Articoli di riviste sul tema "Iranians in art"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Iranians in art.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Iranians in art".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
Sattari Sarbanqoli, Sina, e Sirus Jamali. "A comparative study of painting and architecture stylistics of contemporary Iranian and western arts". Journal of Art and Architecture Studies 10, n. 2 (15 dicembre 2021): 31–41. http://dx.doi.org/10.54203/jaas.2021.5.
Testo completoAbstract (sommario):
Iranian art reflects the spirit and inclinations of Iranians, regardless of place and time of origin. Another point is the diversity of works of art which shows that the ancient Iranians had high skills in different regions. Iranian architecture and painting have always been present side by side and influentially throughout history, and this connection persists until today in contemporary Iranian art. The present article is a research on the features and concepts of architectural and painting styles in contemporary Iranian art and a comparative comparison of these two arts which is centered on the concept of architecture and painting. The contemporary architectural styles and tendencies in question date back to the first and subsequent Pahlavi rule. The general objectives of the research are to apply the styles of painting and architecture in Iranian art to achieve the same conceptualism of these two arts. For this purpose, three main categories have been studied: the first part is contemporary Iranian architecture, the second part is contemporary Iranian painting and the third part is a comparative comparison of contemporary Iranian architectural and painting styles. The present research is an analytical and comparative research and the research method is based on the application of styles and logical reasoning. Documentary and library studies and theories of experts are also the basis of this article.
2
Hassanzadeh, Fatemeh, e Shima Moallemi. "L’art populaire : un outil d’éveil identitaire chez l’apprenant iranien". Voix Plurielles 10, n. 2 (28 novembre 2013): 120–30. http://dx.doi.org/10.26522/vp.v10i2.846.
Testo completoAbstract (sommario):
Actuellement la vague d’émigration des jeunes Iraniens a provoqué un état conflictuel dans le contexte de l’enseignement et de l’apprentissage du français en Iran. Loin d’arriver à un enrichissement, l’apprenant iranien lors du choc culturel, se trouve dans une position d’acceptation absolue de la culture occidentale ; ce qui mènerait une démarche interculturelle, s’adressant dans sa première phase à l’identité de soi, vers un échec. Cette recherche consiste à voir où se trouve l’origine de cet échec menant à une crise identitaire et comment, à l’aide d’une démarche pratique, l’art populaire dans le cadre du théâtre expérimental pourrait créer un espace d’éveil identitaire implicite chez l’apprenant iranien.
Popular art: an identity awaking tool on the part of the Iranian learner
Currently the wave of immigration of young Iranians has caused a state of conflict in the context of teaching and learning French in Iran. When the Iranian learners confront the cultural shock, far from becoming a cultural enrichment, they find themselves in a position of absolute acceptance of Western culture, which would lead to an intercultural approach, addressing itself to identity in its first phase, then to a complete failure. This research tries to see the origin of this failure which results in an identity crisis and also to see how the use of popular art in the framework of an experimental theatre could create a space of implicit awakening in the identity of the Iranian language learner.
3
Naef, Shirin. "Iran. A New Hub for Afghan Artists". Almanach, n. 2 (8 dicembre 2022): 29–34. http://dx.doi.org/10.12685/alm.2.2022.1232.
Testo completoAbstract (sommario):
Iran hosts one of the largest populations of Afghan migrants and refugees in the world. Though the two countries have always been linked through music, art and culture, Iranian society has for a long time looked upon Afghan migrants as “simple blue-collar workers”. But the rise of new generations of Afghans living and working in Iran is changing Iranians’ views – and shining a spotlight on Afghan poets, writers, cinematographers, and actresses.
4
Fekete, Albert, e Reza Haidari. "Special aspects of water use in Persian gardens". Acta Universitatis Sapientiae, Agriculture and Environment 7, n. 1 (1 dicembre 2015): 82–88. http://dx.doi.org/10.1515/ausae-2015-0007.
Testo completoAbstract (sommario):
Abstract The Persian garden is one of the most characteristic and notable element in the Iranian landscape. Considering Iran’s hot and dry climate along with water deficit for plantation, it becomes noticeable how important the art of making gardens is to Iranians. Water is one of the most crucial elements in the Persian garden, and we can state that gardens would be meaningless without it. Garden applications use water with its various abilities such as life, brightness, cleanliness, light, inertia, and motion, which bring forward numerous feelings in the human soul and enhance mental comfort. Also, its various running structures, such as basins, streams, water creeks, and fountains, provide mental comfort and technical functions.
5
Sousa, Inês, Farhad Shahram, David Francisco, Fereydoun Davatchi, Bahar Sadeghi Abdollahi, Fahmida Ghaderibarmi, Abdolhadi Nadji, Niloofar Mojarad Shafiee, Joana M. Xavier e Sofia A. Oliveira. "Brief Report: Association ofCCR1,KLRC4,IL12A-AS1,STAT4, andERAP1With Behçet's Disease in Iranians". Arthritis & Rheumatology 67, n. 10 (23 settembre 2015): 2742–48. http://dx.doi.org/10.1002/art.39240.
Testo completo
6
Russell, James R. "Iranians, Armenians, Prince Igor, and the Lightness of Pushkin". IRAN and the CAUCASUS 18, n. 4 (6 dicembre 2014): 345–81. http://dx.doi.org/10.1163/1573384x-20140403.
Testo completoAbstract (sommario):
The Animal Style that characterizes Scythian art came into Armenia and Russia, where it is attested in bas-reliefs on churches; and the epic Song of Igor's Campaign, a unique verbal reflection of it, inspired Pushkin and his descendants in their poetic visions.
7
Al-e Ahmad, Jalal. "To Mohassess, For the Wall". ARTMargins 10, n. 2 (giugno 2021): 127–36. http://dx.doi.org/10.1162/artm_a_00297.
Testo completoAbstract (sommario):
Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.
8
Mirzaei, Mohammadreza. "Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall”". ARTMargins 10, n. 2 (giugno 2021): 118–26. http://dx.doi.org/10.1162/artm_a_00296.
Testo completoAbstract (sommario):
Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.
9
S., Yatsenko, e Kaverin S. "Archaeological Analogies to the Traditional Costume Elements in the Eastern Hindukush Area". Teoriya i praktika arkheologicheskikh issledovaniy 34, n. 4 (dicembre 2022): 25–47. http://dx.doi.org/10.14258/tpai(2022)34(4).-02.
Testo completoAbstract (sommario):
The article analyzes 22 details of the costume of Kafirs and partially the Kalasha of Hindukush which have close analogies among related ancient Iranian-speaking peoples of Pre-Islamic time. The Indo-Scythians and Kushans, who created large powers nearby in the 1st c. BC — 1st c. AD, have the most of such analogies. These peoples had an impact on the clothing of the local Indo-Iranians and, probably, participated in their ethnic history. The infl uence of the ancient Iranian peoples, who lived closer to the Hindukush, manifested itself in large costume accessories, as well as in headdresses and hairstyles. It is also easy to explain the presence of similar elements in the “world empire” of the Achaemenids and among such an active people in the early Middle Ages as the Sogdians. However, many details of the costume of the somewhat isolated societies of the highlands with their simple rural life did not find analogies in the ceremonial art for the elite of various Iranian peoples. Collaboration between a cultural anthropologist and an archaeologist seems to be important to solve this problem. New methods of such joint research are proposed.
10
Vanzan, Anna. "The Holy Defense Museum in Tehran, or How to Aestheticize War". Middle East Journal of Culture and Communication 13, n. 1 (13 maggio 2020): 63–77. http://dx.doi.org/10.1163/18739865-01301004.
Testo completoAbstract (sommario):
Abstract In September 2013 the Iranian authorities inaugurated the Holy Defense Museum (Muzeh-i Dafa’-i Moqaddas) in the capital Tehran that also hosts a Martyrs’ Museum (Muzeh-i Shuhada) built in the early 1980s and later renovated. The new museum is part of a grandiose project to commemorate the sacrifice of Iranians during the war provoked by the Iraqi regime (1980–1988). The museum encompasses various aspects of the arts (visual, cinematic, photographic, literary, etc.) shaped to remember and celebrate the martyrs of that war. The 1979 Iranian Revolution and the following Iran-Iraq War produced an enormous amount of visual material; works produced during this crucial period that disrupted the balance of power, both regionally and internationally, constitute an important part of Iran’s recent history. Visual materials produced in that period not only constitute a collective graphic memory of those traumatic years, they also revolutionized Iranian aesthetics. The Islamic Republic of Iran (hereafter IRI) establishment has a long experience in molding contemporary art for political purposes and the Holy Defense Museum represents the zenith of this imposing project. In this paper, I present an analytic and descriptive reading of the museum in light of my direct experience visiting the museum, and I explore its role in maintaining the collective memory of the Iran-Iraq conflict, in celebrating the revolution and in aestheticizing war.
11
Armani, David, e Louise Gormley. "Persian Love Poetry". American Journal of Islam and Society 25, n. 1 (1 gennaio 2008): 136–38. http://dx.doi.org/10.35632/ajis.v25i1.1503.
Testo completoAbstract (sommario):
This little book is a beguiling collection of Persian love poems drawn fromboth classical and modern poetry, but united by the theme of love in its myriadinterpretations. Included are poems that explore the spiritual lovebetween humans and God, the magical love between lovers or spouses, theaffectionate love between family members and between friends, and eventhe patriotic love for one’s homeland. Each poem is accompanied with a preciousPersian chef d’oeuvre from the British Museum and, in particular, numerous illustrations of Persian miniatures. The editors come to this subjectwith vast expertise: Vesta Sarkhosh Curtis is curator of Islamic andIranian coins in the British Museum, and Sheila R. Canby is an assistantkeeper in the British Museum specializing in Islamic Iran. Both have publishedon Persian art, art history, archaeology, and myths, among other topics.Their aim is not to produce a well-researched and exhaustive collectionof Persian love poetry, but rather “to encourage readers to delve further intothe wealth of Persian literature” (p. 5). With its modest aim of capturing theinterest of novice western readers, theirs is a delightful book that charms itsway to success.As explained in the “Introduction,” Iranians and other Persian (Farsi)speakers treasure poetry not only because of the beauty of the poetic languageitself, but also because they derive joy and comfort from the poets’ perspectivetoward the world. The most famous Persian poets often have a mystical(Sufi) viewpoint toward life, whereby passion is a path to reach God and thetruth. Interwoven into the people’s social consciousness, poetry holds arevered place in Persian culture. A single verse from the best-known Persianpoems can capture an idea with elegant brevity. Iranians and other Persian(Farsi) speakers still recite poetry as a succinct and powerful way to expressa point, thought, or emotion. To explain how deeply embedded poetry is inthe Persian psyche, many oft-quoted proverbs draw much of their meaningand message from Persian poetry ...
12
Ghanimian, Levon. "Temür, Painter of Politics". Review of Middle East Studies 54, n. 1 (giugno 2020): 127–28. http://dx.doi.org/10.1017/rms.2020.9.
Testo completoAbstract (sommario):
Persia in the post-Mongol era is an ambiguous concept. The area is riddled with different ethnicities, religions, and seemingly endless claims to power. The Timurid Empire is no exception to this trend. Temür rises to power in 1370 using Central Asian nomadic styles of ruling and quickly dominates this geographic region inhabited by a plethora of ethnicities and religions. He understands the volatility of maintaining a large, diverse empire and takes key steps in securing his “united” rule. The key political move that this paper examines is Temür's commissioning of art. The art endorsed by the Timurid government surrounds the illumination of manuscripts and the illustration of literature. The Timurids conveyed two main messages to those living under their empire. The first message targets the main ethnic groups: Iranians, Mongols and Turks, justifying Temür as their rightful leader. The second message is delivered to the ethnic minorities, instilling fear to prevent rebellions and ensure subjugation. This paper will demonstrate that the Timurids decided to present political messages through cultural media because they understood the how literature and art were imperative in shaping identity.
13
Шукуров, Шариф Мухаммадович. "SPECIFIC ASPECTS OF THE MEMORY OF QAJARS. SOME APPROACH TO PERCEPTION OF LATE IRANIAN ARCHITECTURE". ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, n. 2(13) (5 giugno 2020): 242–53. http://dx.doi.org/10.25995/niitiag.2020.13.2.011.
Testo completoAbstract (sommario):
Восприятие архитектуры и искусства иранской династии Каджаров невозможно без знания о своеобразии апроприативного метода - обращения к иранскому прошлому. Тюрки осознанно приняли ирано-арийское прошлое Ахеменидов и Сасанидов - царское одеяние и форму короны прошлого, чтение и переписывание наново иранского эпоса «Шах-наме» Фирдоуси, а также воссоздание практики древних иранцев по созданию наскальных рельефов. Апроприация прошлого прошла в весьма выгодном русле для каджарских архитекторов и художников. Конечно, ахеменидские и сасанидские наскальные рельефы стояли перед глазами каджарских шахов и их архитекторов/художников, и можно было бы подумать, что исключительно они служили образцом для них. Однако иранские архитекторы и художники словно знали о правилах апроприации: заимствуя, ты не просто повторяешь, не слепо копируешь, но создаешь новую вещь из старой. При этом идеологическая установка на ирано-арийское прошлое остается без изменений. The perception of architecture and art of the Iranian Qajar dynasty is impossible without knowledge of the appropriation method - an appeal to the Iranian past. Turkic peoples consciously accepted the Irano-Aryan past of the Akhaemenids and the Sassanians - the imperial attire and the form of the ancient crown, rereading and recopying anew the Iranian epos “Shah-name” by Firdousi. Qajarian kings also reconstructed the important practice of ancient Iranians - the creation of rock reliefs. The favorable course for the Qajarian architects and artists was the appropriation of the past. Of course, the rock reliefs of the Akhaemenids and the Sassanians stayed in the memory of Qajar shahs and their architects/artists. It would be possible to think that they were a sample for them. Let’s imagine that the Iranian architects and artists knew the rules of appropriation. Indeed, when you borrow something, you not just repeat, nor blindly copy it, but create not an old, but a new thing. At the time the ideological installation of the Irano-Aryan past remains without changes.
14
Kokorina, Julia. "On the Semantics of the Decorations of the Ilyichevo Quiver (On the Question of the Ancient Zoomorphic Classifications)". Stratum plus. Archaeology and Cultural Anthropology, n. 3 (2022): 89–99. http://dx.doi.org/10.55086/sp2238999.
Testo completoAbstract (sommario):
This paper aims at the reconstruction of the Scythians’ ideas of the classification of animals which embodied the structure of the mythological Universe. The research is based on the analysis of the decoration of the Ilyichevo quiver as a unique artefact featuring the scene of torturing by predators of three biological genera: a bird, an animal, and a reptile. The study of the sources supplying information on the ancient Iranians’ zoological classifications and the analysis of a zoological, anatomical, subject, and material codes for reconstruction allow the author to reveal the background of the Scythian classification of the mythological animal world. The latter comprised: the habitat corresponding to the specific zone of the mythological Universe; the way of movement; and the characteristic of nutrition. This paper offers a reconstruction of the semiotic status of the quiver/gorytos against the background of the analysis of the Scythian art and written sources. The conclusion is that the Scythians got notions of funerary feast as the embodiment of the cosmic body divided into three parts; the paper clarifies the already existing ideas about the semantics of the zoomorphic images in the Scythian art.
15
Altayev, J., e Z. Imanbayeva. "THE ORIGINS OF THE ARABIC TRANSLATION TRADITION". Adam alemi 90, n. 4 (15 dicembre 2021): 163–72. http://dx.doi.org/10.48010/2021.4/1999-5849.17.
Testo completoAbstract (sommario):
The Arab Caliphate was famous for its highly developed book culture and the fact that it turned the Arabic language into the international language of communication, science and art throughout the Arab-Muslim East. During the reign of the Abbasid dynasty, the Arab-Muslim civilization is experiencing the peak of its heyday and power. Under the Abbasids, Baghdad became not only the political, but also the cultural capital of the Caliphate. The famous House of Wisdom opens in Baghdad, where a large-scale translation activity has been carried out for centuries. The Abbasids achieved amazing success because they were able to absorb the rich cultural traditions of the peoples they conquered. At the same time, they pursued their own political goals - the strengthening and development of the Arab Caliphate. The Abbasids were not pioneers in translation, they skillfully used and developed the pre-Islamic developments of the Iranians in this area. It is important to study the reasons why the Arab Caliphate at one time reached historical heights. This is necessary in order for the lessons of the past to serve the good of the present.
16
Masjedi, Narges, e Shamala Paramasivam. "Complaint and Politeness Strategies used by Iranian Speakers of English". International Journal of Applied Linguistics and English Literature 7, n. 4 (1 luglio 2018): 38. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.3p.38.
Testo completoAbstract (sommario):
Complaint is a face threatening act and it happens when a speaker reacts with anger to things which go wrong or to a speech or an action which affected him/her unfavorably. Therefore, complaints can engender social relationship breakdown. However, a complainer can use politeness when he/she aims to maintain a good relationship with complainee or to mitigate the severity of his/her complaint and face threat. This study aims to investigate the complaint speech act with regard to the strategies and structure used as well as the politeness strategies employed by Iranian learners in communication with other nationalities in the academic context of a university. Searle’s (1969) speech act theory and Brown and Levinson’s (1987) politeness theory comprised the theoretical framework of the study. The data were elicited through open-ended discourse completion task questionnaire from 50 Iranian learners. The data were analyzed using pragmatics as the approach within discourse analysis. The findings show that Iranians are able to draw on a variety of strategies and structures and adapt them in a flexible manner when faced with various complaint-provoking situations. Culturally, the findings show that Iranians are indirect and exercise negative politeness as they try to minimize the face threatening act of complaining. However, when the situation demands for it, they can be direct in their manner of speech.
17
Worrall, James, e Alam Saleh. "Persian Pride and Prejudice: Identity Maintenance and Interest Calculations among Iranians in the United Arab Emirates". International Migration Review 54, n. 2 (10 settembre 2019): 496–526. http://dx.doi.org/10.1177/0197918319860154.
Testo completoAbstract (sommario):
Given the ongoing tensions between Iran and the Gulf States, it is odd that Persian speakers, and Iranians in particular, living in the Gulf’s Arab States have received so little scholarly attention. Based on extensive fieldwork in both the United Arab Emirates (UAE) and Iran, this article examines conceptualizations of identity and interests within Iranian communities in the UAE. In building an understanding of the diversity of Iranians, while highlighting commonalities across their diverse spectrum, it paints a complex picture of people trapped between pride in their identity and the prejudice they face because of that identity. The article develops the concept of identity maintenance as a key tool, placing this approach within wider calculations of interests and hedging processes embarked on by Iranians within an environment that increasingly securitizes Iranian identity. The case both enriches our understanding of the mosaic of migration in the Gulf and highlights key drivers within processes of identity maintenance. These processes represent a logical outcome of the context of precarity and suspicion that pertains in the UAE, making identity maintenance both similar to and considerably different from more typical migration environments in the West.
18
Moradi, Maryam, Maryam Shafaghi e Tatiana Goryachkovskaya. "Gratitude and empathy transfer (Persian-Russian parallels)". Philological Sciences. Scientific Essays of Higher Education, n. 2 (marzo 2022): 43–47. http://dx.doi.org/10.20339/phs.2-22.043.
Testo completoAbstract (sommario):
The subject of this scientific article is the study of empathy as a phenomenon of sincerity and politeness in the Russian and Persian linguocultural environments. The manifestation of such empathy towards the addressee can be transmitted verbally through the speech act of gratitude. Gratitude-empathy is formed with the help of speech acts of wish, request-supplication / request-oath and influences: compliment and praise. She expresses empathy and sincere attitude towards the addressee of the speech. In addition, the Iranian ceremony is characteristic of the Persian linguocultural environment, more precisely the Iranian taarof as the realities of the jinzi of Iranians, which is absent in the cultural life of other peoples, including Russians.
19
Saramifar, Younes. "Framing the war in the post war era: Exploring the counter-narratives in frames of an Iranian war photographer thirty years after the ceasefire with Iraq". Media, War & Conflict 12, n. 4 (7 agosto 2018): 392–410. http://dx.doi.org/10.1177/1750635218789437.
Testo completoAbstract (sommario):
The battle between Iran and Iraq ended with a ceasefire being signed in 1988 but the war continued for most Iranians and their leadership. Even today after three decades, the war continues for Iranians who live in the borderlands as they struggle with the landmines and left-overs of the battles. Mehdi Monem, a celebrated Iranian war photographer, frames the pain of Iranians in the borderlands as the counter-narrative that challenges the mainstream frames of propaganda. He challenges the master narrative of the Islamic Republic of Iran that generates meanings for the frames of the war through notions of martyrdom and sacrifice. Hence, I follow his work in the context of the visual culture of martyrdom via an ethnography that explains how Iranians receive the pain of others 30 years after the war at home and abroad.
20
Zarepour, Fatemeh, e Masoumeh Imani Saidloo. "An Analysis of Iranian EFL Learners’ English Written Requestive E-mails". Journal of Language Teaching and Research 7, n. 3 (1 maggio 2016): 579. http://dx.doi.org/10.17507/jltr.0703.20.
Testo completoAbstract (sommario):
Electronic mail is one of the widely used medium for institutional communication particularly in academic institutions. The main focus of this study was determining requesting strategies and mitigating elements used by the Iranians’ EFL learners in English written requestive e-mails to their professors. This study also determined opening and closing strategies and supportive moves. To this aim, 61 e-mail were collected using DCT and analyzed by means of CCSARP (Cross-Cultural Speech Act Realization Pattern) coding scheme. The results showed that Iranian students, under the effect of L1 norms, used more direct strategies and to soften the force of requests they tended to use mitigating elements and pre-request supportive moves. It had been concluded that Iranian EFL students have lack of pragmatic knowledge; therefore, it is necessary to make them aware of norms of requestive e-mails written by English native speakers.
21
Rodionov, Vitaliy G. "IMAGES OF THE FIRST PRIMAL FOREFATHERS OF THE HUNNO-BULGARS AND THEIR ETHNOGENETIC TRADITIONS". Vestnik Chuvashskogo universiteta, n. 3 (29 settembre 2023): 122–31. http://dx.doi.org/10.47026/1810-1909-2023-3-122-131.
Testo completoAbstract (sommario):
The purpose of the study is to trace the evolutionary path of the images of the primal forefathers of the Hunno-Bulgars and their descendants.
Materials and methods. Ethnographic data from ancient and later sources were used, an ethnolinguistic and comparative approach to the study was applied. The etymological works of modern linguists-Turkologists are considered.
Results. In this article, the word “primal forefather” refers to the “natural-ancestral divine essence” of Eastern (primarily Chinese) antiquity. The most ancient images of the Hunno-Bulgars’ primal forefathers were formed in the pre-Altai era. They reflected the surrounding world of ancient hunters, primarily the world of wild animals. People concluded an agreement on mutual donation with the ancestral primal forefather *taŋgïrï (“oath”, “deity”). In the era of contacts with the ancestors of the Chinese, the Huns (Xiongnu) began to represent their primal forefather as a celestial inhabitant, setting the world in motion by shifting the masculine and feminine principles. In different epochs of interrelations with the tribes of Eastern Iranians, the culture of the ancestors of the Bulgaro-Chuvash experienced the beneficial effect of their “animal style”. In the early Middle Ages, various narrative texts about the primal forefathers-giants and epic heroes-bogatyrs began to appear in their folk art. The ethnogenetic legends of the Chuvash eventually transformed into legends about the origin of their settlements.
Conclusions. A comparative analysis of the images of the primal forefathers of the ancient ancestors of the Hunno-Bulgars and their descendants showed that these images were constantly evolving, gaining new features. At first they appeared to people in the guise of a sacred animal; a little later, instead of the leading animal, the primal forefather-hunter appears who finds new lands; then the Bulgarian plot of the ethnogenetic legend gradually turns into a narrative about an extraordinary giant hero, surprising with his physique and strength. The Turkic–speaking peoples of the Volga region and the Urals called such a hero Ulap/Alp, and the meadow Mari and the Udmurts – Onar and Alangasar.
22
Imber, Kirstie. "Contemporary Iranian Art: New Perspectives". Iranian Studies 49, n. 1 (15 dicembre 2015): 176–80. http://dx.doi.org/10.1080/00210862.2016.1118953.
Testo completo
23
Alikhah, Fardin. "A brief history of the development of satellite channels in Iran". Global Media and Communication 14, n. 1 (27 ottobre 2017): 3–29. http://dx.doi.org/10.1177/1742766517734251.
Testo completoAbstract (sommario):
It was around 1991 when satellite dishes were first observed on roofs in Tehran. After approximately 25 years, 100 Persian satellite channels launched outside Iran are now broadcasting various programmes for Iranians. This article will provide a short account of Iran’s media environment. The main objective of this article is to examine the developments in Persian satellite channels, which are divided into three periods. The primary features of each will be scrutinized. It will be argued that although these channels have been banned by the Iranian government, they have initiated media pluralism in Iran.
24
Filin, Nikita A., Vladimir O. Koklikov e Aleksandr S. Khodunov. "IRANIAN POLITICIANS AND EXPERTS’ VIEWS ON THE ARMED CONFLICT IN NAGORNO-KARABAKH IN 2020". RSUH/RGGU Bulletin. Series Eurasian studies. History. Political science. International relations, n. 1 (2021): 10–22. http://dx.doi.org/10.28995/2686-7648-2021-1-10-22.
Testo completoAbstract (sommario):
The Nagorno-Karabakh conflict escalated sharply in the autumn of 2020, which led to numerous casualties. As a result of the war, most of the territory of Karabakh came under the control of Azerbaijan. The development of the situation was monitored in all neighboring states, including Iran, which was in the immediate vicinity of the war zone. The article examines the position of Iranian politicians, clerics and experts on the reasons, course and result of the Karabakh conflict. It is shown that almost all of them fully accept the position of Azerbaijan and consider Armenia an aggressor, which must return to Azerbaijan all the territories belonging to it under international law. The Supreme Leader also adheres to this position, what seems to be very important, given his special role in the Iranian political system. The Iranians are especially concerned about the deaths of civilians who have nothing to do with the conflict. In that regard, it was very often said about the need for an early ending of hostilities and the resolution to the conflict by diplomatic means. At the same time, Iranian experts mainly emphasize the need for Iran not to support any of the parties in order to be able to act as an intermediary between them.
25
Behpoor, Bavand. "Introduction to “The Nightingale's Butcher Manifesto” and “Volume and Environment II”". ARTMargins 3, n. 2 (giugno 2014): 118–28. http://dx.doi.org/10.1162/artm_a_00084.
Testo completoAbstract (sommario):
The introductory text introduces two pre-revolution Iranian manifestos of modern art, namely the “Nightingale's Butcher Manifesto” (1951) and “Volume & Environment 2” (1976). It describes the socio-political context in which the texts emerged and compares them as different responses to similar issues separated by a time span of 25 years. It argues that these rare examples of Iranian art manifestos can be regarded as milestones of an entry into and an exit from modernism in Iranian art.
26
Sahlabad, Zeinab, Oksana Kravchenko e Alina Shuldishova. "Fatima Riza-Zade (Sayyah), a Dostoevsky Scholar". Неизвестный Достоевский 8, n. 4 (dicembre 2021): 130–46. http://dx.doi.org/10.15393/j10.art.2021.5721.
Testo completoAbstract (sommario):
The article is devoted to the biography of the Soviet-Iranian researcher F. Riza-Zade, also known as F. Sayyah, and her studies of Dostoevsky’s literary heritage. A number of archival materials that reflect the professional and friendly relations of F. Riza-Zade in 1929–1930s have been introduced into scientific circulation. A review of the articles “Dostoevsky and Modern French Literature (On the Influence of Dostoevsky)” and “Dostoevsky in Western Criticism,” as well as the preface to the Persian translation of Dostoevsky’s novel “White Nights”, published in Tehran, has been carried out. It is noted that the researcher’s works have laid the foundations of Soviet and Iranian comparative studies: Dostoevsky’s work was interpreted in the broad context of French literature, German philosophical and aesthetic tradition and Iranian cultural symbols of good and evil. The key methodological principles of F. Riza-Zade are analyzed: the focus on sociological criticism of the Pereverzev school, a cultural and aesthetic approach to the analysis of genre problems, tendency towards self-sufficiency in literary research and rejection of philosophical speculation. The conclusion is made about the importance of the works of F. Riza-Zade in the study and popularization of Dostoevsky’s work and in the fostering of Russian-Iranian cultural ties.
27
Moussavi-Aghdam, Combiz. "Art History, ‘National Art’ and Iranian Intellectuals in the 1960s". British Journal of Middle Eastern Studies 41, n. 1 (2 gennaio 2014): 132–50. http://dx.doi.org/10.1080/13530194.2014.878511.
Testo completo
28
Rafiei, Maryam, e Jamshid Arasteh. "An Approach to the Effects of Modern Art on the Evolution of Iranian Contemporary Typography". Religación. Revista de Ciencias Sociales y Humanidades 5, n. 23 (31 marzo 2020): 189–96. http://dx.doi.org/10.46652/rgn.v5i23.617.
Testo completoAbstract (sommario):
Today, letter design is no longer just a way to convey information, its visual and structural features is not limited to a particular aspect of visual language, in addition, the design of letters is a method that is always influenced by the content and thought, it is placed in different cultural and social conditions and reflected in unlimited aesthetic forms. Situation that occurs with Iranian literature that owes its value to the writings and the words. On the other hand, in the field of art, especially the art of letter design, it is this writing that plays the central role. Almost more than a century ago, new and modern phenomena slowly came to Iran, and Iranian artists began to use modern art.
What is gleaned from the research is the introduction of typography as a powerful and usable tool not only in the international community but also as an art of communication on the Iranian border and examining its most important function; visual communication and the transfer of information and content. It is also discovered how the forms of typography evolve and its impact on contemporary Iranian art. The descriptive research work was carried out through the process of reviewing and collecting information from the library documents.
29
Jahanbegloo, Ramin. "Iran and the Democratic Struggle in the Middle East". Middle East Law and Governance 3, n. 1-2 (25 marzo 2011): 126–35. http://dx.doi.org/10.1163/187633711x591486.
Testo completoAbstract (sommario):
Many commentators in the West have referred to the uprisings sweeping the Middle East and the Maghreb as the “Arab Spring”. If we take a closer look at the young Middle Easterners who launched these democratic demands, it is clear that the Arab Spring started in Iran back in June 2009. As such, the Arab Uprising had a non-Arab beginning in Iran’s Green Movement, and in what was known as the “Twitter Revolution” of young Iranians. Furthermore, the uprisings in Tunisia and Egypt have reenergized Iranian civil society, helping it become fi rmer and more outspoken in its demand for democratization in Iran.
30
Ashari, Samira, e Amin Maleka. "Comparative Study of Colored Stained Glass in Gothic Art with Sash-window making (Orosi Sazi) in Qajar Era; Case study of Charter Church and Salaar Saeid Mansion". Eidos 14, n. 19 (1 giugno 2022): 35–48. http://dx.doi.org/10.29019/eidos.v14i19.998.
Testo completoAbstract (sommario):
In Europe, the use of colored stained glass in theconstruction of church windows was common,reaching their peak during the Gothic period. On theother hand, the tendency to use colored glass, calledOrosi (Sash), in Iranian architecture began in theSafavid era and, under the influence of Iranian culture and art, became a genuine art called Girih tiles; this art flourished unprecedentedly during the Qajar era. The present study aimed to identify intercultural links in Qajar era art with elements borrowed from Western culture and by comparing structural techniques, color, patterns, gender, and the impact of conceptual factors such as light tries to identify the possible similarities between the two methods based on matching the study samples of their two outstanding structures (Charter Church and Salaar Saeid Mansion). Since Iran, as a territory that is always at the center of cultural exchanges, asking about the relationship between this trend in Iranian architecture and its roots can be helpful in a better understanding of Iranian art. The present study is a practical-case study and methodologically is a descriptive-analytical study. The data were collectedusing a documentary study (library). Findings haveshown that the tradition of colored stained glass hasexisted more in European lands, and its formation in Iran is more influenced by imported cultural components. It can be claimed that the sash-window making (Orosi Sazi) during the Qajar era is the continuation of the same colored stained glass of Gothic art, although it is natural that cultural...
31
Sreberny-Mohammadi, Leili. "The Emergence of an Auction Category: Iranian Art at Christie’s Dubai, 2006–2016". Arts 10, n. 2 (27 maggio 2021): 35. http://dx.doi.org/10.3390/arts10020035.
Testo completoAbstract (sommario):
The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for the sale of art from Iran, a country whose economy is otherwise isolated from global markets. In this paper, I address the growth of the market for Iranian art specifically via Christie’s auctions in Dubai. Through close analysis of auction catalogs, ethnographic data drawn from live auctions and interviews with key staff members, I document the emergence of Iranian art into the international arena and the solidification of both Iranian and Middle Eastern art as a distinct category of sales. In particular, I explore the notion of “seeing with the other eye”, a way that auction specialists nudge local collectors into the arena of “international” taste. Through analysis of the particular tropes used to narrate artist biographies in auction catalogs, I demonstrate how artists are painted as interpreters and translators of “local” and “global” aesthetic registers.
32
Mir-Hosseini, Ziba. "Iranian Cinema: Art, Society and the State". Middle East Report, n. 219 (2001): 26. http://dx.doi.org/10.2307/1559252.
Testo completo
33
Ebrahimzadeh Zagami, Samira, Robab Latifnejad Roudsari, Roksana Janghorban, Seyed Mojtaba Mousavi Bazaz, Maliheh Amirian e Helen T. Allan. "A Qualitative Study of the Challenges Experienced by Iranian Infertile Couples After Unsuccessful Assisted Reproductive Technologies". International Journal of Women's Health and Reproduction Sciences 7, n. 3 (10 ottobre 2018): 331–38. http://dx.doi.org/10.15296/ijwhr.2019.55.
Testo completoAbstract (sommario):
Objectives: Assisted reproductive technologies (ARTs) give hope to some infertile couples; however, in vitro fertilization (IVF) is expensive and not subsidized by the Iranian state. More than 75% of IVF cycles in Iranian couples are unsuccessful. The aim of this study is to describe the challenges experienced by infertile couples after unsuccessful treatment. Materials and Methods: In this descriptive qualitative study, 36 participants including 29 Iranian infertile couples recruited after unsuccessful ART treatments, five infertility treatment team members and 2 relatives of infertile couples were interviewed at an Infertility Center in Northeastern Iran from April 2016 to June 2017. Data were collected using semi-structured, face-to-face interviews. Data analysis was carried out following Sandelowski. Results: Iranian infertile couples’ experiences following failed ART cycles are described. The findings presented here show that Iranian infertile couples experience stressors during treatment cycles and systemic challenges which may be unique to the Iranian cultural context. Conclusions: Iranian infertile couples face particular challenges related to the cultural context in which ARTs are delivered. Further exploration of the effects of culture on the experiences of failed ARTs needs to be considered by infertility clinics in Iran.
34
Zelinko, M. S., e E. A. Kartseva. "Street art and public art in the Islamic Republic of Iran". Voprosy kul'turologii (Issues of Cultural Studies), n. 3 (27 marzo 2023): 200–211. http://dx.doi.org/10.33920/nik-01-2303-02.
Testo completoAbstract (sommario):
The article is devoted to the review of the visual environment of modern Tehran and other cities of the Islamic Republic of Iran in the context of the diversity of forms of monumental, urban and street art. The definitions of the basic concepts and tactics of the existence of contemporary art in the city, such as street art and public art, are given. Their aesthetic, conceptual components and genealogical prerequisites are revealed with an attempt to further adapt to the Iranian art scene, which can be characterized as young, dynamic, actively developing under the influence of a large number of specific socio-cultural features and external factors. The result of the article was an attempt to classify the diversity of these forms of urban art in Iran through the prism of dynamic intersections with its history, religion, political concepts, as well as world changes in recent decades, modern challenges and phenomena of urban culture, which determined the need for Iran to modernize and adapt a number of Western models for improving the living standards of its citizens, although the country remains closed and isolated from the outside world, and its culture is brightly colored by the desire for self-identification and localization. The article does not claim to be a comprehensive review of Iranian street art, but seeks to identify the most characteristic forms of its representation based on a business trip to Iran by one of the authors of the article.
35
Alemi, Minoo, Niayesh Pazoki Moakhar e Atefeh Rezanejad. "A cross-cultural study of condolence strategies in a computer-mediated social network". Russian Journal of Linguistics 25, n. 2 (15 dicembre 2021): 417–42. http://dx.doi.org/10.22363/2687-0088-2021-25-2-417-442.
Testo completoAbstract (sommario):
Among the various speech acts, an under-investigated one is condolence speech act. The present study sought to investigate the verbal strategies of expressing condolence used by (1) Iranian native speakers of Persian, (2) Iranian EFL (English as a Foreign Language) learners, and (3) American native speakers of English. Accordingly, a total of 200, 42, and 50 responses were collected respectively from the informants who responded to an obituary post followed by a picture consisting of a situation related to the news of a celebritys death on Instagram (In the case of Iranians: Morteza Pashaii , a famous singer in the case of Americans: B. B. King , an American singer-songwriter). After creating a pool of responses to the death announcements and through careful content analysis, the utterances by native Persian speakers, EFL learners, and native English speakers were coded into seven, nine, and seven categories, with expression of affection ( n = 109, 46.38%), wishes for the deceased ( n = 34, 59.64%), and wishes for the deceased ( n = 32, 23.70%) being the most prevalent ones, correspondingly. Moreover, tests of Chi-square revealed that there was a statistically significant difference among the three groups. The results showed that there were significant differences among the participants in terms of using condolence strategies in Expression of affection (love and grief), Wishes for the deceased, Expression of shock, use of address terms, expression of gratitude, Offering condolences, expression of happiness for his peaceful death, and Seeking absolution from God categories, with Expression of affection being the most prevalent one among Iranian Persian speakers. The findings have pedagogical implications for EFL teachers as wells as textbook and course designers.
36
Goodarzparvari, Parnaz, Francisco Carlos Bueno Camejo e Miguel Molina Alarcon. "From the Caspian sea to Alboran sea; an overview of the personality similarities between Bahman Mohasses and Pablo Picasso". Revista Sonda: Investigación y Docencia en Artes y Letras 10 (31 dicembre 2021): 187–202. http://dx.doi.org/10.4995/sonda.2021.17828.
Testo completoAbstract (sommario):
Bahman Mohasses is one of the artists who emphasize his unique personal art, style and look in creating his works, both in the field of painting and sculpture. He transcends the superficial and dramatic manifestations of modern schools and at the same time the outward manifestations of the Iranian visual tradition, and finds remarkable success in inventing his personal identity. Critics, friends and followers consider his work to be influenced by the most famous Spanish artist of the twentieth century, Pablo Picasso. Beyond technique and style, the influence of Picasso’s personality on him and the spiritual similarities between the two are sometimes astonishing. What sets Mohasses apart from many Iranian artists, in addition to his unique technique among Iranian painters, was his dark and bitter look in his works. Although many of Mohasses’ early works are technically close to those of European painters of the 1920s and 1930s, their main origins are in Picasso’s Cubist style. Perhaps for this reason, many Iranian painters and art critics consider Bahman Mohasses to be the most complete Iranian painter by European standards and even know him as the Iranian Picasso.
37
MOUSSAVI ROZATI, Parissa, Hamid Reza SHAIRI, Parivash SAFA e Roya LETAFATI. "LE NIVEAU DE L’INTERACTION DE LA DIDACTIQUE DE FLE AVEC L’ART". FRANCISOLA 1, n. 2 (1 marzo 2017): 175. http://dx.doi.org/10.17509/francisola.v1i2.5555.
Testo completoAbstract (sommario):
RÉSUMÉ. Aujourd’hui, les courants pédagogiques modernes dans le domaine de la didactique des langues telle que l’approche interdisciplinaire permettent au linguiste de franchir les frontières de sa discipline afin d’acquérir un enseignement-apprentissage plus efficace, approprié à la situation d’apprentissage. Vu le vaste domaine de l’interdisciplinarité, nous allons nous borner aux interactions entre l’art et l’enseignement-apprentissage du français. Cet article s’interroge sur le niveau d’interaction entre l’art et la didactique de FLE en Iran. A cette fin, nous essaierons d’enrichir notre recherche par une enquête de terrain qui consistera à démontrer la place et la fonction de l’art dans l’enseignement / apprentissage du français en Iran. Nous nous penchons dans cette recherche sur les rapports bénéfiques entre la didactique de FLE et l’art, ces derniers sont basés sur les sensations, les émotions, les prédilections, etc. Notre objectif principal est de montrer en quoi l’interdisciplinarité peut être un atout pour les apprenants iraniens. Mots-clés : apprenant, art, didactique de FLE, interdisciplinarité. ABSTRACT. Today, modern pedagogical trends in the field of language teaching as the interdisciplinary approach allows the linguist to cross borders of discipline in order to acquire more effective teaching-learning appropriate to the learning situation. Given the broad field of interdisciplinary, we will be limited ourselves to the interaction between art and the teaching and learning of French. This article examines the level of interaction between art and the teaching of FLE in Iran. To this end, we will try to enrich our research through field investigation will be to demonstrate the place and function of art in the teaching / learning of French in Iran. We focus in this research on the beneficial relationship between the teaching of FLE and art, they are based on sensations, emotions, predilections etc. Our main goal is to show how interdisciplinary can be an asset for Iranian students. Keywords: learner, art, didactics of french as a foreign language, interdisciplinary.
38
Turdiyeva, Oydin Zafardinovna. "THE ARTISTIC WORLD OF IRANIAN CHILDREN'S WRITER AMOOZADEH KHALILI". International Journal of Advance Scientific Research 4, n. 5 (1 maggio 2024): 35–38. http://dx.doi.org/10.37547/ijasr-04-05-07.
Testo completoAbstract (sommario):
Faridun Amoozadeh Khalili is a talented writer who brought a new breath and a fresh spirit to Iranian children's literature, raised children's literature to a new level of art, expanded the range of topics, enriched the range of images and became one of the most prominent representatives of modern Iranian storytelling. Faridun Amoozadeh Khalili’s literary career began in the 1980s. There are cases of deep assimilation of elements of mythology, folklore and legends. Khalili's story "سفر به شهر سلیمان" ("Journey to the city of Solomon") is a work that combines real and fantastic factors, based on the ideology of myths, but also dedicated to the romantic world of childhood.
39
Irani, Hooshang, Gholam Hossein Gharib e Hassan Shirvani. "The Nightingale's Butcher Manifesto". ARTMargins 3, n. 2 (giugno 2014): 129–30. http://dx.doi.org/10.1162/artm_a_00085.
Testo completoAbstract (sommario):
Perhaps the earliest manifesto in Iranian art, “The Nightingale's Butcher Manifesto” fights for an Iranian avant-garde—an avant-garde based on new modes of abstraction so as to break the chains of both Iran's artistic traditions and the social concerns of figuration.
40
Fallahi, Esmaeil. "Horticulture in Iran Can Be an Alternative to Petroleum and a Major Source of International Business with Unique Potential and Challenges". HortScience 52, n. 9 (settembre 2017): 1145–47. http://dx.doi.org/10.21273/hortsci12080-17.
Testo completoAbstract (sommario):
The art and science of horticulture and horticultural crops are integral parts of Iranian’s rich and ancient culture and modern economy. Many deciduous fruit, flowers, and vegetables are native to Iran (Persia), and from there, they were distributed to the rest of the world through the Silk Road established by the Achaemenid, the Royal Pars Dynasty. Variations in climate and presence of numerous mountains, lakes, rivers, and natural springs have created a unique country capable of producing all types of fruits, vegetables, and flowers. Apples and other deciduous fruits are commercially produced in mountain ranges of Alborz and Zagrous and in many central provinces of Iran. The Caspian Sea area in the north of Iran is one of the most unique regions in the world where mild Mediterranean climate meshed with the adjacent Alborz mountain ranges has created a home to numerous species of edible horticultural plants, ranging from tea to cherries and pomegranates. Pistachio, olive, citrus, banana, and date are produced in Kerman, Fars, and Khuzestan regions. However, the Iranian horticultural industry faces many challenges, including global and regional political issues. Although some attempt has been made to preserve invaluable germplasm, a large number of native fruits, vegetables, and flowers are becoming extinct. Postharvest transportation and storage of horticultural crops is one of the most important issues facing Iranian horticulture. The future of horticulture in Iran can potentially be bright, and horticultural products have the potential to replace the oil income after reserves disappear, particularly if peace prevails in the region.
41
Mottahedeh, Negar, e Sara Saljoughi. "Rethinking Gender in Contemporary Iranian Art and Cinema". Iranian Studies 45, n. 4 (luglio 2012): 499–502. http://dx.doi.org/10.1080/00210862.2012.673828.
Testo completo
42
Lippard, Chris. "Peripherality and Humor in the Iranian Art Film". Iranian Studies 50, n. 6 (29 giugno 2017): 917–44. http://dx.doi.org/10.1080/00210862.2017.1328564.
Testo completo
43
Ostby, Marie. "Women, Art, and Literature in the Iranian Diaspora". Iranian Studies 53, n. 5-6 (27 novembre 2019): 1032–38. http://dx.doi.org/10.1080/00210862.2019.1686278.
Testo completo
44
Balaghi, Shiva. "A Crooked Path through History: Iranian Exile Art". Social Research: An International Quarterly 91, n. 2 (giugno 2024): 687–706. http://dx.doi.org/10.1353/sor.2024.a930764.
Testo completoAbstract (sommario):
ABSTRACT: By tracing the relationship between the work and the world, Iranian exile art reveals alternative perspectives on key historical moments, from the 1953 coup to the current climate crisis. The artists Siah Armajani, Nicky Nodjoumi, Shirin Neshat, Simin Keramati, Arghavan Khosravi, Pouran Jinchi, and Gelare Khoshgozaran emigrated from Iran between 1960 and 2012. Through a range of media—from painting to sculpture, from political posters to film—these artists have developed a distinct visual language to convey their own exilic experience. Mapping this art offers a cartography of exile shaped by the fraught, overlapping histories of Iran and the United States.
45
Mahmoud, Sadaf Pour, e Hassan Ali Pourmand. "A STUDY ON SIMILE AND PURIFICATION IN THE “PHILOSOPHY OF DECORATION” OF IRANIAN ISLAMIC ART (FROM IBN ARABI’S POINT OF VIEW, WITH EMPHASIS ON TWO BRICKLAYING INSCRIPTIONS FROM THE DOME OF TAJ-AL-MOLK, THE GRAND MOSQUE OF ISFAHAN IN THE SELJUK PERIOD OF THE 5-6TH CENTURY AH)". Russian Journal of Building Construction and Architecture, n. 4(56) (16 novembre 2022): 84–109. http://dx.doi.org/10.36622/vstu.2022.56.4.008.
Testo completoAbstract (sommario):
Statement of the problem. Iranian Islamic art refers to the works of culture and civilization of the Iranian Muslim nation in the Islamic era. It has properties and descriptions, which in its thinking and epistemological nature, have a different language from simile and purification and are associated with a rich philosophy called "decoration" based on spiritual manifestations. According to the type of subject, nature and method, this research is descriptive and analytical. Through documents, libraries and field observations, various data were collected by examining the principles and components of simile and purification with emphasis on Ibn Arabi’s point of view, analyzing how the Muslim artist used and his goals of employing the combination of the two components in the philosophy of decoration, and also recognizing the sacred geometric patterns in Iranian Islamic art (with a sample of studies on two geometric inscriptions from the dome of Taj Al-Molk in Isfahan Grand Mosque). Results. The analysis of the data and the results show that since "decoration" means the refinement and separation of the individual from his/her individuality, and "simile and purification" , as a mystical approach, has led to the formation of a special language in the structure of Iranian art; therefore, in the philosophy of decoration, the mystic artist has used it as a tool to manifest the beauty and perfection of God in forms through the embodiment of unity and expressed his/her immediate and intuitive perception of his/her inner journey without relying on material concepts or purely aesthetic perceptions to manifest the idea of the holy by using symbol and irony in simile and purification. He/she decodes and expresses the most exalted realities of creation and the actual concept of real unity in a mental state, in material and abstract forms, and geometric patterns to be understood by all. His/her art in all its aspects has been based on the monotheism of wisdom and on the emanation issued by the Divine speech. In fact, in his/her art, the Iranian Islamic artist combines the two principles of beauty and spirituality with " simile and purification" in the " philosophy of sacred decoration " and manifests the " sacred art ".
46
Rangraz Jeddi, Fatemeh, Fatemeh Atoof, Raziye Farrahi e Sara Chopannejad. "Comparing the Content of Medical Tourism Facilitator Websites in Iran And Other Countries: A Correspondence Analysis". Frontiers in Health Informatics 8, n. 1 (24 settembre 2019): 21. http://dx.doi.org/10.30699/fhi.v8i1.188.
Testo completoAbstract (sommario):
Introduction: Medical tourism is the most important aspect of health tourism. The responsibilities of this industry are mostly undertaken by agencies and facilitators acting as intermediaries between patients and service providers. As a key factor, websites provide extensive services to patients for a better presence in medical tourism market. The present study aimed to compare medical tourism websites and facilitators in Iran and other countries using correspondence analysis.Method: Websites were selected based on the specified criteria such as content of websites which were examined using content analysis technique. The data belonging to website content were classified into two groups including medical and tourism services and information and communication issues. Correspondence analysis was done using two R packages (FactoMineR for analysis and fact extra for data visualization).Results: Of 42 selected websites, 19 was belonged to Iran, 11 to North America, 7 to South and Central America, and 5 to Asia. Medical tourism facilitators in North America and Asia tend to provide modern contact and legal information. Against Iranians' facilitators tend to show traditional contact and general information. South American websites provide more information about hospital accreditation. Iranian websites emphasized tourism-related information. Whereas, North American’s are emphasized on cost-comparison lists.Conclusion: Results of the present study provide a snapshot of status of data provided on websites in terms of medical, tourist and communication services available in the studied websites and clearly showed that Iranian medical tourism facilitator websites act differently from those of other countries. Websites play important roles for guiding customers to make decisions regarding the medical journey. Therefore, Iranian medical tourism facilitator websites must reduce their differences with those of other countries in order to be more actively participate and earn more profit in this competitive market.
47
Xavier, Joana M., Farhad Shahram, Fereydoun Davatchi, Alexandra Rosa, Jorge Crespo, Bahar Sadeghi Abdollahi, Abdolhadi Nadji et al. "Association study of IL10 and IL23R-IL12RB2 in Iranian patients with Behçet's disease". Arthritis & Rheumatism 64, n. 8 (27 luglio 2012): 2761–72. http://dx.doi.org/10.1002/art.34437.
Testo completo
48
Sarmast, Shahriar. "An Interview with Morteza Momayez". Design Issues 21, n. 1 (gennaio 2005): 18–23. http://dx.doi.org/10.1162/0747936053103093.
Testo completoAbstract (sommario):
Design Issues is pleased to publish this interview with Iranian graphic designer Morteza Momayez recently conducted in Tehran by Shahriar Sarmast. Morteza Momayez, Iran's foremost graphic designer, has been active in the field for more than fifty years. When he began his career in the early 1950s, he designed Iranian newspapers and magazines. In the 1960s, he completed a degree in art at the University of Tehran, and did further studies in Paris. Mr. Momayez is the author of numerous books on graphic design in Farsi, and his work was featured by F.H.K. Henrion in his book Top Graphic Design (1983). Shahriar Sarmast is an art director in Tehran, and currently is Secretary of the Iranian Graphic Designers Society. Mr. Sarmast created the cover for the Summer 2002 (XVIII: 3) of Design Issues.
49
Hossein Esmkhani, Amir. "Iran – Infrastructure, historical and current developments in performative pedagogy". Scenario: A Journal of Performative Teaching, Learning, Research X, n. 2 (1 luglio 2016): 99–106. http://dx.doi.org/10.33178/scenario.10.2.9.
Testo completoAbstract (sommario):
Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performance-based art in particular gave shape and meaning to human’s everyday life experiences. This article will present an overview of the history of performative arts in Iran, how it has come to contribute to foreign language teaching, and outline its limitations and future projections. Performative arts have a rather long history in Iran. In one of the most authoritative books on Iranian Performance Tradition, William O’Beeman (2011) presents the rich “tapestry” of Iranian traditional performance which took root many centuries ago, before Iran came into contact with the West. He believes that those who are not familiar with Iranian culture may be truly surprised to discover ...
50
Kamali, Fattaneh Jalal, e Batool Hassani Sa'di. "Role of Iranian Traditional Needlework in People's Social and Family Life: A Study of Pateh Embroidery in Kerman". Modern Applied Science 11, n. 1 (15 dicembre 2016): 253. http://dx.doi.org/10.5539/mas.v11n1p253.
Testo completoAbstract (sommario):
The aim of this study is to investigate the role of Iranian traditional needlework in people's family and social life with an emphasis on the art of Pateh embroidery. In this article, the history of textile industry, the history of clothes, different sewing styles and how they have been influenced by each other, are studied. According to the "History of Iranian Textile Industry", a book written by Mehdi Beheshtipour, textile industry in Iran dates back to 7000 years ago.Tabari book of history states that this industry goes back to 4000 years ago. Excavations in Shoosh show that burlap weaving, silk weaving and embroidery were forms of art at the time of JamsheedPishdadi. Herodotus says that Xerxes wore embroidered clothes. Marco Polo refers to the art of Kerman's Pateh embroidery in his travelogue. Qajar era is called the renaissance of Iranian needlework. Different styles of needlework have been investigated in previous practical studies with reference to the regionswhere they are common and how they are used. Pateh embroidery is considered as a traditional art in Kerman. This form of needlework has been paid attention to since 1906 from economic, social and cultural perspectives and studied as a profession that can meet people's financial and aesthetic needs.