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@iwpost.bsky.social
4 weeks ago

Iran’s cultural heritage in the crossfire – expert explains what has been damaged and what could be lost#Heritage #Iran #Iranianart #USIran #USIranconflict

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The Zen of True Art
The Zen of True Art
@thezenoftrueart.bsky.social
1 month ago
Post image

Reza Abbasi (Iran, 1565 – 1635), "A Seated Youth," pigment on paper, c.1630. #iran #persia #persian #outofiran #iranianart #persianart #middleeast #art #arte #museum #artgallery

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@oddsocks1957.bsky.social
1 month ago

www.instagram.com/reel/DVITefN...

The brave students of Tehran’s University of Art, defiantly chant, “Bullets, tanks, machine guns - they no longer have any effect on us”.

Incredible youth of Iran.

#IranProtests #IranRevolution #IranRevolution2026 #FreeIran #IranianArt

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Michael
Michael
@mdstamper.bsky.social
1 month ago
Two women stand side by side against a dark, plain backdrop, shown nearly full length and front-facing in a formal, symmetrical arrangement. Their skin is light olive to fair, their faces rounded and idealized, and their features closely matched, reinforcing the sense that they may be sisters or paired court beauties. Each has arched, joined brows, almond-shaped dark eyes, small rosebud lips, and a tiny beauty mark. They wear richly ornamented garments covered with jewels, pearls, and patterned textiles, with elaborate headdresses and veils that frame the face and shoulders. One holds a cut-crystal decanter; the other holds a stemmed goblet, both rendered with reflective highlights. Their posture is upright and poised, with minimal movement, emphasizing display and status over individual psychology. The painting is both likeness and type as the women appear intimate and paired, yet they also function as an idealized vision of elite Qajar femininity. The extraordinary attention to jeweled clothing and imported European glassware signals wealth, cosmopolitan taste, and courtly refinement in 19th-century Iran. The composition feels ceremonial like an image of adornment, social rank, and visual pleasure. The mirrored presentation invites comparison between the two sitters while also flattening them into a unified icon of beauty. That tension between individuality and stylized convention is part of what makes Qajar portraits so compelling today. The work also opens questions about gendered representation: who was painted, for whom, and visual codes of prestige for women’s images. Because many paintings of women from this period were unsigned and undated, attribution remains anonymous. The work is identified through style and details of dress, features, and technique. The Met dates it to the early 19th century and notes it as a Qajar-period painting from Iran, with the handling of facial features and costume placing it in the second quarter of the century.

Two women stand side by side against a dark, plain backdrop, shown nearly full length and front-facing in a formal, symmetrical arrangement. Their skin is light olive to fair, their faces rounded and idealized, and their features closely matched, reinforcing the sense that they may be sisters or paired court beauties. Each has arched, joined brows, almond-shaped dark eyes, small rosebud lips, and a tiny beauty mark. They wear richly ornamented garments covered with jewels, pearls, and patterned textiles, with elaborate headdresses and veils that frame the face and shoulders. One holds a cut-crystal decanter; the other holds a stemmed goblet, both rendered with reflective highlights. Their posture is upright and poised, with minimal movement, emphasizing display and status over individual psychology. The painting is both likeness and type as the women appear intimate and paired, yet they also function as an idealized vision of elite Qajar femininity. The extraordinary attention to jeweled clothing and imported European glassware signals wealth, cosmopolitan taste, and courtly refinement in 19th-century Iran. The composition feels ceremonial like an image of adornment, social rank, and visual pleasure. The mirrored presentation invites comparison between the two sitters while also flattening them into a unified icon of beauty. That tension between individuality and stylized convention is part of what makes Qajar portraits so compelling today. The work also opens questions about gendered representation: who was painted, for whom, and visual codes of prestige for women’s images. Because many paintings of women from this period were unsigned and undated, attribution remains anonymous. The work is identified through style and details of dress, features, and technique. The Met dates it to the early 19th century and notes it as a Qajar-period painting from Iran, with the handling of facial features and costume placing it in the second quarter of the century.

“Sisters” by Unknown Qajar artist (Iranian) - Oil on canvas / c. 1835–1845 - Metropolitan Museum of Art (New York) #WomenInArt #QajarArt #IranianArt #TheMet #PortraitOfWomen #IslamicArt #art #artText #artwork #arte #IranianArt #IranianArtist #PersianArt #IslamicArt #QajarArt #MetropolitanMuseumofArt

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Michael
Michael
@mdstamper.bsky.social
2 months ago
Made in 19th-century Iran under the Qajar dynasty, this kind of “beauty” portrait balanced idealization with recognizable details of elite domestic life. A reclining young woman lounges diagonally across a richly patterned interior, her body propped on layered cushions and floral textiles. She has a light-to-medium warm complexion, round “moon” face, rouged cheeks, and a single continuous brow that frames large, dark eyes set in a steady, direct gaze. Her long black hair falls in thick waves as one hand props her head while the other, tinted red with henna-like color, holds a small clear cup as if just emptied. She wears a sheer white tunic over loose light brown trousers with a repeating pink and green floral patter, and a dark teal robe scattered with red blossoms. Heavy jewelry including pearls, gold settings, and gemstone ornaments hang across her chest and at her ears. In front of her, on the carpet, sits a glass decanter partly filled with red wine and a shallow dish. Nearby, lies a tasseled cord attached to the large patterned pillow she leans against. Behind her, a window opening and a sweeping red curtain create a theatrical backdrop, turning the room into a staged, private tableau. The monobrow, cosmetics, and lavish fabrics signal a cultivated standard of attractiveness, while the cup and wine decanter point to intimate, closed-door leisure. It's pleasure framed as private, not public. The painting’s decorative intensity of dense patterns, jewel-bright accents, and emphatic contour is part of its message. The sitter becomes both person and ornament like an icon of desire and refinement meant for viewing in a masculine reception space. The artist remains unidentified, but was likely a workshop-trained painter working within a popular Qajar mode, yet the work’s confidence lies in how it choreographs gaze, luxury, and secrecy. She is a woman “at the window,” poised between interior freedom and the boundary of display.

Made in 19th-century Iran under the Qajar dynasty, this kind of “beauty” portrait balanced idealization with recognizable details of elite domestic life. A reclining young woman lounges diagonally across a richly patterned interior, her body propped on layered cushions and floral textiles. She has a light-to-medium warm complexion, round “moon” face, rouged cheeks, and a single continuous brow that frames large, dark eyes set in a steady, direct gaze. Her long black hair falls in thick waves as one hand props her head while the other, tinted red with henna-like color, holds a small clear cup as if just emptied. She wears a sheer white tunic over loose light brown trousers with a repeating pink and green floral patter, and a dark teal robe scattered with red blossoms. Heavy jewelry including pearls, gold settings, and gemstone ornaments hang across her chest and at her ears. In front of her, on the carpet, sits a glass decanter partly filled with red wine and a shallow dish. Nearby, lies a tasseled cord attached to the large patterned pillow she leans against. Behind her, a window opening and a sweeping red curtain create a theatrical backdrop, turning the room into a staged, private tableau. The monobrow, cosmetics, and lavish fabrics signal a cultivated standard of attractiveness, while the cup and wine decanter point to intimate, closed-door leisure. It's pleasure framed as private, not public. The painting’s decorative intensity of dense patterns, jewel-bright accents, and emphatic contour is part of its message. The sitter becomes both person and ornament like an icon of desire and refinement meant for viewing in a masculine reception space. The artist remains unidentified, but was likely a workshop-trained painter working within a popular Qajar mode, yet the work’s confidence lies in how it choreographs gaze, luxury, and secrecy. She is a woman “at the window,” poised between interior freedom and the boundary of display.

“Женщина у окна” (The Woman at the Window) by Unknown Artist (Iranian) - Oil on canvas / c. 1860–1880 - State Museum of Oriental Art (Moscow, Russia) #WomenInArt #IranianArt #QajarArt #QajarEra #artText #art #arte #StateMuseumofOrientalArt #ГосударственныйМузейВостока #МузейВостока #PortraitofaWoman

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@authorpcollins.bsky.social
3 months ago
Iran Protests
Iran Protests YouTube video by Paul Collins

#Iran #Persia / #Persian #Tehran #Isfahan, #Shiraz #Yazd #MiddleEast #PersianCulture #IranianArt #PersianFood #IranianCuisine #Nowruz #VisitIran #TravelIran #PersianPoetry #Rumi #IranProtests #MahsaAmini #StandWithIran #HumanRights www.youtube.com/shorts/enfFn...

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Michael
Michael
@mdstamper.bsky.social
4 months ago
This self portrait is one of 12 large works in Mona Hakimi-Schüler’s 2007 “Selbstbildnisse” series, each of herself in roles she has actually inhabited. Based on her own photos, she preserves intimacy while allowing any Iranian woman to stand in her place, so the series moves between personal diary and collective portrait. In some paintings, she appears in sunglasses or with loose curls visible; here, strict chador and mosque-like tiles evoke one of the most regulated public images demanded of women by Iranian dress codes. The young woman artist faces us head-on, centered against a tightly patterned wall of pale blue, grey, and cream-colored tiles that recall Iranian mosque mosaics. Her light-brown skin and wide dark eyes are carefully modeled, with soft shadows that hint at tiredness more than stylized glamour. All of her hair is concealed beneath a dark chador (full-body cloak that leaves the face visible) that falls in heavy folds over her shoulders and out of the frame, turning her body into a single dark shape. Only her oval face appears within a narrow opening in the cloth. Her lips are closed, expression steady and unsmiling, and she meets our gaze directly. The patterned wall and veil are a quiet frame for her unblinking presence. Born in Tehran in 1977, Hakimi-Schüler grew up through the Islamic Revolution and the Iran–Iraq war before moving to Germany to study art. Her work continually returns to memory, migration, and the politics of representation. Her paintings, drawings, collages, and installations have been shown widely, from Kunstverein Buchholz and the Frauenmuseum Bonn to Haus der Kunst in Munich and the retrospective “Talking about the Revolution” at the Städtische Galerie Rastatt, which focuses on women’s roles, power, and resistance. Her direct poses and unwavering eye contact echo a woman who is both specific and symbolic to quietly insist we confront our own assumptions about veiling, difference, and who is allowed to be seen.

This self portrait is one of 12 large works in Mona Hakimi-Schüler’s 2007 “Selbstbildnisse” series, each of herself in roles she has actually inhabited. Based on her own photos, she preserves intimacy while allowing any Iranian woman to stand in her place, so the series moves between personal diary and collective portrait. In some paintings, she appears in sunglasses or with loose curls visible; here, strict chador and mosque-like tiles evoke one of the most regulated public images demanded of women by Iranian dress codes. The young woman artist faces us head-on, centered against a tightly patterned wall of pale blue, grey, and cream-colored tiles that recall Iranian mosque mosaics. Her light-brown skin and wide dark eyes are carefully modeled, with soft shadows that hint at tiredness more than stylized glamour. All of her hair is concealed beneath a dark chador (full-body cloak that leaves the face visible) that falls in heavy folds over her shoulders and out of the frame, turning her body into a single dark shape. Only her oval face appears within a narrow opening in the cloth. Her lips are closed, expression steady and unsmiling, and she meets our gaze directly. The patterned wall and veil are a quiet frame for her unblinking presence. Born in Tehran in 1977, Hakimi-Schüler grew up through the Islamic Revolution and the Iran–Iraq war before moving to Germany to study art. Her work continually returns to memory, migration, and the politics of representation. Her paintings, drawings, collages, and installations have been shown widely, from Kunstverein Buchholz and the Frauenmuseum Bonn to Haus der Kunst in Munich and the retrospective “Talking about the Revolution” at the Städtische Galerie Rastatt, which focuses on women’s roles, power, and resistance. Her direct poses and unwavering eye contact echo a woman who is both specific and symbolic to quietly insist we confront our own assumptions about veiling, difference, and who is allowed to be seen.

“Selbstbildnis 68 (Self-portrait #68)” by Mona Hakimi-Schüler (Iranian) - Oil on canvas / 2007 - Städtische Galerie (Rastatt, Germany) #WomenInArt #MonaHakimiSchuler #Hakimi-Schüler #art #artText #arte #SelfPortrait #IranianArt #WomensArt #WomanArtist #WomenArtists #IranianArtist #MonaHakimi-Schüler

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Michael
Michael
@mdstamper.bsky.social
5 months ago
A woman with luminous chalky-white skin sits gracefully side-saddle on a blue horse, enveloped in a field of intense cobalt blue. Her long black hair flows beneath a red ribbons, its edges lifting as if stirred by sound. White calligraphic lines glide across her robe and the horse’s body like illuminated script, evoking Persian nastaliq forms while blending language and ornament. A slender column rises at the right edge, topped by a tiny bird that seems ready to sing—a subtle emblem of voice and spirit. Cradled in her lap, a pale, long-necked lute-like instrument, reminiscent of a Persian setar yet abstracted in form, its soft curve echoing the line of the animal’s body and binding sound to movement. Turquoise and indigo layers blur any horizon, and accents of scarlet red at her lips, ribbons, and reins pulse gently within the blue’s serenity. The result feels weightless, suspended between motion and stillness. This untitled work exemplifies Iranian artist Nasser Ovissi’s lifelong synthesis of Persian heritage and modern abstraction. Born in Tehran in 1934, Ovissi trained in Rome before developing an international career that joined Saqqakhaneh symbolism with contemporary aesthetics. His recurring subjects of women, horses, birds, and calligraphic forms embody grace, imagination, and continuity. In Persian visual culture, blue connotes transcendence while white script becomes both prayer and pattern as the musician represents inner voice and the horse conveys strength and loyalty. The composition’s interplay of vertical calm and diagonal melody invites reflection on harmony between tradition and innovation. Critics have described Ovissi’s art as “a dialogue between poetry and painting,” a phrase that resonates here. Now held in the Raha Gallery Middle East Collection in Tehran, this painting stands as a lyrical testament to cultural endurance where brushstroke, language, and sound merge into one radiant act of creation.

A woman with luminous chalky-white skin sits gracefully side-saddle on a blue horse, enveloped in a field of intense cobalt blue. Her long black hair flows beneath a red ribbons, its edges lifting as if stirred by sound. White calligraphic lines glide across her robe and the horse’s body like illuminated script, evoking Persian nastaliq forms while blending language and ornament. A slender column rises at the right edge, topped by a tiny bird that seems ready to sing—a subtle emblem of voice and spirit. Cradled in her lap, a pale, long-necked lute-like instrument, reminiscent of a Persian setar yet abstracted in form, its soft curve echoing the line of the animal’s body and binding sound to movement. Turquoise and indigo layers blur any horizon, and accents of scarlet red at her lips, ribbons, and reins pulse gently within the blue’s serenity. The result feels weightless, suspended between motion and stillness. This untitled work exemplifies Iranian artist Nasser Ovissi’s lifelong synthesis of Persian heritage and modern abstraction. Born in Tehran in 1934, Ovissi trained in Rome before developing an international career that joined Saqqakhaneh symbolism with contemporary aesthetics. His recurring subjects of women, horses, birds, and calligraphic forms embody grace, imagination, and continuity. In Persian visual culture, blue connotes transcendence while white script becomes both prayer and pattern as the musician represents inner voice and the horse conveys strength and loyalty. The composition’s interplay of vertical calm and diagonal melody invites reflection on harmony between tradition and innovation. Critics have described Ovissi’s art as “a dialogue between poetry and painting,” a phrase that resonates here. Now held in the Raha Gallery Middle East Collection in Tehran, this painting stands as a lyrical testament to cultural endurance where brushstroke, language, and sound merge into one radiant act of creation.

“Untitled (بی‌عنوان)” by Nasser Ovissi / ناصر اویسی (Iranian) – Mixed media on canvas / c. 2010s – Raha Gallery Middle East Collection (Tehran, Iran) #WomenInArt #IranianArt #PersianArt #art #artText #artwork #RahaGallery #MiddleEasternArt #BlueskyArt #MixedMediaArt #ModernArt #Ovissi #NasserOvissi

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Michael
Michael
@mdstamper.bsky.social
6 months ago
A young dancer steps forward on one foot and the other pointed red slipper lifted. She wears a fitted rose-pink jacket with a deep V neckline and narrow cuffs edged in gold; a long chain drops from her neck to a gold pendant that rests at her waist. Above a short, wine-red overskirt patterned with curling gold tendrils, a broad teal-and-gold sash drapes diagonally, its folds echoing the swing of her movement. Beneath, a vertically striped skirt in turquoise and brown falls to the ankles, parted to reveal layers: a pale cream undergarment stenciled with small floral stars and a pink inner robe trimmed in gold. Her hands are raised with bent wrists and delicately posed fingers, signaling measured rhythm. Long, dark hair streams in loose waves; a few braids frame a luminous light-toned face with kohl-rimmed almond eyes, faint cheek flush, and soft red lips. A low gold crown set with pearls and a feathered aigrette rests over her center-parted hair. She moves across a parchment-colored ground dotted with plants and stones. Created in Isfahan toward the latter part of the Safavid dynasty, this single-figure album leaf (muraqqaʿ) exemplifies Muʿin Musawwir’s refinement: elongated proportions, poised gesture, and meticulous costume detailing in opaque watercolor heightened with gold. As successor to the celebrated Reżā ʿAbbāsī, Muʿin shaped the courtly taste of the later 17th century, producing artwork prized for intimate viewing that circulated alongside calligraphy and poetry, functioning as visual counterparts to lyric verse. Here, choreography becomes arabesque art through the dancer’s angled wrists, pendant chain, and streaming hair to create motion. The restrained setting places emphasis on presence, while jeweled headpiece, sash, and patterned textiles signal urban sophistication. Within Safavid culture, images of dancers, musicians, and lovers offered a cultivated idiom of grace and wit; this leaf crystallizes that ideal with particular clarity.

A young dancer steps forward on one foot and the other pointed red slipper lifted. She wears a fitted rose-pink jacket with a deep V neckline and narrow cuffs edged in gold; a long chain drops from her neck to a gold pendant that rests at her waist. Above a short, wine-red overskirt patterned with curling gold tendrils, a broad teal-and-gold sash drapes diagonally, its folds echoing the swing of her movement. Beneath, a vertically striped skirt in turquoise and brown falls to the ankles, parted to reveal layers: a pale cream undergarment stenciled with small floral stars and a pink inner robe trimmed in gold. Her hands are raised with bent wrists and delicately posed fingers, signaling measured rhythm. Long, dark hair streams in loose waves; a few braids frame a luminous light-toned face with kohl-rimmed almond eyes, faint cheek flush, and soft red lips. A low gold crown set with pearls and a feathered aigrette rests over her center-parted hair. She moves across a parchment-colored ground dotted with plants and stones. Created in Isfahan toward the latter part of the Safavid dynasty, this single-figure album leaf (muraqqaʿ) exemplifies Muʿin Musawwir’s refinement: elongated proportions, poised gesture, and meticulous costume detailing in opaque watercolor heightened with gold. As successor to the celebrated Reżā ʿAbbāsī, Muʿin shaped the courtly taste of the later 17th century, producing artwork prized for intimate viewing that circulated alongside calligraphy and poetry, functioning as visual counterparts to lyric verse. Here, choreography becomes arabesque art through the dancer’s angled wrists, pendant chain, and streaming hair to create motion. The restrained setting places emphasis on presence, while jeweled headpiece, sash, and patterned textiles signal urban sophistication. Within Safavid culture, images of dancers, musicians, and lovers offered a cultivated idiom of grace and wit; this leaf crystallizes that ideal with particular clarity.

“Young Woman Dancing” by Muʿin Musawwir (Iranian) – Opaque watercolor and gold on paper / 1670–1690 – The Israel Museum, Jerusalem #WomenInArt #art #artText #artwork #dancer #Musawwir #IsraelMuseum #watercolor #BlueskyArt #WomanDancing #IMJ #artBSKY #IranianArtist #IranianArt #PersianArt #1600s

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Michael
Michael
@mdstamper.bsky.social
6 months ago
This rectangular painting shows a richly stylized woman posed beside a golden horse against a dark background. She wears patterned gold garments with floral designs and a tall white headdress. Her pale face, framed by black hair, is marked by long, darkly lined eyes and flushed cheeks. In one hand, she grasps a round gold vessel accented with green and red, while her other hand lifts a small golden cup close to her chin. The horse’s head leans closely toward her, its bridle drawn in curling golden lines that echo other calligraphic swirls and decorative flourishes floating across the canvas. Born in Tehran in 1934 and trained in Rome, Nasser Ovissi emerged as a leading figure in Iranian modernism, bridging Western painterly abstraction with Persian visual traditions. His work often features archetypal women, horses, and vessels as symbols of continuity, beauty, and cultural identity. “Saghi”” reimagines the timeless Persian figure of the sāqī, a cupbearer invoked by classical poets such as Hafez as the one who brings not only wine but also spiritual ecstasy, divine love, and the promise of renewal. The woman’s dual gesture of holding a golden flask and raising a cup makes her both vessel and pourer, a guardian of the intoxicating gift. Her richly patterned gold garments and luminous headdress echo manuscript illumination, while the horse recalls the power and nobility of Persian court imagery. Ovissi’s style is strongly shaped by the Saqqakhaneh movement of Iranian modernism, which emerged in the 1960s. Artists in this circle fused Shi’a shrine iconography, Persian calligraphy, and folkloric motifs with Western abstraction to create a distinctly Iranian modernist voice. While not strictly part of the movement, Ovissi’s mature work, including “Saghi,” carries its spirit forward. By blending ornamental flatness, symbolic archetypes, and luminous gold, he creates a neo-traditional modernism that bridges Iran’s cultural memory with a global art language.

This rectangular painting shows a richly stylized woman posed beside a golden horse against a dark background. She wears patterned gold garments with floral designs and a tall white headdress. Her pale face, framed by black hair, is marked by long, darkly lined eyes and flushed cheeks. In one hand, she grasps a round gold vessel accented with green and red, while her other hand lifts a small golden cup close to her chin. The horse’s head leans closely toward her, its bridle drawn in curling golden lines that echo other calligraphic swirls and decorative flourishes floating across the canvas. Born in Tehran in 1934 and trained in Rome, Nasser Ovissi emerged as a leading figure in Iranian modernism, bridging Western painterly abstraction with Persian visual traditions. His work often features archetypal women, horses, and vessels as symbols of continuity, beauty, and cultural identity. “Saghi”” reimagines the timeless Persian figure of the sāqī, a cupbearer invoked by classical poets such as Hafez as the one who brings not only wine but also spiritual ecstasy, divine love, and the promise of renewal. The woman’s dual gesture of holding a golden flask and raising a cup makes her both vessel and pourer, a guardian of the intoxicating gift. Her richly patterned gold garments and luminous headdress echo manuscript illumination, while the horse recalls the power and nobility of Persian court imagery. Ovissi’s style is strongly shaped by the Saqqakhaneh movement of Iranian modernism, which emerged in the 1960s. Artists in this circle fused Shi’a shrine iconography, Persian calligraphy, and folkloric motifs with Western abstraction to create a distinctly Iranian modernist voice. While not strictly part of the movement, Ovissi’s mature work, including “Saghi,” carries its spirit forward. By blending ornamental flatness, symbolic archetypes, and luminous gold, he creates a neo-traditional modernism that bridges Iran’s cultural memory with a global art language.

“Saghi (Cupbearer)” by Nasser Ovissi (Iranian American) - Oil on canvas with gold / 2000 - Jordan National Gallery of Fine Arts (Amman, Jordan) #WomenInArt #art #IranianArt #artText #JNGFA #NasserOvissi #Ovissi #PersianArt #Saqqakhaneh #BlueskyArt #ModernArt #Iranian #JordanNationalGalleryofFineArts

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Leuven University Press
Leuven University Press
@leuvenup.bsky.social
8 months ago
book cover 'Women, Art, Freedom'

book cover 'Women, Art, Freedom'

What Karimi’s study ultimately demonstrates is that, even in the face of a grim political reality, activist art in Iran has continually reinvented itself for decades, embracing new and creative forms of resistance. - Verena Straub, 21: Inquiries into Art, History, and the Visual

What Karimi’s study ultimately demonstrates is that, even in the face of a grim political reality, activist art in Iran has continually reinvented itself for decades, embracing new and creative forms of resistance. - Verena Straub, 21: Inquiries into Art, History, and the Visual

Book Review of 📘 'Women, Art, Freedom: Artists and Street Politics in Iran', Pamela Karimi @21inquiries.bsky.social

📖 Read the full review 👉 doi.org/10.11588/xxi...

#IranianArt #WomenArtists #womenlifefreedom #BookReview

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TATANKA.site
TATANKA.site
@tatanka-bsky.bsky.social
9 months ago
Preview
❤️‍🔥قلب (Qalb): Bridging Ancient Persian Modes with PsyTech and 40 Hz Consciousness - TATANKA Ancient Persian music meets 40 Hz PsyTech to awaken consciousness and cultural memory in this visionary album.

❤️‍🔥قلب (𝗤𝗮𝗹𝗯) — 𝗦𝗼𝘂𝗻𝗱, 𝗥𝗲𝘀𝗶𝘀𝘁𝗮𝗻𝗰𝗲, 𝗮𝗻𝗱 𝘁𝗵𝗲 𝟰𝟬 𝗛𝘇 𝗕𝗿𝗶𝗱𝗴𝗲 𝗕𝗲𝘁𝘄𝗲𝗲𝗻 𝗪𝗼𝗿𝗹𝗱𝘀
🔗A sonic revolution is waiting. Tap in: tatanka.site/qalb

#Qalb #PersianMusic #PsyTech #ForoughFarrokhzad #IranianArt #AIArt #BinauralBeats #SufiPoetry #PersianPoetry #40Hz #BrainwaveMusic #MiddleEasternMusic #SpiritualMusic

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TATANKA.site
TATANKA.site
@tatanka-bsky.bsky.social
9 months ago
Preview
"azadi" - Reviving the Soul of Persian Music Through Ambient Fusion and Ancient Frequencies - TATANKA Experience “azadi” - Persian ambient fusion, Radif tradition, and 6.3 Hz for healing, clarity, and peace.

🔊 𝗔𝗭𝗔𝗗𝗜 — 𝗧𝗵𝗲 𝗦𝗼𝘂𝗻𝗱 𝗼𝗳 𝗙𝗿𝗲𝗲𝗱𝗼𝗺
🎧 Best with headphones.
🌐 Learn more + listen: tatanka.site/azadi

#Azadi #PersianMusic #AmbientFusion #Radif #HomayounScale #BinauralBeats #ThetaWaves #SoundHealing #IranianArt #WomenLifeFreedom #AIandMusic #FreedomThroughSound #TATANKA #EmotionalHealing

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
1 year ago
Post image

Jafar Rouhbakhsh
1940-1996
Iranian artist
Pendant: composition géométrique, 1991
oil and metallic paint on canvas
45 x 21 cm

#Iranianart

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Alexa Carmichael 🇨🇦
Alexa Carmichael 🇨🇦
@alexacarmichael.bsky.social
1 year ago
Post image

Jafar Rouhbakhsh
1940-1996
Iranian artist
Pendant: composition géométrique, 1991
oil and metallic paint on canvas
45 x 21 cm

#Iranianart

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Michael
Michael
@mdstamper.bsky.social
1 year ago
In the words of the artist, Mandana Bonakdar, “Creating this vibrant painting was a journey into the rich tapestry of Persian culture. Inspired by the ethereal beauty of a Persian girl, I captured her innocence and strength as she gracefully stands against an intricate backdrop of traditional Iranian tiles. Her Iranian scarf, adorned with vivid colors and patterns, embodies the elegance and pride of her heritage. Each brushstroke is a celebration of the fusion between traditional artistry and contemporary expression, reflecting the resilience, beauty, and enduring spirit of Iranian womanhood. This piece invites viewers to explore the intricate details and immerse themselves in the cultural narrative, celebrating the timeless grace and profound stories embedded in Persian tradition.” Bonakdar was born and raised in Iran and holds a Master's degree in IT Management from the UK. Upon returning to her country, she embarked on a successful teaching career and academic contributions to three books. Following her immigration to the United States, during the COVID-19 pandemic, she turned to painting as a means of self-expression and healing, teaching herself to create with oil and charcoal without any formal instruction. Through her perseverance and dedication, she found solace and a new sense of purpose in her art. In 2022, Bonakdar achieved first place in the American Scholastic Press Association competition, a testament to her talent and determination. Additionally, two of her paintings were published in WallJournal in 2021 and 2022. As an American-Iranian woman, she strives to create works that bridge cultures and convey significant events and experiences through her unique artistic perspective. Bonakdar’s art reflects her journey and the challenges she has overcome, offering a powerful narrative that resonates with diverse audiences.

In the words of the artist, Mandana Bonakdar, “Creating this vibrant painting was a journey into the rich tapestry of Persian culture. Inspired by the ethereal beauty of a Persian girl, I captured her innocence and strength as she gracefully stands against an intricate backdrop of traditional Iranian tiles. Her Iranian scarf, adorned with vivid colors and patterns, embodies the elegance and pride of her heritage. Each brushstroke is a celebration of the fusion between traditional artistry and contemporary expression, reflecting the resilience, beauty, and enduring spirit of Iranian womanhood. This piece invites viewers to explore the intricate details and immerse themselves in the cultural narrative, celebrating the timeless grace and profound stories embedded in Persian tradition.” Bonakdar was born and raised in Iran and holds a Master's degree in IT Management from the UK. Upon returning to her country, she embarked on a successful teaching career and academic contributions to three books. Following her immigration to the United States, during the COVID-19 pandemic, she turned to painting as a means of self-expression and healing, teaching herself to create with oil and charcoal without any formal instruction. Through her perseverance and dedication, she found solace and a new sense of purpose in her art. In 2022, Bonakdar achieved first place in the American Scholastic Press Association competition, a testament to her talent and determination. Additionally, two of her paintings were published in WallJournal in 2021 and 2022. As an American-Iranian woman, she strives to create works that bridge cultures and convey significant events and experiences through her unique artistic perspective. Bonakdar’s art reflects her journey and the challenges she has overcome, offering a powerful narrative that resonates with diverse audiences.

Innocence and Beauty of a Persian Soul by Mandana Bonakdar (Iranian) - Oil on canvas / 2023 - Hilbert Museum of California Art (Orange, CA) #womeninart #womanartist #art #oilpainting #femaleartist #MandanaBonakdar #artwork #womensart #portraitofawoman #iranianart #iranianartist #style #HilbertMuseum

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Brandt Eisner
Brandt Eisner
@brandteisner.bsky.social
1 year ago
Post image

A cat statue from Iran (Ca. 1850 - 1900) in the Louvre Museum collection says "Feed me!"😻
#art #sculpture #cats #historicalcats #iranianart

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Nicole Bergen
Nicole Bergen
@acottagewitch.bsky.social
1 year ago
The book Woman Life Freedom with a yellow cover on a puzzle of books and cats.

The book Woman Life Freedom with a yellow cover on a puzzle of books and cats.

Some people are incredible. The women of Iran deserve so much better than the government they've got. The art in this book was fascinating.
#womanlifefreedom
#booksky 💙📚🌎 #MaluHalasa #Iranianart #IranianLit

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Bent Fig Media
Bent Fig Media
@bentfigmedia.bsky.social
1 year ago
Video

Mo Rasoulipour shares the beauty of Iranian culture and its history. Make sure to watch the full long-form interview.

#Iran #Iranian #IranianAmerican #IranianArt #History #Art #PersianArt #PersianHistory #IranianHistory #eranshahr #mythical #monsters #culture #fantasticbeasts #podcast #middleeast

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Bent Fig Media
Bent Fig Media
@bentfigmedia.bsky.social
1 year ago
Mohammad Rasoulipour of Eranshahr + Iranian Mythical Monsters Card Game - Bent Fig Media by Bent Fig Media My chat with Mohammad Rasoulipour of Eranshahr. He has been working to preserve Iranian culture by creating digital archives of art, an Iranian Mythical Creatures Card Game, a video game, and much mor...

Listen to the latest episode of the bent Fig Media podcast. Available on #spotify #apple and other major social media and podcast apps.
spotifycreators-web.app.link/e/gUI3TtHkNOb

#Iran #Iranian #IranianAmerican #IranianArt #History #Art #PersianArt #PersianHistory #IranianHistory #eranshahr

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Leuven University Press
Leuven University Press
@leuvenup.bsky.social
1 year ago
book cover Women, Art, Freedom

book cover Women, Art, Freedom

Pamela Karimi in conversation with Molly Sheridan at Cornell University College of Architecture, Art, and Planning.
🔗 tinyurl.com/5zf66vaf

#IranianStudies #womanlifefreedom #Mahsaamini #iranianart #womenartists #artandactivism #iran #women #freedom

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Leuven University Press
Leuven University Press
@leuvenup.bsky.social
1 year ago
poster book launch 'Women, Art, Freedom'

poster book launch 'Women, Art, Freedom'

✨Book Launch ✨
📘 'Women, Art, Freedom', by Prof. Pamela Karimi, Cornell University
📅 Friday, 27 Sept 2024, 1:00 p.m. EDT
💻 Zoom
🔗 iranianstudies.utoronto.ca/event/irania...

#IranianStudies #womanlifefreedom #Mahsaamini #iranianart #womenartists #artandactivism #iran #women #freedom

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Leuven University Press
Leuven University Press
@leuvenup.bsky.social
1 year ago
Pamela Karimi: During the peak of the Woman, Life, Freedom uprising, the anonymous art activism on the streets, in art colleges across universities, and by prominent artists who openly expressed solidarity was overwhelming.

Pamela Karimi: During the peak of the Woman, Life, Freedom uprising, the anonymous art activism on the streets, in art colleges across universities, and by prominent artists who openly expressed solidarity was overwhelming.

book cover 'Women, Art, Freedom'

book cover 'Women, Art, Freedom'

Today marks the anniversary of Jina Mahsa Amini's death on September 16, 2022.
📖 'Women, Art, Freedom' offers an insightful look at the 2022 Woman, Life, Freedom uprising in #Iran.
🔗https://tinyurl.com/3hnyx3nv

#womanlifefreedom #Mahsaamini #iranianart #womenartists #women

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Leuven University Press
Leuven University Press
@leuvenup.bsky.social
1 year ago
book cover Women, Art, Freedom

book cover Women, Art, Freedom

Women, Art, Freedom offers a most compelling argument on how performative art and activism join hands in promoting a political posture of resistance. It spotlights through a deft analysis of a mass of data and evidence that is extraordinarily difficult to locate and gather, the unfolding of the uprisings that followed the murder of Jina Mahsa Amini on 16 September 2022. - Sussan Babaie, The Courtauld Institute of Art, University of London

Women, Art, Freedom offers a most compelling argument on how performative art and activism join hands in promoting a political posture of resistance. It spotlights through a deft analysis of a mass of data and evidence that is extraordinarily difficult to locate and gather, the unfolding of the uprisings that followed the murder of Jina Mahsa Amini on 16 September 2022. - Sussan Babaie, The Courtauld Institute of Art, University of London

Women, Art, Freedom probes every term of its title to document and theorize the aesthetics of rebellion in Iran. Karimi’s terrific book explores the nuances of language, color, calligraphy, graffiti, performance, artistic precedents, and gender identity as she takes up the current movement, finding art to be crucial to parafeminist imaginaries around the globe. - Caroline Jones, Massachusetts Institute of Technology

Women, Art, Freedom probes every term of its title to document and theorize the aesthetics of rebellion in Iran. Karimi’s terrific book explores the nuances of language, color, calligraphy, graffiti, performance, artistic precedents, and gender identity as she takes up the current movement, finding art to be crucial to parafeminist imaginaries around the globe. - Caroline Jones, Massachusetts Institute of Technology

During the peak of the Woman, Life, Freedom uprising, the anonymous art activism on the streets, in art colleges across universities, and by prominent artists who openly expressed solidarity was overwhelming. - Pamela Karimi

During the peak of the Woman, Life, Freedom uprising, the anonymous art activism on the streets, in art colleges across universities, and by prominent artists who openly expressed solidarity was overwhelming. - Pamela Karimi

📖 'Women, Art, Freedom: Artists and Street Politics in Iran', Pamela Karimi
🔗 tinyurl.com/yryaktf8

💬 Q&A with Pamela Karimi
🔗 tinyurl.com/3hnyx3nv

#womanlifefreedom #Mahsaamini #iranianart #womenartists #artandactivism #iran #women #freedom

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