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مرد مفلس را بر شتر سوار کردند و از صبح تا شب اطراف شهر گردانیدند و جارچی جار می‌زد: «ای مردم، خوب نگاه کنید، این مرد مفلس است و هیچ‌چیز ندارد، تا حالا هم خیلی مال مردم را تلف کرده ولی افلاس او بر قاضی ثابت شده، بعدازاین هر کس به او نسیه بفروشد یا قرض بدهد حق ندارد پیش قاضی شکایت کند، درست او را ببینید و بشناسید.»
The poor man was mounted on the camel and driven around the city from morning till night, and a herald shouted: "O people, look, this is a poor man and he has nothing. "It has been proven that after this, anyone who sells or lends to him has no right to sue the judge, see and get to know him properly."
Iran has offered a particularly unique art to the world which excellent in its kind"; Basil Gray
The history of the art of painting in Iran, goes back to the cave age. In the caves of "Lorestan" province, painted images of animals and hunting scenes have been discovered.
Paintings discovered by W. Semner, on the walls of buildings, in Mallyan heights, in Fars, belong to 5,000 years ago.
Paintings discovered on earthenware in "Lorestan", "Sialk", and other archaeological sites, prove that the artists of this region were familiar with the art of painting.
Also from the Ashkani era (parts), few mural paintings, most of them discovered in the northern parts of "Forat" river, have been uncovered. One of these paintings is a display of a hunting scene. The position of riders and animals, and the style in this work reminds us of the Iranian miniatures.
In the paintings of Hakhamaneshi era, profile work was preferred by the artists. The proportion and beauty of colors of this era, are remarkable. The colors are shadeless, and have the same tune. In some cases, black stripes limited the colorful surfaces.
Mani, the Iranian painter, who lived about the 3rd century, was a skilled and expert painter. His paintings were thought to be part of his miracles.
The paintings of "Torfan", discovered in the desert of "Gall", a region situated in the Turkistan province in China, belong to 840 to 860 AD.
These mural paintings exhibit Iranian scenes and portraits. Images of tree branches also exist in these paintings. The most ancient paintings of the Islamic periodic, are quiet scarce, and were created in the first half of the 13th century. Iranian miniatures (fine and small drawings) came to Fife after the fall of Baghdad (1285 AD). Since the beginning of the 14th century, handwritten books were adorned by the scenes from battle fields, feasts and hunting.
China, perhaps since the 7th century, as an artistic center, has been the most important incentive for the art of painting in Iran. Ever since, a relation has been established between Buddhist Chinese painters and, Iranian artists.
From the historic viewpoint, the most important evolution in Iranian art, has been the adoption of Chinese designs and coloring which were mixed with the specific conception of Iranian artists. The extreme beauty and skill of Iranian paintings are laid to describe. In the first centuries, after the emergence of Islam, Iranian artists began adorning books.
The preface and the margins of books were adorned with. These designs were passed on, through on to the next centuries, together with precise principles and rules, which is known as the "Art of Illumination".
The art of illumination and adorning books made its path of progression under the Saljooghi, Mogol and Teimoor's reigns.
Paintings from the beginning of the Islamic period had the reputation of belonging to Baghdad school.
Miniatures of Baghdad school, have totally lost the style and methods of the usual paintings of the pre-Islamic period.
These primitive and innovative paintings do not possess the necessary artistic stress. The miniatures of Baghdad school are not proportional. Portraits show the "Sami" race and light colors are used. Artists of the Baghdad school, after years of stagnancy', were eager to create and innovate. The particular views of this school, is in drawing animals and illustrating stories.
Although the Baghdad school, considering the pre-Islamic art, is to some extent, superficial and primitive, but the art of Iranian miniature, in the same period, was widespread in every region in which, Islam was propagated: Far East, Africa and Europe.
Among illustrated books in the Baghdad style, "Kelileh and Demneh" can be named. Images are painted larger than normal and are not proportional. Only few colors are used in these paintings.
Most of the handwritten books of the 13th century are enriched with images of animals, vegetables and illustrations from fables and stories.
An example of the most ancient Iranian miniature is the drawings of a book called: "Manafe-alHayvan" (1299 AD). This book describes the characteristics of animals. The natural history is mixed and narrated through the ancient fables in this book.
Diverse subjects of this book, require numerous images which are So important in familiarizing the reader with the Iranian art of painting. Colors are bright and laying step after the old style of the Baghdad school.
For more miniature examples please refer to the Arts Image Database.
After the invasion of Mogols, a new school appeared in Iran. This school was totally under the influence of the Chinese and Mogul style. These paintings are all minute, dry, motionless and pure, in the Chinese style.
Mogul emperors, after the invasion of Iran, were impressed by the Iranian art and encouraged the painters, initiating the former kings of Iran.
Among the characteristics of the Iranian art which can also be observed in the paintings of Mogul style, we can enumerate, subtleties, decorative compositions, and fine short lines. The style of the Iranian paintings is linear and not dimensional. Artists in this field have demonstrated a particular creativity and genuineness.
Artists of the Mogul royal court honored not only the techniques but also Iranian themes. A part of their work consisted of illustrating Iranian literary masterpieces such as: "The Shahnameh" of Ferdowsi. Among the themes, portraitism was of utmost interest.
Contrary to Baghdad and Mogul schools, more works remain from Harat school. The founders of the style of painting called the Harat school, were Teimoor's ancestors, and the school was named after the place in which it was founded.
Art experts believe that during Teimoor's era, the art of painting in Iran, had reached a climax. During this period, outstanding masters, such as: Kamal-ul-Din Behzad, contributed a new touch to the Iranian painting. The Temoorian period continued from 1370 to 1405 AD In this period, the art of miniature and book illumination, reached the highest degree of progression, and most famous painters gave life to their work in this period.
There remains 2 valuable illustrated books from the reign of Baisongor. One, being the "Kelileh and Demneh' and the other, "Baisongor's Shahnameh" (epic of kings). In the drawings of "Shahnameh", painted in 1444 AD in Shiraz, interesting examples of Iranian miniature art can be seen.
One of these drawings represents a beautiful scene from an Iranian court, painted in the Chinese style. White and blue tiles and Persian carpets are drawn in geometrical shapes.
In one of the manuscripts of the book of "Khamseh Nezami", exist 13 excellent miniatures, drawn by "Mirak", the famous painter and calligrapher.
The antificeless, sensitive, and artistic spirit of Baghdad's paintings are represented in the drawings of another volume among the works of "Khamseh Nezami".
This precious work is preserved in "Britannia Museum". One of the liveliest paintings of this book, shows the construction of "Jozanag" palace.
In this painting, masters and architects are busy building the palace. This miniature was painted in 1494 in Harat.
Behzad, the greatest painter of the Harat School, expanded the delicate art of miniature. He invented new patterns for natural facts and portraitism which did not exist before his time.
One of the masterpieces of the Iranian art of painting is an illustrated book of "Shahnameh", preserved in the library of "Golestan" palace in Tehran.
This "Shahnameh" was also illustrated under Baisongor. the Teimoorian prince, and belongs to the Harat School.
The paintings of this book, from the view point of coloration and the proportion of the components in the images are at the highest degree of beauty and firmness.
During the Safavi era, the artistic center was moved to Tabriz. A few artists also settled in Qazvin. But the Safavi School of painting was established in Isfahan.
The miniature of Iran, in the Isfahan of Safavi era, was detached from the influence of the Chinese out and stepped on a new road. The painters were then more inclined towards naturalism.
Reza Abbassi, founded the "Safavi School of painting". The art of design during the Safavi era subjected to a brilliant transformation.
The design, which is one of the most elegant Iranian designs, was made possible by the talent of the artists of the Safavi School. Miniatures created under the Safavi School, were not exclusively aimed for adorning and illustrating books. The Safavi style is softer in form than those of the Teimoorian School, specially the Mongolian. Human images and their behavior are not vain and artificial, in the contrary quiet natural, and close to reality.
Safavi painters also manifested a special expertness in heural paintings. The most magnificent example of the hueral paintings of this period exists in the palaces of "Chehel Sotoon" and "Ali Qapoo".
In Safavi paintings, the splendor and the grandeur of this period is the main attraction. The themes of the paintings &e about the life in the royal court, the nobles, beautiful palaces, pleasant goodness, scenes of battles and banquets.
Humans are drawn in sumptuous garments, handsome faces and elegant statues colors are glowingly bright.
The art of painting, during the Safavi era expanded both in quantity and quality. In the works of this period, a greater freedom, skill, and power can be seen.
Artists paid more attention to generalities and, avoided unnecessary details, as used in Harat and Tabriz styles. The smoothness of lines, the quick expression of feelings, and condensing the subjects are the characteristics of the Safavi style of painting. Since the end of the Safavi era, perspective and shading, a result of the European style, appeared in the Iranian paintings.
Paintings of the Khajar period(16th century), are a combination of the classic European arts and Safavi miniature techniques. In this period, Mohammad Gaffari Kamal-ul-Molk, pushed forward the European classical style of painting in Iran. Under the Khajars, a kind of painting known as the "Coffee House" painting found its place. This kind of painting is a new phenomenon in the history of the Iranian art. The "Coffee House" painting is traditionalist and religious. The usual subjects of this art were the holy images of prophets, the religious epics, and the battles of the national warriors. "Coffee Houses" were gathering places for the ordinary people. In these places, narrators use to tell religious and epic stories from the ancient Persia. Artists painted the same stories on painting boards and the walls of these "Coffee Houses". At this time, unlike before, it was not the kings or the nobles, who would be supporting the artists and their work, but it was the ordinary crowd who requested artists to paint the scenes they were interested in. Most of "Coffee House" scenes, were painted in accordance to the desires of the public. The most beautiful examples of this kind of painting, are preserved in major museums of Tehran, and in the private collections, inside and abroad. The Iranian paintings, through their richness, offer a special joy unlike anything else. They keep a vast connection with the epic stories. In Iranian paintings, the nude body of a human is not a way of expression. Iranian painting is considered as one of the greatest schools of out in Asia. Splendor and luminosity have not been better expressed in any other culture. Bright skies, astonishing beauty of spring blossoms, and among them, humans with splendid garments who hate and love, are jovial or melancholic, form the general themes of the Iranian paintings.
حضرت به باد فرمود او را با شتاب به هندوستان ببرد.
Solomon told the wind to take him to India in a hurry.
در روزگار قدیم مردی زندگی می کرد که تنبل و خوش‌گذران بود. آن مرد هیچ هنری هم نداشت. او پس از اینکه ارث پدرش را تمام کرد مدتی نیز با قرض کردن و پس ندادن گذران زندگی می‌کرد.
In ancient times, there lived a man who was lazy and playful. The man had no art. After living up to his father's inheritance, he lived for a while by borrowing and not repaying.
NIM and hear Session #41: Ask èm Y - 22.02.2024 - Jazzit Musik Club Salzburg
www.jazzfoto.at/konzertfotos24/_nim-and-hear-41/Index.htm
Besetzung:
Yu Miao: guzheng, electronics
Angelina Ertel: flutes, voice, gemshorn
Stefan Krist: trombone, voice, sound objects
Wang Meng: live visuals
Paul Eiser: Sax
Ingrid Wegmayr: E Gitarre
Markus Bless: guitar
Katharina Kirchmayer: Piano
Norbert Zuckerstätter: Drums
Fabian Eicke: e-Zither
Behzad Toghraei: Tar
Georg Degenhardt: percussion
Gerhard Laber: drums
خروشان و جوشان به جوش اندرون
همی از دهانش آتش آمد برون
چو هر سه پسر را بنزدیک دید
به گرد اندرون کوه تاریک دید
آزمودن فریدون پسران را، برگ مصور از شاهنامه شاه تهماسب، منسوب به میرجلال الدین اصفهانی یا آقا میرک، تبریز، حدود ۳۵-۱۵۲۵، گواش، آبرنگ و طلا بر روی کاغذ، نگاره: ۲۹.۷ در ۲۸.۵ سانتیمتر
FARIDUN IN THE GUISE OF A DRAGON TESTS HIS SONS: ILLUSTRATED FOLIO (F.42) FROM THE SHAHNAMEH OF SHAH TAHMASP, ATTRIBUTED TO AQA MIRAK, PERSIA, TABRIZ, ROYAL ATELIER, CIRCA 1525-35
Ink, opaque watercolour and gold on paper, text written in four columns of fine nasta'liq script, double intercolumnar rules in gold, wide gold-sprinkled margins, catchword at lower left corner; recto with a full page of nasta'liq text written in four columns and two headings written in white thuluth script within panels of fine illumination
Folio 47.2 by 32cm. (18 5/8 by 12 5/8 in.) Miniature: 29.7 by 28.5cm. (11 5/8 by 11¼in.)
برانگیخت گَرد و برآورد جوش
جهان شد از آواز ِاو با خروش
بیامد دمان سوی مهتر پسر
که او بود پُرمایه تر تاجور
مِهین گفت با اَژدَها روی ِجنگ
نبیند خرد یافته مرد سنگ
سبک پشت بنمود و بگریخت زوی
پدر زی برادرْش بنهاد روی
میانین برادر چُن او را بدید
کمان به زه کرد و اندرکشید
مرا - گفت - اگر کارزارست کار
چه شیر دمنده چه جنگی سُوار
چو گهتر پسر نزد ایشان رسید
خروشید کان اَژدها را بدید
بدو گفت کز پیش ما باز شو
نهنگی تو بر راه شیران مرو
گرت نام شاه آفْرِیدون به گوش
رسیده ست ، هرگز بدینسان مکوش
که فرزند اوییم هر سه پسر
همه گُرزداران پرخاشخَر
گر از راه بی راه یکسو شوی
وُگر بر نهمت افسر بدخوی
فِریدون فرّخ چو بشنید و دید
هنرها بدانست و شد ناپدید
میرجلال الدین اصفهانی یا آقا میرک از نگارگران صاحب نام دوره صفوی بود. او از جمله شاگردان میر مصور بود و گفته می‌شود شاگرد کمال الدین بهزاد نیز بوده است. او مدتی در دربار صفوی و در دوران شاه تهماسب ریاست کتابخانه و کارگاه هنری را بر عهده داشت. تاثیر کمال الدین بهزاد بر آثار میرک کاملا مشخص است. میرک از جمله نگارگرانی بود که در مصورسازی خمسه تهماسبی و شاهنامه تهماسبی همکاری کرد. وی بعضی از نقاشی‌هایش را روی عاج فیل می‌کشید. آقامیرک شاگردان زیادی تربیت کرد که از جمله آنها استاد ملک محمد قاسم، میرزاعلی، شاه قلی نقاش و محمود حسین طوطی می‌باشد.Āqā Mīrak, also spelled Āghā Mīrak, in full Sayyid Āqā Jalāl Ad-dīn Mīrak Al-ḥasanī (flourished 16th century), Persian painter, an admired portraitist and an excellent colourist, who painted in a sumptuous style. A native of Eṣfahān, he worked mostly in Tabrīz, the capital of the Ṣafavid empire. He knew the Persian painter Behzād, who was director of the royal library and its manager of manuscript illustration. Āqā Mīrak, as one of the senior court artists, was a colleague of the highly regarded painter Sulṭān Muḥammad. He also was the teacher of Shāh Qūlī, a Persian painter later active at the court of the Ottoman sultan Süleyman the Magnificent. A bon vivant and poet, Āqā Mīrak became a boon companion of the Ṣafavid Shāh Ṭahmāsp I, who was a committed patron of the arts.
در سر هر کوی و برزنی شتر را نگاه می‌داشتند و به فارسی و کردی و لری و ترکی موضوع را به مردم تماشاچی می فهماندند. شتردار ساده‌دل هم همه‌جا همراهشان بود.
همین‌که شب شد مرد مفلس را در همان میدان از شتر پیاده کردند و او را آزاد کردند و شتر را به شتردار پس دادند و رفتند و مردم هنوز اطراف ایشان جمع بودند.
They kept camel on every alley and explained the subject to the spectators in Persian, Kurdish, Lori and Turkish. The simple-hearted camel rider was with them everywhere.
As soon as it was night, the poor man was unloaded from the camel in the same square and released, and the camel was returned to the camel rider and left, and the people were still gathered around him.
وقتی مرد مفلس خواست به راه خود برود، شتردار ساده‌دل گریبان او را گرفت و گفت: « دیر شده است و راه من دور است و از کار و کاسبی افتاده‌ام و هیزم خود را نفروخته‌ام. از صبح تا حالا بر شتر من سوار شدی. نمی‌گویم خرج مرا و کرایه سواری را بده ولی قدری کاه برایم بخر تا شتر گرسنه نماند.»
When the poor man wanted to go his own way, the simple-hearted camel rider caught him and said, "It is too late and my way is far away and I have lost my job and business and I have not sold my firewood. You have been riding my camel since morning. "I do not say pay for me and the fare, but buy me some straw so that the camel will not go hungry."
پهلوان روي زمين دراز كشيد و دلاك سوزن را برداشت و شروع به کشیدن تصویر کرد.
اولين سوزن را كه در شانة پهلوان فرو كرد، پهلوان از درد فریاد كشيد و گفت: آه! مرا كشتی.
دلاك گفت: خودت خواسته‌ای, بايد تحمل كني,
پهلوان پرسيد: چه تصويري می کشی؟
دلاك گفت: تو خودت خواستي كه نقش شير رسم كنم.
پهلوان گفت: از كدام اندام شير آغاز كردی؟
دلاك گفت: از دُم شير.
پهلوان گفت: نفسم از درد بند آمد. دُم لازم نيست.
دلاك دوباره سوزن را فرو برد.
پهلوان فرياد زد: كدام اندام را مي‌كشي؟
دلاك گفت: اين گوش شير است.
پهلوان گفت: اين شير گوش لازم ندارد. عضو ديگري را نقش بزن.
باز دلاك سوزن در شانه ی پهلوان فرو كرد, پهلوان قزويني گریه کرد و گفت: اين كدام عضو شير است؟
دلاك گفت: شكم شير است. پهلوان گفت: اين شير گرسنه نیست و شكم لازم ندارد.
The hero lay on the ground. Dalak picked up the needle and began to draw.
The first needle that was inserted in the hero's shoulder, the hero shouted in pain and said: Oh! You killed me.
"You asked for it, you have to put up with it," Dalak said.
Pahlavan asked: What picture do you draw?
"You wanted me to draw a lion," said Dlack.
Pahlavan said: From which limb did you start?
"From the tail of a lion," said Dalak.
Pahlavan said: I was out of pain. The tail is not necessary.
Dalak plunged the needle again.
Pahlavan shouted: Which limb do you draw?
"This is a lion's ear," said Dalak.
Pahlavan said: This lion does not need an ear. Involve another organ.
Dalak put a needle in Pahlavan's shoulder, Pahlavan Qazvini cried and said: Which lion organ is this?
"This is the lion's belly," said Dalak. Pahlavan said: This lion is not hungry and does not need a stomach.
پلکان ورودی کاخ آپادانا
کاخ آپادانا از قدیمی‌ترین کاخ‌های پارسه است. این کاخ که به فرمان داریوش بزرگ بنا شده‌است، برای برگزاری جشن‌های نوروزی و پذیرش نمایندگان کشورهای وابسته به حضور پادشاه استفاده می‌شده‌است.
این کاخ توسط پلکانی در قسمت جنوب غربی آن به «کاخ تچرا» یا «کاخ آینه» ارتباط می‌یابد. کاخ آپادانا از ۷۲ ستون تشکیل شده‌است که در حال حاضر ۱۴ ستون آن پابرجاست ته ستونهای ایوان کاخ گرد ولی ته ستونهای داخل کاخ مربع شکل می‌باشد
چگونگی ساخت
قدیمی‌ترین بخش پارسه بر پایهٔ یافته‌های باستان‌شناسی مربوط به سال ۵۱۵ پیش از میلاد است. آنگونه که در منابع متعدد و گوناگون تاریخی آمده‌است ساخت پارسه در حدود ۲۵ قرن پیش در دامنه غربی کوه رحمت یا میترا یا مهر و در زمان داریوش بزرگ آغاز گردید و سپس توسط جانشینان وی با تغییراتی در بنای اولیه آن ادامه یافت. بر اساس خشت‌نوشته‌های کشف شده در پارسه در ساخت این بنای با شکوه معماران، هنرمندان، استادکاران، کارگران، زنان و مردان بی‌شماری شرکت داشتند که علاوه بر دریافت حقوق از مزایای بیمهٔ کارگری نیز استفاده می‌کردند. ساخت این مجموعه بزرگ و زیبا بنا به روایتی ۱۲۰ سال به طول انجامید.
در گذر زمان تعدادی از ستونهای دروازه کاخ صد ستون در تخت جمشید حوادثی مثل زلزله را پشت سر گذاشته و سر پا مانده اند.آنها در نگاه اول یکپارچه به نظر می رسند اما در حقیقت تکه تکه هستند و روی هم سوار شده اند. راز پایداری آنها مقابل زمین لرزه در محل اتصال این تکه هاست، جایی که دو تکه ستون به وسیله سرب مذاب به هم متصل شده اند. این سرب علاوه بر محکم کردن اتصال دو تکه ستون، نقش مهمی برای مقاومت سازه در مقابل زمین لرزه داشته است. سرب فلز چکش خوار و نرمی است که هنگام بروز زمین لرزه از خودش واکنش نشان داده و خرد نمی شود، این همان نقشی است که در ساختمان‌های امروزی و مدرن بر عهده فنر لای ستون‌ها گذاشته می شود.[۶]
یکی از هنرهای معماری در پارسه این است که نسبت ارتفاع سر درها به عرض آنها و همین طور نسبت ارتفاع ستون‌ها به فاصلهٔ بین دو ستون نسبت طلایی است. نسبت طلایی نسبت مهمی در هندسه‌است که در طبیعت وجود دارد. این نشانگر هنر ابرانیان باستان در معماری است.[نیازمند منبع]
طوطي ديگر سخن نمی گفت و شيرين زبانی نمی كرد و در گوشه ای می نشست. فروشنده و مشتري‌هايش ناراحت بودند. مرد فروشنده هم از كار خود پشیمان بود.
The parrot did not speak anymore and did not speak sweetly and sat in a corner. The seller and his customers were upset. The salesman also regretted his actions.