraphy in Chinese culture. It describes the four main styles of calligraphy - seal script, clerical script, cursive script, and standard script. It also discusses materials used, how to hold a brush, basic strokes, and includes examples of calligraphy works. The purpose is to introduce the reader to Chinese calligraphy as an art form and important part of Chinese cultural heritage.
1) Calligraphy originated in China over 4,600 years ago, starting as paintings before evolving into characters. It uses specialized tools like ink, paper, brushes, and ink sticks.
2) Wang Xian Zhi was a famous calligrapher born in 303 AD who is known for his piece "Lan Ting Xu". There are different styles of calligraphy like seal script and official script.
3) Painting and calligraphy are closely related, using similar techniques. Famous painter Qi Bai Shi taught himself despite coming from a poor family and focused on paintings of animals and scenery. Ancient Chinese painters took a more serious approach than some modern ones.
Chinese brush painting uses traditional tools like ink, brushes, paper, and inkstones. There are three main genres: figure painting depicting people, landscape painting of mountains and water, and birds and flowers. Two popular styles are gongbi, which uses fine detailed brushwork and colors, and xieyi ink wash paintings preferred by scholar painters that aim to capture the spirit or qi. Composition and use of calligraphy, poetry, and seals are also important artistic elements in Chinese brush painting.
This document provides biographical information about several artists including Mohsen Vaziri-Moghaddam, Gustav Klimt, Stella Dunkley, Bahman Mohassess, Jennifer Morrison, and Forough Farrokhzad. It discusses their education, careers, notable works, exhibitions, and influence. The section on Mohsen Vaziri-Moghaddam is most extensive, detailing his studies in Iran and Italy, transition from figurative to abstract works incorporating sand paintings, teaching positions in Iran, and continued creative output into his later years. Gustav Klimt is introduced as an Austrian symbolist painter and member of the Vienna Secession known for eroticism and use of gold
Chinese brush painting emerged over 6,000 years ago and has greatly influenced modern art through its unique techniques and spontaneous style. It has evolved through different dynasties in China's history, developing different styles. Chinese brush painting is based on water and ink techniques using bamboo brushes in a minimal yet expressive style. It focuses on conveying mood and spirit rather than realistic depiction. Chinese brush painting continues to impact modern art through its symbolic abstract images, integration with calligraphy, and emphasis on expressing the artist's inner feelings through simple brush strokes that represent nature.
This document provides biographical information on three artists: Monir Farmanfarmaian, Mohammed Kazem, and David Hockney. It discusses Farmanfarmaian's background, education, artistic journey focusing on mirror mosaics, exile during the Iranian Revolution, and current work in Tehran. For Mohammed Kazem, it outlines his background as a conceptual Emirati artist working in Dubai and his incorporation of new media. David Hockney is also mentioned but no details are provided.
Egon Schiele and Eduardo Paolozzi - Initial ResearchCourtney Grant
Initial research into two artists from the past including a short biography, their influences, quotes, analysis of their works as well as a short comparison.
This document provides an introduction to Chinese calligraphy. It discusses the history and importance of calligraphy in Chinese culture. It describes the four main styles of calligraphy - seal script, clerical script, cursive script, and standard script. It also discusses materials used, how to hold a brush, basic strokes, and includes examples of calligraphy works. The purpose is to introduce the reader to Chinese calligraphy as an art form and important part of Chinese cultural heritage.
1) Calligraphy originated in China over 4,600 years ago, starting as paintings before evolving into characters. It uses specialized tools like ink, paper, brushes, and ink sticks.
2) Wang Xian Zhi was a famous calligrapher born in 303 AD who is known for his piece "Lan Ting Xu". There are different styles of calligraphy like seal script and official script.
3) Painting and calligraphy are closely related, using similar techniques. Famous painter Qi Bai Shi taught himself despite coming from a poor family and focused on paintings of animals and scenery. Ancient Chinese painters took a more serious approach than some modern ones.
Chinese brush painting uses traditional tools like ink, brushes, paper, and inkstones. There are three main genres: figure painting depicting people, landscape painting of mountains and water, and birds and flowers. Two popular styles are gongbi, which uses fine detailed brushwork and colors, and xieyi ink wash paintings preferred by scholar painters that aim to capture the spirit or qi. Composition and use of calligraphy, poetry, and seals are also important artistic elements in Chinese brush painting.
This document provides biographical information about several artists including Mohsen Vaziri-Moghaddam, Gustav Klimt, Stella Dunkley, Bahman Mohassess, Jennifer Morrison, and Forough Farrokhzad. It discusses their education, careers, notable works, exhibitions, and influence. The section on Mohsen Vaziri-Moghaddam is most extensive, detailing his studies in Iran and Italy, transition from figurative to abstract works incorporating sand paintings, teaching positions in Iran, and continued creative output into his later years. Gustav Klimt is introduced as an Austrian symbolist painter and member of the Vienna Secession known for eroticism and use of gold
Chinese brush painting emerged over 6,000 years ago and has greatly influenced modern art through its unique techniques and spontaneous style. It has evolved through different dynasties in China's history, developing different styles. Chinese brush painting is based on water and ink techniques using bamboo brushes in a minimal yet expressive style. It focuses on conveying mood and spirit rather than realistic depiction. Chinese brush painting continues to impact modern art through its symbolic abstract images, integration with calligraphy, and emphasis on expressing the artist's inner feelings through simple brush strokes that represent nature.
The document discusses Bahraini artist Hala Al-Khalifa and her work. It notes that she seeks to engage in a conversation about the rich history of art in the Middle East, noting that art academies were established in Cairo, Beirut, and Damascus in the early 20th century. It describes how Al-Khalifa was exposed to contemporary Arab art growing up in Bahrain and discusses her education and career, including her roles promoting art in Qatar through her work at the Qatar Museums Authority and independently. Al-Khalifa's paintings explore themes of absence and longing and she hopes to make the history of Middle Eastern art more accessible to younger generations.
This document provides an overview of Company School paintings created in India during British colonial rule between the 18th and 19th centuries. It discusses how British patrons commissioned Indian artists to depict scenes of everyday life, occupations, ceremonies, and wildlife. The paintings combined Western techniques like linear perspective with traditional Indian styles of miniature painting. Company paintings serve as valuable historical records of colonial India and helped spread images of Indian culture to European audiences. The document concludes with descriptions and analyses of 12 examples of Company paintings showcasing various subjects and styles.
Chinese calligraphy originated over 4,600 years ago and is considered an art form that reflects personality and thinking styles. There are various calligraphy styles that emerged over dynasties including seal script, clerical script, running script, regular script, and cursive script. The four treasures of calligraphy include the brush, inkstick, paper, and inkstone. Calligraphy is highly respected in Chinese culture and is one of the basic skills of Chinese literati along with painting, music, and board games. It can take over 20 years to become a master calligrapher requiring extensive practice and study of classical texts.
This document provides an overview of Chinese calligraphy and the development of written scripts in China from oracle bone style through various dynasties. It traces the evolution of Chinese characters from early pictographs to modern script styles like seal script, clerical script, standard script, running script, and grass script. The document also describes the traditional tools of calligraphy like brushes, inks, paper, and inkstones. It provides examples of famous calligraphers' works from different dynasties to illustrate the various script styles.
The document discusses the history of Chinese calligraphy from its earliest origins in oracle bone script over 8,000 years ago to modern calligraphy styles. It covers the development of characters over time, materials like ink and paper, and different scripts including clerical, regular, semi-cursive and cursive scripts. It also describes a lecture and calligraphy demonstration by Professor Yang Xin of Beijing University on the techniques and expressive aspects of the art form.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
The document is an alphabetically organized list that provides information about Chinese calligraphy and culture. Each letter introduces a new word starting with that letter, along with a brief definition or fact. Some of the terms discussed include calligraphy styles like Kai Shu and Xing Shu, tools used in calligraphy like ink and brushes, cultural symbols like pandas and horses, and materials like jade and pearl powder that are used to make calligraphy ink.
This document provides a brief introduction to Chinese calligraphy by discussing its history, materials, styles, and famous calligraphers. It can be summarized as follows:
1) Chinese calligraphy originated in China and has been practiced for centuries as the highest art form in East Asia, using brushes, ink, paper, and an inkstone.
2) The core calligraphy tools - the brush, inkstick, inkstone, and paper - require specialized techniques to use properly. Different bristle types and materials are used for brushes.
3) Famous calligraphers like Wang Xizhi, Huang Tingjian, and Su Shi created renowned works that advanced calligraphy styles and techniques.
The document is a tutorial about portrait artist Leonid Gervits and his approach to figure painting. It discusses Gervits' training in the classical tradition at the Repin Institute in Russia. While considered a contemporary artist, Gervits believes figure painting developed centuries ago through masters like Velazquez deserves to still be considered relevant. He teaches multilayered painting techniques using underpainting and glazing at the Art Students League of New York. Gervits emphasizes the importance of drawing and values accurate representation over artistic license. He observes sitters closely to portray their essence and believes portraiture can capture the character of individuals or entire peoples.
Explore the various forms of indian art paintingsIndian Art Ideas
Indian Art Ideas presents different types of Indian Paintings Like traditional paintings, cave paintings, Mughal, Rajput, Mysore, Maithili and South Indian Paintings. This presentation helps to know more about various kinds of Indian themes paintings.
Chinese calligraphy has a history of over 2,000 years, being considered one of the supreme arts in China since the 3rd century CE. It involves basic stroke order rules and was performed using four treasures: inkstone, ink, paper, and brushes. Calligraphy was an important part of Chinese culture and helped develop their writing system over millennia.
The document discusses Indian paintings, their history, and various styles. It describes craftsmanship as skilled manual work and defines different types of crafts. Indian paintings have a long tradition dating back to 5500 BC, with many styles practiced today including Mughal, mural, Rajput, traditional, Tanjore, Mysore, Kalighat, miniature, Madhubani, canvas, acrylic, oil, Ajanta, marble, landscape and portrait paintings. Each style is briefly characterized by its themes, materials, and origins.
The document provides an overview of Chinese culture, history, and architecture from ancient dynasties to modern times. It describes key details about the flags and dynasties that ruled China. The early dynasties like Xia, Shang, and Zhou built rammed earth walls and wooden structures for palaces, temples, and houses. Architecture evolved over time with the introduction of tile roofs, painted pillars, and separate spaces for women. Traditional Chinese arts like painting, calligraphy, crafts, and terracotta figures are also summarized.
This document discusses two Pakistani artists, Anwar Jalal Shemza and Syed Sadequain Ahmed Naqvi. Anwar Jalal Shemza was a painter, writer and editor from Kashmir who lived from 1928-1985 and worked in both Pakistan and the UK as an arts teacher. He helped establish modernist art in Pakistan. Syed Sadequain Ahmed Naqvi was a calligrapher born in 1930 in British India who began his career in 1940 and became renowned for his mural artwork in Pakistan, India and elsewhere. Both artists made significant contributions to Pakistani art and culture in the post-partition era.
Syed Haider Raza is a renowned global master artist born in India who lives and works in France. While influenced by French techniques, Raza's work draws from Indian philosophy and cosmology through vibrant uses of ochre, umber, sienna, red, and brown. Raza helped found the influential Bombay Progressive Artists' Group in 1947 to break from European realism and develop modern Indian art. He is India's most expensive living artist, with some works selling for over $1 million.
This drawing is the third in the Vindobona Altarpiece series by the artist. It continues exploring themes from Vindobona Altarpieces I and II, completed in 1981-1993 and 1980 respectively. The drawing was influenced by the Vienna School of Fantastic Realism and features figures from Rudolf Hausner and Ernst Fuchs' works. Completed in 1994, it pays tribute to influences on the artist's style and imaginary world through the symbolism of its central figures and scenes.
Zeng Fanzhi's exhibition "In the Studio" will be shown concurrently at Hauser & Wirth galleries in Zurich, London, and Hong Kong from September to November 2018. The exhibition focuses on Zeng's artistic process and recent developments, showing new abstract landscapes in Zurich, portraits from the 1980s to present in London, and works exploring Eastern and Western artistic traditions in Hong Kong. Over his 30-year career, Zeng has challenged conventions of painting through investigations of brushwork, color, space, and the relationship between abstraction and representation.
Sai Kung Art and About - Vincent Lee Kwun-leung's Chinese ink paintingsVincentKwunLeungLee
I am going to be one of the participating artists in this art fair between 19 and 20 March 2016, in which I am going to have a booth at Sai Kung Promenade Park and have two pieces of Chinese-ink paintings being selected for the "Gallery Walk" session. I have to do creative demonstrations and prepare for a seminar to present my creative experiences.
This slideshare covers my fruits of Chinese-ink explorations in various units - such as my two secondary schools, Oil Street, HERMES and Cheung Chau Pier. Most of the works are "project-based", but you can still see how creative I am in terms of coping with the ever-changing aesthetic demands.
Indian painting has its origins in prehistoric times as seen in cave paintings at Bhimbetka dating back thousands of years. During ancient times, paintings flourished under patronage of rulers and were seen in temples and palaces, depicting religious and secular themes. Medieval Indian painting was influenced by Persian styles under Mughal rule and reached its peak during the time of Jahangir. In modern times, schools like the Bengal school and Progressive Artists Group emerged, adapting both traditional and modern techniques and styles. Indian painting has thus continuously evolved over millennia, adapting to new influences while maintaining its distinct character.
This document discusses several famous Persian calligraphers throughout history:
- Mir-Ali Tabrizi who lived in the 14th-15th century and invented the Nas-Taliq style of calligraphy.
- Mir-Emad Hassani who lived in the 16th century and modified the Nas-Taliq style.
- Mirza Mohammad Reza Kalhor who lived in the 19th century and had his own style while following Mir Emad's rules of calligraphy.
- Emad-ol-Kottab who lived in the 15th century and mentored many prominent calligraphers.
Omar Hashem Abdu Thabet Alsaqqaf has over 10 years of experience as a systems programmer and analyst working on projects for Hayel Saeed Anam Group in Yemen. He has extensive skills in Oracle databases, PL/SQL, forms and reports development. Some of the projects he has worked on include a time attendance system, charity management system, commercial costing system, media announcements system, scholarship system and school fees system. He is proficient in programming languages like C, C++, Pascal and VB6. Alsaqqaf has a Bachelor's Degree in Computer Science and is looking to contribute his skills and teamwork experience to new projects.
The document discusses Bahraini artist Hala Al-Khalifa and her work. It notes that she seeks to engage in a conversation about the rich history of art in the Middle East, noting that art academies were established in Cairo, Beirut, and Damascus in the early 20th century. It describes how Al-Khalifa was exposed to contemporary Arab art growing up in Bahrain and discusses her education and career, including her roles promoting art in Qatar through her work at the Qatar Museums Authority and independently. Al-Khalifa's paintings explore themes of absence and longing and she hopes to make the history of Middle Eastern art more accessible to younger generations.
This document provides an overview of Company School paintings created in India during British colonial rule between the 18th and 19th centuries. It discusses how British patrons commissioned Indian artists to depict scenes of everyday life, occupations, ceremonies, and wildlife. The paintings combined Western techniques like linear perspective with traditional Indian styles of miniature painting. Company paintings serve as valuable historical records of colonial India and helped spread images of Indian culture to European audiences. The document concludes with descriptions and analyses of 12 examples of Company paintings showcasing various subjects and styles.
Chinese calligraphy originated over 4,600 years ago and is considered an art form that reflects personality and thinking styles. There are various calligraphy styles that emerged over dynasties including seal script, clerical script, running script, regular script, and cursive script. The four treasures of calligraphy include the brush, inkstick, paper, and inkstone. Calligraphy is highly respected in Chinese culture and is one of the basic skills of Chinese literati along with painting, music, and board games. It can take over 20 years to become a master calligrapher requiring extensive practice and study of classical texts.
This document provides an overview of Chinese calligraphy and the development of written scripts in China from oracle bone style through various dynasties. It traces the evolution of Chinese characters from early pictographs to modern script styles like seal script, clerical script, standard script, running script, and grass script. The document also describes the traditional tools of calligraphy like brushes, inks, paper, and inkstones. It provides examples of famous calligraphers' works from different dynasties to illustrate the various script styles.
The document discusses the history of Chinese calligraphy from its earliest origins in oracle bone script over 8,000 years ago to modern calligraphy styles. It covers the development of characters over time, materials like ink and paper, and different scripts including clerical, regular, semi-cursive and cursive scripts. It also describes a lecture and calligraphy demonstration by Professor Yang Xin of Beijing University on the techniques and expressive aspects of the art form.
The Art of Wu Guanzhong (Speaker: Vincent LEE Kwun-leung)VincentKwunLeungLee
Wu Guanzhong sought for an integration between French Romanticism and Chinese Literati Painting Tradition from both his oil and ink paintings. But, Mao Zedong and the Communist Party disliked his pro-European attempt of Sino-Western aesthetic innovations. Due to the trend of Cultural Revolution, Mao Zedong forced Wu Guanzhong to abandon what he learnt in Paris and re-adapt to the "Leninist School of Realistic Thought". But, Wu Guanzhong refused to do so. Fortunately, the colonial government of Hong Kong under British administration tried all its best to preserve Wu Guanzhong's pieces and ensure him with creative freedoms. Wu Guanzhong could thus explore a great variety of new styles while playing with his moisturized ink leisures, such as Post-Impressionism, Rococo, Abstract Expressionism, Feminism and Minimalism.
The document is an alphabetically organized list that provides information about Chinese calligraphy and culture. Each letter introduces a new word starting with that letter, along with a brief definition or fact. Some of the terms discussed include calligraphy styles like Kai Shu and Xing Shu, tools used in calligraphy like ink and brushes, cultural symbols like pandas and horses, and materials like jade and pearl powder that are used to make calligraphy ink.
This document provides a brief introduction to Chinese calligraphy by discussing its history, materials, styles, and famous calligraphers. It can be summarized as follows:
1) Chinese calligraphy originated in China and has been practiced for centuries as the highest art form in East Asia, using brushes, ink, paper, and an inkstone.
2) The core calligraphy tools - the brush, inkstick, inkstone, and paper - require specialized techniques to use properly. Different bristle types and materials are used for brushes.
3) Famous calligraphers like Wang Xizhi, Huang Tingjian, and Su Shi created renowned works that advanced calligraphy styles and techniques.
The document is a tutorial about portrait artist Leonid Gervits and his approach to figure painting. It discusses Gervits' training in the classical tradition at the Repin Institute in Russia. While considered a contemporary artist, Gervits believes figure painting developed centuries ago through masters like Velazquez deserves to still be considered relevant. He teaches multilayered painting techniques using underpainting and glazing at the Art Students League of New York. Gervits emphasizes the importance of drawing and values accurate representation over artistic license. He observes sitters closely to portray their essence and believes portraiture can capture the character of individuals or entire peoples.
Explore the various forms of indian art paintingsIndian Art Ideas
Indian Art Ideas presents different types of Indian Paintings Like traditional paintings, cave paintings, Mughal, Rajput, Mysore, Maithili and South Indian Paintings. This presentation helps to know more about various kinds of Indian themes paintings.
Chinese calligraphy has a history of over 2,000 years, being considered one of the supreme arts in China since the 3rd century CE. It involves basic stroke order rules and was performed using four treasures: inkstone, ink, paper, and brushes. Calligraphy was an important part of Chinese culture and helped develop their writing system over millennia.
The document discusses Indian paintings, their history, and various styles. It describes craftsmanship as skilled manual work and defines different types of crafts. Indian paintings have a long tradition dating back to 5500 BC, with many styles practiced today including Mughal, mural, Rajput, traditional, Tanjore, Mysore, Kalighat, miniature, Madhubani, canvas, acrylic, oil, Ajanta, marble, landscape and portrait paintings. Each style is briefly characterized by its themes, materials, and origins.
The document provides an overview of Chinese culture, history, and architecture from ancient dynasties to modern times. It describes key details about the flags and dynasties that ruled China. The early dynasties like Xia, Shang, and Zhou built rammed earth walls and wooden structures for palaces, temples, and houses. Architecture evolved over time with the introduction of tile roofs, painted pillars, and separate spaces for women. Traditional Chinese arts like painting, calligraphy, crafts, and terracotta figures are also summarized.
This document discusses two Pakistani artists, Anwar Jalal Shemza and Syed Sadequain Ahmed Naqvi. Anwar Jalal Shemza was a painter, writer and editor from Kashmir who lived from 1928-1985 and worked in both Pakistan and the UK as an arts teacher. He helped establish modernist art in Pakistan. Syed Sadequain Ahmed Naqvi was a calligrapher born in 1930 in British India who began his career in 1940 and became renowned for his mural artwork in Pakistan, India and elsewhere. Both artists made significant contributions to Pakistani art and culture in the post-partition era.
Syed Haider Raza is a renowned global master artist born in India who lives and works in France. While influenced by French techniques, Raza's work draws from Indian philosophy and cosmology through vibrant uses of ochre, umber, sienna, red, and brown. Raza helped found the influential Bombay Progressive Artists' Group in 1947 to break from European realism and develop modern Indian art. He is India's most expensive living artist, with some works selling for over $1 million.
This drawing is the third in the Vindobona Altarpiece series by the artist. It continues exploring themes from Vindobona Altarpieces I and II, completed in 1981-1993 and 1980 respectively. The drawing was influenced by the Vienna School of Fantastic Realism and features figures from Rudolf Hausner and Ernst Fuchs' works. Completed in 1994, it pays tribute to influences on the artist's style and imaginary world through the symbolism of its central figures and scenes.
Zeng Fanzhi's exhibition "In the Studio" will be shown concurrently at Hauser & Wirth galleries in Zurich, London, and Hong Kong from September to November 2018. The exhibition focuses on Zeng's artistic process and recent developments, showing new abstract landscapes in Zurich, portraits from the 1980s to present in London, and works exploring Eastern and Western artistic traditions in Hong Kong. Over his 30-year career, Zeng has challenged conventions of painting through investigations of brushwork, color, space, and the relationship between abstraction and representation.
Sai Kung Art and About - Vincent Lee Kwun-leung's Chinese ink paintingsVincentKwunLeungLee
I am going to be one of the participating artists in this art fair between 19 and 20 March 2016, in which I am going to have a booth at Sai Kung Promenade Park and have two pieces of Chinese-ink paintings being selected for the "Gallery Walk" session. I have to do creative demonstrations and prepare for a seminar to present my creative experiences.
This slideshare covers my fruits of Chinese-ink explorations in various units - such as my two secondary schools, Oil Street, HERMES and Cheung Chau Pier. Most of the works are "project-based", but you can still see how creative I am in terms of coping with the ever-changing aesthetic demands.
Indian painting has its origins in prehistoric times as seen in cave paintings at Bhimbetka dating back thousands of years. During ancient times, paintings flourished under patronage of rulers and were seen in temples and palaces, depicting religious and secular themes. Medieval Indian painting was influenced by Persian styles under Mughal rule and reached its peak during the time of Jahangir. In modern times, schools like the Bengal school and Progressive Artists Group emerged, adapting both traditional and modern techniques and styles. Indian painting has thus continuously evolved over millennia, adapting to new influences while maintaining its distinct character.
This document discusses several famous Persian calligraphers throughout history:
- Mir-Ali Tabrizi who lived in the 14th-15th century and invented the Nas-Taliq style of calligraphy.
- Mir-Emad Hassani who lived in the 16th century and modified the Nas-Taliq style.
- Mirza Mohammad Reza Kalhor who lived in the 19th century and had his own style while following Mir Emad's rules of calligraphy.
- Emad-ol-Kottab who lived in the 15th century and mentored many prominent calligraphers.
Omar Hashem Abdu Thabet Alsaqqaf has over 10 years of experience as a systems programmer and analyst working on projects for Hayel Saeed Anam Group in Yemen. He has extensive skills in Oracle databases, PL/SQL, forms and reports development. Some of the projects he has worked on include a time attendance system, charity management system, commercial costing system, media announcements system, scholarship system and school fees system. He is proficient in programming languages like C, C++, Pascal and VB6. Alsaqqaf has a Bachelor's Degree in Computer Science and is looking to contribute his skills and teamwork experience to new projects.
Growing the field - A comparitive study of Outdoor Arts programming in Austra...Adam Direen
This document provides a comparative analysis of outdoor arts programming within five major Australian festivals and events: SummerSalt Outdoor Arts Festival, White Night, Perth International Arts Festival, Moomba Festival, and WOMADelaide. It examines the 2015 programming of these events and considers audience responses and engagement. The analysis finds that outdoor arts represent an important part of the content at each event. It also identifies similarities between the cultural offerings, while noting each sees itself as having a distinct identity. Outdoor arts are seen to make elite art forms more accessible while creating activity hubs and unique audience experiences. Programming must be appropriate to locations to optimize experiences and foster community engagement crucial for longevity.
SAVE MERBABU With Uni Papua Fc Salatiga
Beberapa waktu lalu telah terjadi kebakaran di Gunung Merbabu. Menindak lanjuti kejadian tersebut Uni Papua Getasan Salatiga bekerjasama dengan Kodim 0714 Salatiga dan Dinas Pertanian, Perkebunan dan Kehutanan Kabupaten Semarang mengadakan kegiatan yang dinamakan Save Merbabu.
Tujuannya adalah untuk menyelamatkan Gunung Merbabu serta menghijaukan kembali setelah kebakaran yang terjadi beberapa waktu lalu.
Kegiatan diawali dengan upacara yang dipimpin langsung oleh perwakilan dari Kodim 0714 Salatiga serta penyerahan bibit tanaman dari pihak Kodim kepada perwakilan dari sekitar 400 peserta kegiatan yang hadir Jumat 13 November 2015 yang bertempat di lapangan tempat Uni Papua Getasan Salatiga berlatih. Peserta yang hadir pun terdiri dari siswa Uni Papua, Pramuka, Karang Taruna Tagana serta beberapa perwakilan dari kelompok masyarakat.
Setelah Upacara yang dilangsung sekitar 20 menit itu selesai dilanjutkan dengan penanaman di lokasi terdekat sebagai sombol bahwa program penanaman yang akan dilakukan selama bulan November ini dimulai. Sekitar 200 pohon berhasil ditanam di lokasi pertama ini.
Lokasi berikutnya adalah di lereng bukit yang cukup terjal yang beberapa waktu lalu terbakar karena musim panas yang cukup panjang. Untuk lahan terjal ini masyarakat setempat mengambil bagian untuk menanam disitu. Karena itu merupakan dearah yang cukup dekat dengan area berkebun mereka. Sehingga 1000 bibit pun diserahkan kepada masyarakat untuk dilakukan penanaman.
Setelah kegiatan selesai dilakukan pertandingan bola persahabatan antara Uni Papua FC Getasan Salatiga dan Kodim Salatiga. Dari 400an peserta yang ikut terlibat 99% merasa senang dengan kegiatan ini. Dapat terlihat dari hasil evaluasi dari tim Uni Papua FC. Antusiasme anak-anak pramuka pun dapat terlihat ketika mereka mulai berkreasi untuk menggambarkan dan menuliskan kalimat-kalimat ajakan yang bertujuan untuk melindungi dan menyelamatkan Gunung Merbabu.
Ayo kita Selamatkan Gunung Merbabu. (YFP/13/11/15)
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#SepakbolaSosial #Sepakbola #FIFA #UniPapua
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#gogreen #merbabu #savemerbabu #gogreenmerbabu
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-Ys-
The document discusses change management and organizational change. It defines change management as managing the people-side of change to achieve business outcomes. Kurt Lewin's three-stage change management model of unfreezing, changing, and refreezing is described. Reasons for resistance to change are provided, as are strategies for handling resistance and roles of effective change leaders. Principles of change management are outlined.
Julius Chilufya is a Zambian national with over 10 years of experience in human resources roles. He holds a Bachelor's degree in Human Resource Management and is currently pursuing a Master's degree. His areas of expertise include labor law interpretation, payroll administration, training needs assessment, and performance management. He is currently a Senior Human Resources Officer at Zambia Airports Corporation Limited, where his responsibilities include managing medical schemes, addressing employee grievances, coordinating HR activities, and maintaining HR records.
Gemini Type Fontpack™ Font Download
Download : http://myfonts.us/lvCgtN
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INTRODUCING THE GEMINI TYPE FONTPACK, an industrial-strength OpenType font bundle inspired by and optimized for dimensional type.
This document provides biographical information on three artists: Monir Farmanfarmaian, Mohammed Kazem, and David Hockney. It discusses Farmanfarmaian's background, education, artistic journey focusing on mirror mosaics, exile during the Iranian Revolution, and current work in Tehran. For Mohammed Kazem, it outlines his background as a conceptual Emirati artist working in Dubai and his focus on new media and conceptual forms. David Hockney is also mentioned but no details are provided.
1. Mahmoud Farshchian is an Iranian painter and considered a master of Persian painting. He helped modernize the art of miniatures.
2. Michelangelo was an Italian sculptor, painter, architect and poet during the High Renaissance who exerted great influence. Two of his most famous works are the Pietà and David sculptures. He also painted the ceiling and altar wall of the Sistine Chapel.
3. The document provides biographical details and discusses the styles of Mahmoud Farshchian and Michelangelo, including Farshchian's fusion of traditional and modern techniques and Michelangelo's versatility and status as one of the most influential artists in history
Reza Abbasi was a leading Persian miniaturist during the late Safavid period in the 16th-17th centuries. He spent most of his career working for Shah Abbas I and is considered the last great master of the Persian miniature, being best known for his single figures of beautiful youths in muraqqa or album art. Born possibly in Kashan, he received training from his father and joined Shah Abbas I's royal workshop at a young age. Unlike most earlier Persian artists, he typically signed his work, often providing dates and details.
Shirazeh Houshiary is an Iranian-born British artist known for her minimalist paintings influenced by Sufi mysticism. Her 2000 work "Presence" features thin horizontal bands of gray mist on the top third of the canvas that blend into the white void below upon close inspection. The painting explores the relationship between presence and absence, figure and ground. It provokes contemplation on the nature of painting and perception. Houshiary's work is included in major museum collections and she was nominated for the prestigious Turner Prize in 1994.
Painting under glass technique and plastic dimensionsAlexander Decker
This document summarizes a research study about the painting technique of Abu Subhi Tinawi, a Syrian folk artist known for his paintings under glass. It discusses Tinawi's spontaneous and folk-inspired approach, using readily available natural materials. While his works may lack technical skills by academic standards, they capture folk stories and characters through their symbolic visual narratives and spontaneous compositions. The document also describes Tinawi's glass painting process, which involved preparing pigments from natural sources, drawing designs on glass with ink, then painting transparent colors from the back to create a hidden layer under the glass.
The evolution of Arab art over centuries has led to new directions. Originally focused on Islamic geometric styles and calligraphy, Western influence in the 15th century introduced figurative works. Modern Arab artists embraced Western techniques in newly established art schools. This allowed expression of social and political issues as well as greater participation of women artists. Recent decades have seen Arab women take their art in directions touching on freedom, emancipation, and other challenges facing their societies.
This document summarizes information about the Harappan civilization and various artworks related to it. It discusses the Harappan cities of Harappa and Mohenjo-Daro, Harappan pottery styles, the Gandhara kingdom, and paintings by Amrita Sher-Gil and Jamini Roy depicting aspects of Indian culture. It also provides background on the artists and timelines of their works.
Around 1000 years ago, Ibn Muqlah and his brother created six genres of Iranian calligraphy. In the 17th century, Morteza Gholi Khan Shamlou and Mohammad Shafi Heravi created a new cursive style called Nastaʿlīq Shekasteh Nastaʿlīq. The document then profiles four famous Persian calligraphers - Mierza Mohammad-Reza Kalhor, Amirkhani, Mir-Ali Tabrizi, and Mir-Emad - and their contributions to calligraphy styles like Nas-Taliq.
The document summarizes the evolution of Arab art over time from its origins in Islamic geometric designs and calligraphy to the modern and contemporary eras. It traces the influences of Western art beginning in the 15th century and the emergence of new styles. Later, as Arab artists gained exposure to modern movements, they began defining their own identities and addressing political and social issues. Recent decades have seen a growing role for Arab women artists and new generations expressing themselves outside of strictly Islamic traditions.
This document provides information on several artists and art-related topics:
- It discusses the prominent Iranian painter Hossein Behzad, his internationally acclaimed work, and his exhibitions around the world.
- It summarizes Pablo Picasso's life and impact as one of the most influential artists of the 20th century, known for co-founding Cubism and inventing constructed sculpture.
- It provides a brief biography of the Iranian painter Nami Petgar and describes his realistic and abstract styles which incorporate both Western and Persian influences.
- It also mentions the Bahraini artist Ella Prakash and her vibrant, expressive abstract paintings exploring themes of memory and identity.
- Additionally,
This document provides information on a lecture series and postgraduate programme on Islamic art offered by IESA UK in partnership with Leighton House Museum.
The lecture series consists of three semesters covering the aesthetics and display of Islamic art, the collecting of Islamic art in the West, and contemporary art and markets in the MENA region. The postgraduate programme leads to a diploma or master's degree and includes workshops, seminars and museum visits to develop understanding of collecting, displaying and communicating Islamic art. Coursework includes essays and a final dissertation or professional project. The faculty features experts in Islamic art, curators and art world professionals.
The group members Kushi, Vishwa Lakshmi and Caroline visited the Chitrakala Parishath art gallery in Bangalore to learn about traditional art and textiles as part of their craft museum project. The gallery contained extensive collections from various Indian art styles including Mysore paintings, sculptures, and works by Russian artist Nicholas Roerich. Specific galleries highlighted collections from Kejriwal, Kukke, Krishna Reddy and traditional Mysore paintings. Visiting the working art spaces and interacting with guides provided valuable lessons about colors, techniques, and the importance of understanding art and artists that complemented the group's classroom learning.
This document provides information about the editorial board, committee, designer, and publication details of Ars Orientalis volume 36. It lists the editors, committee members, designer, and publication assistants. It provides contact information for the journal, including addresses, email addresses, and subscription information. It also includes a brief statement about the scope and goals of Ars Orientalis, which solicits scholarly manuscripts on the art and archaeology of Asia, including the ancient Near East and Islamic world.
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art
For more details on our products and services, please feel free to visit us at Arabic Calligraphy, Arts for sale, Abstract Art, digital arts, Calligraphy art
MASH (My Art Shalini) is a digital platform — founded by the collector and philanthropist Shalini Passi — that explores the intersection of architecture, art, craft, design, and fashion in an accessible and engaging format.
In line with the mission of the Shalini Passi Art Foundation — to support emerging young artists — MASH hosts a monthly feature on selected artists and their work and promotes experimental new practitioners through its social media platforms. Additionally, MASH’s Facebook and Instagram pages provide regular updates on current exhibitions, important sales, and significant cultural events around the world.
Hikmet Barutcugil is a Turkish master craftsman and pioneer of the ancient art of ebru or Turkish paper marbling. When he became interested in ebru in the 1970s, there were no remaining practitioners, so he taught himself through books and extensive trial and error. He developed his own style called "Barut Ebru" and has worked to revive and spread the tradition globally through teaching and exhibitions. Barutcugil established the Ebristan museum in Istanbul to preserve ebru's heritage and pass the art onto new generations. He continues innovating ebru and ensuring its longevity.
Artists Who Created Art Movements In PakistanLiz Adams
This article summarizes the development of art movements in Pakistan following independence. It discusses how early Pakistani artists like Abdur Rehman Chughtai and Allah Bukhsh struggled under difficult political and economic conditions and did not establish distinct schools of art. The generation of 1960s-80s artists, including Anna Molka Ahmad, Shakir Ali, Khalid Iqbal and Colin David, were more influenced by Western styles as they had opportunities to study abroad. They went on to shape Pakistan's art scene as teachers, with Ahmad influencing many to adopt a German Expressionist style and Ali introducing Cubism.
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,Iranian art ,Iranian contemporary art ,famous Iranian artist ,Middle east art ,European art
This document provides a biography of the artist Andy Warhol. It discusses his background and upbringing in Pittsburgh, Pennsylvania. It describes his early career in commercial illustration and how he later became a prominent figure in the pop art movement of the 1960s. Some of his most famous works and artistic innovations are mentioned, such as his silkscreen paintings, studio known as The Factory, and founding of Interview Magazine. It also provides details about his death in 1987 and funeral in Pittsburgh. The document then provides short biographies of the artists Baqer Al-Shaikh and Michelangelo, discussing their backgrounds, styles of work, and important works.
Edward Hopper was an American realist painter known for his oil paintings and prints depicting urban and rural scenes. Some of his most famous works include Nighthawks and Chop Suey. He was born in 1882 in New York and studied art in New York City. While he struggled early in his career with illustration work, his paintings began receiving recognition in the 1920s. He married fellow artist Josephine Nivison in 1924. Hopper lived and worked in New York City and summered in Truro, Massachusetts, where he found inspiration for his spare and contemplative scenes of American life. He died in 1967, leaving behind a significant body of work that reflects his personal vision.
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,middle east art ,european art
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,middle east art ,european art
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,middle east art ,european art
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art
Louise Bourgeois was a French-American artist known for her large-scale sculptures and installation art that explored themes of domesticity, sexuality, and the subconscious. Her work was highly autobiographical, dealing with trauma from her childhood including witnessing her father's affair with her English governess. Throughout her long career, she transitioned between different mediums but is best known for sculptures that incorporated symbolic objects. Some of her most famous works include Femme Maison, Destruction of the Father, and the giant spider sculpture Maman. Bourgeois continued creating art into her late 90s, receiving her first retrospective at the Museum of Modern Art in 1982, and is now considered one of the most influential artists
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art ,tony cragg ,massoud arabshahi
This document provides biographical information on four artists:
1) František Kupka, a Czech painter who was a pioneer of abstract art and co-founder of Orphism. He developed interest in color theory and abstraction around 1910.
2) Guy Laramée, a Canadian interdisciplinary artist known for theater, music, sculpture and more. His work often explores anthropological themes.
3) Felice Varini, a Swiss artist known for site-specific geometric paintings only visible from certain angles.
4) Dia Azzawi, an Iraqi-born painter who incorporates Arabic script into his work and helped establish modern Arab art in London.
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art
Giorgio de Chirico was an Italian artist who founded the Metaphysical Art movement before World War 1. He painted enigmatic scenes of empty city squares and arcades that profoundly influenced the Surrealists. In the 1920s he adopted a neoclassical style but continued revisiting metaphysical themes. The document provides details on de Chirico's life, training in Germany and Italy, exhibitions in Paris, involvement with the Surrealists, changing styles over his career, major works, and his significant influence on later artists.
This document provides biographies of 5 artists: Henri Laurens, Abbas Attar, Adi Nes, Shirazeh Houshiary, and Shakir Hassan Al Said. It includes information on each artist's life, education, career, works, exhibitions, and writings. Key details include: Henri Laurens was a French sculptor who worked in the Cubist style and created monumental sculptures. Abbas Attar was an Iranian photographer known for his photojournalism on wars/revolutions and books exploring religions. Adi Nes is an Israeli artist known for homoerotic depictions of Israeli soldiers.
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art
History of art(west and Iranian)-contemporary art-Reza Khodadadi-Alfred Basbous-Marcos Grigorian-Middle East art -surrealism painting -Iranian art auction -Famous Iranian art -middle east artist-Famous iranian artist-humanity-Iranian#Iranian contemporary art -middle east -surrealism painting -visual art -gallery-contemporary art -Qajar art - art auction -exhibition -modern art -London -USA - UK -Aziz Anzabi-Famous Persian artist-painting-art-life-man-woman
Sadegh Tabrizi was an Iranian artist born in 1939 who helped pioneer the 'Saqqakhaneh School' of art, which explored Persian heritage. He studied miniature painting and ceramics in Iran. Tabrizi held numerous solo and group exhibitions internationally from the 1960s onward and is known for his calligraphic compositions inspired by traditional Persian art.
Tony Cragg is a British sculptor born in 1950. He is known for assemblages made of found objects and his experimentation with a variety of materials. Cragg's early works included site-specific installations and representational wall reliefs made of fragments. Notable works include "Britain Seen from the North" (1981). C
Rembrandt was a highly influential Dutch artist born in 1606 who worked as a painter, printmaker, and draughtsman. He is considered one of the greatest artists in history and had a unique style that incorporated a wide range of subjects and techniques. Rembrandt experienced both critical and financial success early in his career in Amsterdam, though he later faced personal tragedies and financial difficulties. His portraits, self-portraits, and biblical scenes are among his most famous works, and he transformed the etching process into a true art form. Rembrandt died in 1669 in Amsterdam.
Leonardo da Vinci was an Italian polymath during the Renaissance period whose expertise spanned various areas including painting, sculpting, science, engineering and more. He apprenticed under the artist Verrocchio and worked for Ludovico Sforza in Milan. Some of his most famous works include the Mona Lisa and The Last Supper. He is renowned for his technological ideas and inventions ahead of his time, though many were not constructed during his lifetime.
This document provides biographical information about two artists - Hossein Zenderoudi and Frank Stella. It discusses Zenderoudi's background and influences, and highlights how he pioneered a new style of art in Iran that incorporated calligraphy. It also analyzes Zenderoudi's artistic evolution and focus on global communication. The document then briefly outlines Frank Stella's background, influences, and career progression from minimalist paintings in the 1960s to relief sculptures in later decades.
This document provides biographical information on several artists:
- Sonia Delaunay was a Ukrainian-born French artist who co-founded the Orphism art movement with her husband Robert Delaunay. Her work spanned painting, textile design, and stage design.
- Mohammad Bozorgi is an Iranian calligraphic artist based in Tehran. He uses geometric abstraction and experimental formalism to advance the art of calligraphy.
- Abdulnasser Gharem is an Emirati artist whose work explores cultural identity and heritage through mixed media techniques like printmaking and sculpture.
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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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artwork that comes up on the live
SpartaApp feed...they can swipe it
to the right to save for later...or
swipe it to the left to go away. The
viewer may look at the ones they
like again and then they can look at
more of an artists artworks on the
app....and decide if they want to
Connect to make an inquiry or to
buy.
8
11.
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
16.
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 &
High School Photography Contest,
open to all college and high school
students in the US, Canada, and
around the world. $10,000 in cash
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
published in the hardcover book
Best of College and High School
Photography 2016.
ELIGIBILITY
This contest is open to all college
and high school students in the
United States, Canada, and around
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.
21.
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.
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