Iran's Qajar Era Films to Be Restored in France
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Intersecting Identities: Cultural and Traditional Allegiance in Portrait of an Emir
INTERSECTING IDENTITIES: CULTURAL AND TRADITIONAL ALLEGIANCE IN PORTRAIT OF AN EMIR Ariana Panbechi In Iranian history, the period between the eighteenth and early twentieth centuries can be best described as an era of monumental change. Transformations in economics, technology, military administration, and the arts reverberated across the Persian Empire and were further developed by the Qajar dynasty, which was quick to embrace the technological and industrial innovations of modernism. 1 However, the Qajars were also strongly devoted to tradition, and utilized customary Persian motifs and themes to craft an imperial identity that solidified their position as the successors to the Persian imperial lineage.2 This desire to align with the past manifested in the visual arts, namely in large-scale royal portraiture of the Qajar monarchy and ruling elite. Executed in 1855, Portrait of an Emir (Fig. 1) is a depiction of an aristocrat that represents the Qajar devotion to reviving traditional imagery through art in an attempt to craft a nationalist identity. The work portrays a Qajar nobleman dressed in lavish robes and seated on a two-tone carpet within a palatial setting. The subject is identified as Emir Qasem Khan in the inscription that appears to the left of his head.3 Figure 1. Attributed to Afrasiyab, Portrait of an Emir, 1855. Oil on cotton, 59 x 37 in. Brooklyn Museum, accession number 73.145. Gift of Mr. and Mrs. Charles K. Wilkinson, Brooklyn, New York. Image courtesy the Brooklyn Museum. In this paper, I argue that Emir Qasem Khan’s portrait, as a pictorial representation of how he presented himself during his lifetime, is a visualization of the different entities, ideas, and traditions that informed his carefully crafted identity as a member of the Qajar court. -
115 the Position of Politics in the Metamorphosis of Persian Poetry
The position of politics in the metamorphosis of Persian poetry and literature is the main subject of this research. In this study, politics is considered as a general term. Biographies and the history of literature each from their own view express the reasons for the growth and decline of Persian language and literature. This study aims to prove what is said so far about the causes of change and metamorphosis of Persian poetry and literature is a mere cause but can be considered as one of the reasons for the metamorphosis of poetry style. The authors of this article believe that the political, social, religious, cultural, economic, historical, regional and environmental factors and other reasons have affected the metamorphosis of Persian poetry and literature. The authors consider the results of the past review of Persian literature as a necessity to draw a future map and to encourage the scholars and thinkers for innovative, attractive, creative and compatible planning with the new conditions of the today world. Considering the cyberspace and social networks is another point in this study which emphasized the importance of applying these kinds of inclusive technologies in Persian language and literature promotion. Keywords: Politics, Poetry, Literature, Poetry Styles La posición de la política en la metamorfosis de la poesía y la literatura persa es el tema principal de esta investigación. En este estudio, la política se considera como un término general. Las biografías y la historia de la literatura, desde su propio punto de vista, expresan las razones del crecimiento y el declive de la lengua y la literatura persa. -
NEWSLETTER CENTER for IRANIAN STUDIES NEWSLETTER Vol
CIS NEWSLETTER CENTER FOR IRANIAN STUDIES NEWSLETTER Vol. 13, No.2 MEALAC–Columbia University–New York Fall 2001 Encyclopædia Iranica: Volume X Published Fascicle 1, Volume XI in Press With the publication of fascicle ISLAMIC PERSIA: HISTORY AND 6 in the Summer of 2001, Volume BIOGRAPHY X of the Encyclopædia Iranica was Eight entries treat Persian his- completed. The first fascicle of Vol- tory from medieval to modern ume XI is in press and will be pub- times, including “Golden Horde,” lished in December 2001. The first name given to the Mongol Khanate fascicle of volume XI features over 60 ruled by the descendents of Juji, the articles on various aspects of Persian eldest son of Genghis Khan, by P. Jack- culture and history. son. “Golshan-e Morad,” a history of the PRE-ISLAMIC PERSIA Zand Dynasty, authored by Mirza Mohammad Abu’l-Hasan Ghaffari, by J. Shirin Neshat Nine entries feature Persia’s Pre-Is- Perry. “Golestan Treaty,” agreement lamic history and religions: “Gnosti- arranged under British auspices to end at Iranian-American Forum cism” in pre-Islamic Iranian world, by the Russo-Persian War of 1804-13, by K. Rudolph. “Gobryas,” the most widely On the 22nd of September, the E. Daniel. “Joseph Arthur de known form of the old Persian name Encyclopædia Iranica’s Iranian-Ameri- Gobineau,” French man of letters, art- Gaub(a)ruva, by R. Schmitt. “Giyan ist, polemist, Orientalist, and diplomat can Forum (IAF) organized it’s inau- Tepe,” large archeological mound lo- who served as Ambassador of France in gural event: a cocktail party and pre- cated in Lorestan province, by E. -
197 Comparative Literature in Iran
International Journal of Multidisciplinary Research and Development International Journal of Multidisciplinary Research and Development Online ISSN: 2349-4182, Print ISSN: 2349-5979, Impact Factor: RJIF 5.72 www.allsubjectjournal.com Volume 3; Issue 11; November 2016; Page No. 197-203 Comparative literature in Iran: Origin and development Mukhtar Ahmed Centre for Persian and Central Asian Studies/ SL/ JNU, New Delhi, India Abstract This paper seeks to trace the historical tracks of comparative literature in modern Iran. I am following the early footsteps of comparative literature of Iran through the life of Fatemeh Sayyah (1902-1947), who is credited to be the founder of the discipline of Comparative literature in Iran, which started off as discipline with the introduction of a literary program for the first time at Tehran University in 1938. The very first academic comparative work with respect to Persian literature was done by an Indian scholar Umar Bin Mohammad Daudpota almost 11 years before its introduction in Iranian university curriculum, in 1927 at Cambridge University, with the title of ‘The effect of Arabic poetry on Persian poetry’. As a discipline, throughout its journey that comparative literature encountered in Iran as far as its development is concerned has had to overcome obstacles in its way. Many a time the program faced its closures and reopening. The process of literary interaction with French literature, its impact on Iranian literature and the outcome of this process, which I believe is more out of a protest than anything else, though it was leveraged to some extent by Pahlavi dynasty in a bid to protect its claims for monarchy. -
Bibi's Big Mistake: Fall of Fake Regime?
WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 8 Pages Price 50,000 Rials 1.00 EURO 4.00 AED 43rd year No.13941 Wednesday MAY 12, 2021 Ordibehesht 22, 1400 Ramadan 29, 1442 Iran: Tehran-Riyadh Daei, Hejazi the best Blood donation dialogue conducted by Iranian players of up 27% during Felicitation special envoys Page 2 century: IFFHS Page 3 Qadr nights Page 7 on Eid-al Fitr Iran rejects Pentagon’s claim, denounces U.S. ‘unprofessional’ behavior in Hormuz Bibi’s big mistake: Fall TEHRAN - The Islamic Revolutionary committing “provocative, gratuitous and Guards Corps Navy has reacted to a claim unprofessional behaviors such as flying heli- by the Pentagon that the IRGC speed- copters, firing flares and aimless shooting.” boats unprofessionally came close to an The statement said the IRGC boats See page 3 American vessel. maintained a legal distance from the The IRGC Navy said in a statement on American vessels in accordance with of fake regime? Tuesday that IRGC boats did not act unpro- international maritime regulations and fessionally and while they were conducting warned them against “dangerous and a regular and conventional operation, they unprofessional behavior.” encountered seven American Navy vessels Continued on page 3 Iranian COVID-19 Electricity projects worth over $320m vaccine enters large- put into operation TEHRAN – Iranian Energy Minister projects, as well as installing new PV sys- Reza Ardakanian inaugurated major tems for nomadic households. scale production phase electricity projects worth 13.45 trillion The national electricity network’s rials (about $320.2 million) across the new dispatching center which has been country on Tuesday, in the sixth week of completed with 11.44 trillion rials (about the ministry’s A-B-Iran program in the $272.3 million) of investment is using current Iranian calendar year (started on world’s latest technologies in Energy March 21). -
Gender in Contemporary Iran in the Works of Abbas Kowsari
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Gender in Contemporary Iran in the Works of Abbas Kowsari Domantas Karalius Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Contemporary Art Commons, and the Other Feminist, Gender, and Sexuality Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Karalius, Domantas, "Gender in Contemporary Iran in the Works of Abbas Kowsari" (2017). Senior Projects Spring 2017. 337. https://digitalcommons.bard.edu/senproj_s2017/337 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Gender in Contemporary Iran in the Works of Abbas Kowsari Senior Project Submitted to The Division of the Arts of Bard College by Domantas Karalius Annandale-on-Hudson, New York May 2017 Table of Contents Chapter 1 Gender Depictions in Qajar Art ……………………………….…………………….1 Chapter 2 Abbas Kowsari on Masculinity….…….………………………………..…………….17 Chapter 3 Artist as an Observer ..…………………………………………………....……….... 36 Epilogue………………………………………………………………………………………….48 Bibliography……………………………………………………………………………………..50 1 I. GENDER DEPICTIONS IN QAJAR ART The Islamic Republic of Iran represents a strong connection to Islam and Islamic culture, but nevertheless, Iran’s history dates back to the Persian Empire, which makes the modern state of Iran a successor to one of the oldest and most powerful civilizations in the history of mankind. -
Year Old Historical Background of The
Indian Journal of Fundamental and Applied Life Sciences ISSN: 2231– 6345 (Online) An Open Access, Online International Journal Available at www.cibtech.org/sp.ed/jls/2015/01/jls.htm 2015 Vol.5 (S1), pp. 1838-1856/Sara and Fatemeh Research Article THE ORIGIN OF THE MOTIFS AND THE FOUR- THOUSAND- YEAR OLD HISTORICAL BACKGROUND OF THE PERSIAN CARPET Sara Naeemi Hir and Fatemeh Dehghany Department of Art Research, College of Art and Architecture, Yazd Branch, Islamic Azad University, Yazd, Iran *Author for Correspondence ABSTRACT Carpet is the mirrors of the Islamic and Iranian art and civilization. It is a priceless heritage remaining from a long time ago and has been approved in the birth certificate of our nation. The motifs are amongst the most important and most effective component used in the rug which have a fundamental role in it and attract any viewer at first glance. Rugs and the patterns of rugs have undergone changes in different eras. The data collection method in this article includes using the library resources the research method was historical- descriptive. As each government came to rule throughout history, it brought along change and upheaval with it and has led to change in social and cultural fields of that society. The rugs and the art of rug weaving are also inseparable parts of Iran’s culture which have also undergone this upheaval. Therefore this article has tried to examine the role of the governments in forming rug motifs and the progressing process of this art from the ancient times, the primary periods of Islam and after that up to the present era. -
Austria's Festival of Nations Hosts Iran's 'Branded'
Art & Culture May 6, 2021 3 This Day in History Austria’s Festival of Nations (May 6) Today is Thursday; 16th of the Iranian month of Ordibehesht 1400 solar hijri; corresponding to 23rd of the Islamic month of Ramadhan 1442 lunar hijri; and Hosts Iran’s ‘Branded’ May 6, 2021, of the Christian Gregorian Calendar. Nearly a millennium-and-a-half lunar years ago, on the eve of this day, God TEHRAN (IFILM) -- Iranian short film Almighty sent down the Holy Qur’an on the heart of Prophet Mohammad ‘Branded’ is set to participate at the 2021 edi- (SAWA) from the Preserved Tablet or the “Lowh al-Mahfouz”, as the final tion of Festival of Nations in Austria. heavenly scripture for all mankind with the universal message of Islam, as The Iranian Youth Cinema Society reported on is evident by the ayah: “Indeed, We sent it down on the Grand Night (Laylat- al-Qadr).” This was the first stage of the revelation, although over the next Monday that ‘Branded’, directed by Fatemeh 23 years of the Prophet’s mission, the entire text of the Holy Qur’an was Mohammadi, will be screened at the upcoming gradually revealed to mankind. edition of the Austrian event in September. 1222 lunar years ago, on this day in 220 AH, founder of the short-lived Tulunid Written by Amir Roueeni, the film is about Dynasty of Egypt and later Syria, Ahmad Ibn Tulun, was born in Baghdad. Hafiz, who decides to cross the Afghan border 897 solar years ago, on this day in 1124 AD, Turkic Emir of Aleppo, Balak in order to save the life of a woman and her Noor od-Dowla, who was a thorn in the side of the Crusader invaders, was child. -
The Analysis of Colours Used in the Tahmasbi Shahnameh for the Second Period of Tabriz School
The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition THE ANALYSIS OF COLOURS USED IN THE TAHMASBI SHAHNAMEH FOR THE SECOND PERIOD OF TABRIZ SCHOOL Shaho Ahmadian Young researchers and Elite club, Sanandaj Branch, Islamic Azad University, Sanandaj, Iran. [email protected] Parisa Mehdipour Young Researchers and Elite Club. Qeshm Branch, Islamic Azad University, Qeshm, Iran Karo Ahmadi Dehrashid Expert of Graphic, Applied and Scientific University, Soroush Culture and Art center, Sanandaj, Iran ABSTRACT Color and light are the main the elements of Persian painting. These two elements are manifested as inner and outer entity of a single reality, which represents the grace of God in the universe. Considering the verses from the Quran that "Allah is the Light of the heavens and the earth", allegorical and mysterious aspects of light and color have always been considered by Islamic philosophers, sages and mystics. Effects of Islamic philosophy and mysticism on the views of Muslim artist to the art and artistic practice display specific effects of color and light in the Iranian painting for inner observation of color and light through the paintings. Color in Iranian paintings has the light in itself and the light is reflected through colors. In Iranian miniature color is interpreted as light and the artist tries to represent the luminous universe by colors. Colors are pure and glittery. Golden, blue and green which are used with the same purity and they aren't combined or become more paled or more bold and they were put together. Sometimes they find a state of holiness which its effects still can be seen today. -
Three Qajar Easel Paintings and Their Journey from Tehran to Sofia
THREE QAJAR EASEL PAINTINGS AND THEIR JOURNEY FROM TEHRAN TO SOFIA Szántó, Iván The reserve collections of the National Art Gallery of Bulgaria include three large-scale oil paintings showing full-length depictions of elaborately-dressed personages. One of them holds flowers and a fruit-basket, while the two others are shown playing musical instruments, i. e., daf and santur, respectively. The paintings belong to a genre of Qajar art which has sometimes been conveniently considered as portraiture although these representations are certainly too generic to qualify for true portraits. In fact, we know several related “portraits” from the Qajar period, of which some are still preserved in Iran, while others scattered in international collections. A few of them had reached Eastern and Central Europe as early as the middle of the nineteenth century. While connections between Bulgaria and the Qajar dynasty has been established much before Bulgaria’s declaration of independence in 1908, it seems that the artworks under scrutiny would find their way to Sofia later, in the middle of the twentieth century, reflecting the evolving personal, political, and cultural contacts between the two countries. Questions pertaining the iconography, style, authorship, and provenance of these artefacts will be discussed in this paper. Key words: art, oil painting, Qajar, Sofia INTRODUCTION The past decades have seen a renewed interest in the arts of Qajar Iran, at least as far as painting is concerned, and the traces of the negative attitudes towards these arts -
Images of Demons in Iranian Paintings (A Comparative Study in the Illustrations of 18Th and 19Th Centuries)
2012 International Conference on Humanity, History and Society IPEDR vol.34 (2012) © (2012) IACSIT Press, Singapore Images of Demons in Iranian Paintings (A Comparative Study in the Illustrations of 18th and 19th centuries) + Maryam Lari and Yasaman Yazdi Islamic Azad University, Islamshahr Branch, Tehran, Iran Abstract. This article surveys the images of demons in the illustrations of Qajar period (19th century) in Iran. As a background, the concepts of demons have been briefly studied in four categories of Iranian myths, epic poems, Islamic culture and folk tales because it seems to be impossible to appreciate the images of demons without possessing adequate knowledge about functions of this odd creature in other cultural aspects. The dual opposition between good and evil plays a dominant role in Iranian believes which is clearly reflected in the four categories. The images of demons have been changed through different periods of time which were in direct connection with belief of people as well as social situations. The Persian painting in Safavid era (18th century) was a suitable context for demonstrating imaginary worlds because the painters of this period used two dimensional visual expressions and never tried to illustrate exactly what they observed. Travelling abroad, getting acquaintance with modern ideas and constitutionalism movement in 19th century as well as entering new technology such as photography and printing industry were some of the most influential causes which affected Qajar painting. The images of demons which altered in 19th century were directly related to cultural interaction between "East" and "West". Idealistic vision of Safavid painters changed into naturalistic one and the imaginary illustrations of demons altered to more realistic images. -
The Lion and Sun Art from Qajar Persia New Bond Street, London | 30 April 2019 Bonhams 1793 Limited Bonhams International Board Registered No
The Lion and Sun Art from Qajar Persia New Bond Street, London | 30 April 2019 Bonhams 1793 Limited Bonhams International Board Registered No. 4326560 Malcolm Barber Co-Chairman, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Montpelier Street, London SW7 1HH Matthew Girling CEO, Asaph Hyman, Caroline Oliphant, +44 (0) 20 7393 3900 Edward Wilkinson, Geoffrey Davies, James Knight, +44 (0) 20 7393 3905 fax Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Rupert Banner, Simon Cottle. The Lion and the Sun Art from Qajar Persia New Bond Street, London | Tuesday 30 April 2019, from 11:30 am VIEWING Please note: REGISTRATION ILLUSTRATIONS Thursday 25 April Telephone bidding is available only IMPORTANT NOTICE Front cover: 62 12pm to 4.30pm on lots where the lower end Please note that all customers, Back cover: 63 Friday 26 April estimate is at £1000 or above. irrespective of any previous Inside front cover: 119 Inside back cover: 60 9am to 4.30pm activity with Bonhams, are Sunday 28 April ENQUIRIES Oliver White required to complete the Bidder 11am to 3pm Registration Form in advance of Monday 29 April (Head of Department) IMPORTANT INFORMATION the sale. The form can be found 9am to 4.30pm +44 207 468 8303 In February 2014 the United at the back of every catalogue [email protected] States Government SALE NUMBER and on our website at www. announced the intention to 25434 Matthew Thomas bonhams.com and should be ban the import of any ivory +44 207 468 8270 returned by email or post to the into the USA.