Aziz art Augaust 2015.pdf

Aug 2015Toby BrownGulnar SacoorIranShermanHaycompetitionRobertAndler-LipskiOmar Khayyám

1. Bahram Dabiri4. Competition5. Toby Brown6. Marc Chagall13. Competition14. Sherman Hay16. Khayyam24. Gulnar G.Sacoor25. Robert Andler-Lipski26. Iranخیام اگر ز باده مستی _ خوش باشبا ماهرخی اگر نشستی خوش باشچون عاقبت کار جهان نیستی استانگار که نیستی چو هستی خوش باش--Khayyam,if you get intoxicatedwhile drinking wine,then do so and be happyAnd if you are glad communicatingto virtuous humans,then do so.As the sequel of life is inexistence,so think that even you don't exist.therefore be delighted as you liviein the present.Director: Aziz AnzabiEditor and translator :Asra YaghoubiResearch: ZohrehNazarihttp://www.aziz-anzabi.com

Bahram Dabiriwas born in Shiraz in 1950.His family appreciated art; hismother was the daughter of alandowner who loved artand literature, and his father, whotook no pride in aristocracy, had adeep interest in literature andhistory.Dabiri’s childhood wassimultaneous with thedisintegration of Iran’s socialsystem and the emergence of anew elite.Even the remnants of an aristocracyon the verge of extinction could nothelp keep his family in hishometown, leaving them with noalternative but to migrate toTehran. is an Iranian painter andartist. Dabiri work has beendisplayed in many exhibitions inIran, United States, Spain, Germanyand United Arab Emirates.Academic careerIn 1970, he was accepted into theFine Arts Department of TehranUniversity, and received hisundergraduate degree in painting.ExhibitionsDabiri's work has been displayed,among others, at Museum ofContemporary Art, Tehran, FrenchEmbassy, Tehran, 2000 Art ExpoNew York, 2000 ContemporaryIranian Modern Art exhibition, NewYork, Reagan Center, Washington,Fabien Fryns Gallery, Marbella,Spain, Hotel Mirage, UAE, BernakGallery, Bremen, Germany.Influences[Dabiri's initial influence came bythe works of Hieronymus Bosch andPieter Bruegel the Elder. He studiedunder Hannibal Alkhas, Behjat Sadr,Parviz Tanavoli and Rouin Pakbaz.1

"Drawing"Deadline: September 14, 2015 (Midnight EST)Open for Submissions, $7,600 in Cash & Marketing PrizesTheme:"Drawing" Whether the work is created as classical or experimental this call is all aboutdrawing. Drawing is the original art and language of man and continues to allow us tocommunicate what we see and feel. A drawing can be formal and refined or expressive andenergetic, can even capture our thoughts with doodling. Marks, lines or shaded areasexpresses our external world and our individual thoughts. It is a record of who we are ashumans and our need to connect with each other.Art-Competition.net announces "Drawing" art call to artists for an online-juriedinternational competition, for drawing only. Deadline for submission - September 14, 2015(Midnight EST), $7,600 in Cash & Marketing Prizes. (Winners will receive extensivemarketing of their work worldwide.) The competition is open to all artists 18 years of age orolder expressing themselves in any drawing medium. For example digital art, pastel,charcoal, pencil, experimental mediums, etc. The work can be in black and white or color ofany subject from representational to non-representational expression.Submission Deadline: 09/14/15 (Midnight EST)Jury Selection: 09/18/15Notification: 09/23/15Submission Fees:Entry Fee: 1 image $20, 3 images $35, 7 images $60Payments: All credit and debit cards are accepted through PayPal 4

Toby BrownThe majority of Toby Brown work isbased around a feeling or emotion…butthere is also an element of how theartist’s interpretation of a line or versefrom a song. His work starts it’s journeythrough closed eyes, listening to music.Lyrics and the feel of a song take Tony’smind to a place of images and colour.Listening to music takes him into adream like state, where nothing is as itappears to be, the eyes do not focusand an image or an idea appear anddisappear within a split second.Through the medium of sound animage is born. A string of musical notesare transformed into an intense,sometimes emotive image…a group ofwords from a song brought to life by thestrokes of a brush.Not obvious and devoid of elaboration,each piece can either be viewed alongwith listening to the chosen song thatinspired each work or viewed as anintense, stand alone body of work.Lone, distorted figures emerge from amist, leaving the viewer wanting tolook deeper into each piece. Seen as anatural progression, with a love ofmusic and art, the two blend effortlesslytogether…using music as a vehicle totransfer what is heard onto canvas.Drawing inspiration from bands such asPink Floyd, Kasabian and Jimi Hendrix,the viewer gets a glimpse of how TobyBrown thinks. His work stands mostly inoils and on a large scale. He has oftenbeen told that his singular style is verysimilar to that of an airbrush althoughTony doesn’t paint as such…more likescrubbing the paint onto the canvas andbuilding up the tones and shades thatway. As a result of this process the artistgets through many brushes very quickly,but it’s seen as a small price to pay forthe end result.A particular fact, Toby has 35% vision inhis left eye, so in his work heincorporates both eyes, hence theblurred effect. Toby Brown was bornwith this condition, but it was neverseen as a problem, he early found itgives his work an interesting twist as aresult, it shows the viewer how Tonysees the world around.5

Marc Chagall6 July 1887 – 28 March 1985)was a Russian-French artist.21 Artcritic Robert Hughes referred toChagall as "the quintessentialJewish artist of the twentiethcentury" (though Chagall saw hiswork as "not the dream of onepeople but of all humanity"). Anearly modernist,he was associated with severalmajor artistic styles and createdworks in virtually every artisticmedium, including painting, bookillustrations, stained glass, stagesets, ceramic, tapestries and fineart prints.According to art historianMichael J. Lewis, Chagall wasconsidered to be "the last survivorof the first generation of Europeanmodernists". For decades, he "hadalso been respected as the world'spreeminent Jewish artist". Usingthe medium of stained glass, heproduced windows for thecathedrals of Reims and Metz,windows for the UN, and theJerusalem Windows in Israel. Healso did large-scale paintings,including part of the ceiling of theParis Opéra.Before World War I, he traveledbetween St. Petersburg, Paris, andBerlin. During this period hecreated his own mixture and styleof modern art based on his idea ofEastern European Jewish folkculture. He spent the wartime yearsin Soviet Belarus, becoming one ofthe country's most distinguishedartists and a member of themodernist avant-garde, foundingthe Vitebsk Arts College beforeleaving again for Paris in 1922.He had two basic reputations,writes Lewis: as a pioneer ofmodernism and as a major Jewishartist. He experienced modernism's"golden age" in Paris, where "hesynthesized the art forms ofCubism, Symbolism, and Fauvism,and the influence of Fauvism gaverise to Surrealism". Yet throughoutthese phases of his style "heremained most emphatically aJewish artist, whose work was onelong dreamy reverie of life in hisnative village of Vitebsk. "WhenMatisse dies," Pablo Picassoremarked in the 1950s, "Chagall willbe the only painter left whounderstands what colour really is".6

Early lifeChagall's ParentsMarc Chagall was born MoisheSegal in a Lithuanian Jewish familyin Liozna,near the city of Vitebsk(Belarus, then part of the RussianEmpire) in 1887. At the time of hisbirth, Vitebsk's population wasabout 66,000, with half thepopulation being Jewish. Apicturesque city of churches andsynagogues, it was called "RussianToledo", after a cosmopolitan cityof the former Spanish Empire. Asthe city was built mostly of wood,little of it survived years ofoccupation and destruction duringWorld War II.Chagall was the eldest of ninechildren. The family name, Shagal,is a variant of the name Segal,which in a Jewish community wasusually borne by a Levitic family.His father, Khatskl (Zachar) Shagal,was employed by a herringmerchant, and his mother, Feige-Ite, sold groceries from theirhome. His father worked hard,carrying heavy barrels but earningonly 20 roubles each month (theaverage wages across the RussianEmpire being 13 roubles a month).Chagall would later include fishmotifs "out of respect for hisfather", writes Chagall biographer,Jacob Baal-Teshuva. Chagall wroteof these early years:Day after day, winter and summer,at six o'clock in the morning, myfather got up and went off to thesynagogue. There he said his usualprayer for some dead man or other.On his return he made ready thesamovar, drank some tea and wentto work. Hellish work, the work of agalley-slave. Why try to hide it?How tell about it? No word willever ease my father's lot... Therewas always plenty of butter andcheese on our table. Butteredbread, like an eternal symbol, wasnever out of my childish hands.

One of the main sources of incomeof the Jewish population of thetown was from the manufacture ofclothing that was sold throughoutRussia. They also made furnitureand various agricultural tools. Fromthe late 18th century to the FirstWorld War, the Russiangovernment confined Jews to livingwithin the Pale of Settlement,which included modern Ukraine,Belarus, Poland, Lithuania, andLatvia, almost exactlycorresponding to the territory ofthe Polish-LithuanianCommonwealth recently takenover by Imperial Russia. Thiscaused the creation of Jewishmarket-villages (shtetls) throughout today's Eastern Europe, withtheir own markets, schools,hospitals, and other communityinstitutions.Most of what is known aboutChagall's early life has come fromhis autobiography, My Life. In it, hedescribed the major influence thatthe culture of Hasidic Judaism hadon his life as an artist. Vitebsk itselfhad been a center of that culturedating from the 1730s with itsteachings derived from theKabbalah. Chagall scholar SusanGoodman describes the links andsources of his art to his early home:Chagall's art can be understood asthe response to a situation that haslong marked the history of RussianJews. Though they were culturalinnovators who made importantcontributions to the broadersociety, Jews were consideredoutsiders in a frequently hostilesociety... Chagall himself was bornof a family steeped in religious life;his parents were observant HasidicJews who found spiritualsatisfaction in a life defined by theirfaith and organized by prayer.Chagall was friends with SholomDovber Schneerson, and later withMenachem M. Schneerson.

Art educationPortrait of Chagall by Yehuda (Yuri)Pen, his first art teacher in VitebskIn Russia at that time, Jewishchildren were not allowed to attendregular Russian schools oruniversities. Their movementwithin the city was also restricted.Chagall therefore received hisprimary education at the localJewish religious school, where hestudied Hebrew and the Bible. Atthe age of 13, his mother tried toenroll him in a Russian high school,and he recalled, "But in that school,they don't take Jews. Without amoment's hesitation, mycourageous mother walks up to aprofessor." She offered theheadmaster 50 roubles to let himattend, which he accepted.A turning point of his artistic lifecame when he first noticed a fellowstudent drawing. Baal-Teshuvawrites that for the young Chagall,watching someone draw "was like avision, a revelation in black andwhite". Chagall would later say thatthere was no art of any kind in hisfamily's home and the concept wastotally alien to him. When Chagallasked the schoolmate how helearned to draw, his friend replied,"Go and find a book in the library,idiot, choose any picture you like,and just copy it". He soon begancopying images from books andfound the experience so rewardinghe then decided he wanted tobecome an artist.

He eventually confided to hismother, "I want to be a painter",although she could not yetunderstand his sudden interest inart or why he would choose avocation that "seemed soimpractical", writes Goodman. Theyoung Chagall explained, "There's aplace in town; if I'm admitted and ifI complete the course, I'll come outa regular artist. I'd be so happy!" Itwas 1906, and he had noticed thestudio of Yehuda (Yuri) Pen, a realistartist who also operated a smalldrawing school in Vitebsk, whichincluded the future artists ElLissitzky and Ossip Zadkine. Due toChagall's youth and lack of income,Pen offered to teach him free ofcharge. However, after a fewmonths at the school, Chagallrealized that academic portraitpainting did not suit his desires.Artistic inspirationMarc Chagall, 1911,Trois heures et demie (Le poète),Half-Past Three (The Poet) Halb vierUhr, oil on canvas, 195.9 x 144.8cm, The Louise and WalterArensberg Collection, 1950,PhiladelphiaMuseum of ArtMarc Chagall, 1911, I and theVillage, oil on canvas, 192.1 x 151.4cm, Museum of Modern Art, NewYorkMarc Chagall, 1911-12, TheDrunkard (Le saoul), 1912, oil oncanvas. 85 x 115 cm. PrivatecollectionMarc Chagall, 1912, Calvary(Golgotha), oil on canvas, 174.6 x192.4 cm, Museum of Modern Art,New York. Alternative titles:Kreuzigung Bild 2 Christusgewidmet [Golgotha. Crucifixion.Dedicated to Christ]. Sold throughGalerie Der Sturm (HerwarthWalden), Berlin to BernhardKoehler (1849–1927), Berlin, 1913.Exhibited: Erster DeutscherHerbstsalon, Berlin, 1913Goodman notes that during thisperiod in Russia, Jews had twobasic alternatives for joining the artworld: One was to "hide or denyone's Jewish roots". The otheralternative—the one that Chagallchose—was "to cherish andpublicly express one's Jewish roots"by integrating them into his art. ForChagall, this was also his means of"self-assertion and an expression ofprinciple."

Chagall biographer Franz Meyer,explains that with the connectionsbetween his art and early life "thehassidic spirit is still the basis andsource of nourishment for hisart."Lewis adds, "As cosmopolitanan artist as he would later become,his storehouse of visual imagerywould never expand beyond thelandscape of his childhood,with its snowy streets, woodenhouses, and ubiquitous fiddlers...scenes of childhood so indelibly inone's mind and to invest themwith an emotional charge sointense that it could only bedischarged obliquely through anobsessive repetition of the samecryptic symbols and ideograms... "Where did he get it? How would itcome to a boy like him? I don'tknow why he couldn't find it withus, in the city—in his homeland.Maybe the boy is "crazy", but"crazy" for the sake of art. ...Youthought: "I can see, I am etched inthe boy's heart, but he is still'flying,' he is still striving to take off,he has 'wind' in his head." ... I didnot live with you, but I didn't haveone single painting that didn'tbreathe with your spirit andreflection.Years later, at the age of 57 whileliving in the United States, Chagallconfirmed this when he publishedan open letter entitled, "To My CityVitebsk":Why? Why did I leave you manyyears ago? ... You thought, the boyseeks something, seeks such aspecial subtlety, that colordescending like stars from the skyand landing, bright andtransparent, like snow on our roofs.

Art Call "Abstract II" - 6 Days Left To EnterDeadline: August 17, 2015 (Midnight EST)Cash Prizes Have Doubled First Place Now $1,000Open for Submissions, $1,500 in Cash $6,825 in PrizesTheme:"Abstract ll" The artist's work can be the "abstracting of representationalobjects" as in expressionistic, surrealistic or cubistic work. "Pure abstraction" isalso accepted where there is little to no visual references of the external world.Art-Competition.net announces a Call to Artists for "Abstract ll" an online-juriedinternational competition, July 10, 2015 - August 17, 2015 (Midnight EST), CashPrizes are Doubled, $1,500 in Cash and $6,825 in Prizes. (Winners will receiveextensive marketing of their work.)Submission Deadline: 08/17/15 (Midnight EST)Jury Selection: 08/20/15Notification: 08/25/15Submission Fees:Entry Fee: 1 image $20, 3 images $35, 7 images $60Payments: All credit and debit cards are accepted through PayPal.13

Sherman Hayawarded his first Public Art CommissionSherman was born in 1948 and raised to create an Outdoor Sculpture for thein San Jose, California.Calaveras County Library in SanSherman started his love of art at age Andreas, California. In 2000 and 2001,five working along side his grandmother he designed and created two mosaic tilecreating mosaic designs on bowls. He murals for local elementary schools inenjoyed drawing in high school. Calaveras County. The first one is aIn 1966, he was drafted and served in larger than life size mural depictingVietnam. In 1976, he received his B.A. Mark Twain for Mark Twain ElementaryDegree in Art in from California State School in Angels Camp. The second oneUniversity, Hayward where he learned is a cougar for Copperopolis Elementarythe fine art of lithography and intaglio School in Copperopolis. These imagesprintmaking. Mr. Hay attended are realistic but contain sophisticatedCalifornia State University, Humboldt in design concepts. Sherman won firstArcata, and graduated with a Masters of place in the Gemini Saw InternationalArt Degree in 1979. During this period Competition for his mural design atof time Sherman’s prints were Copperopolis Elementary School. Inexpressionist figurative works with 2004, Sherman was awarded a Publicrealistic facial structures that tended to Art Commission for the City of Stockton.be political in nature. In the 1980’s, Mr. He designed ten contemporaryHay again became intrigued with design butterflies cut out of metal. These brassand architecture. He combined the butterflies were embedded into theconstructivist geometric ideas along concrete sidewalk in front of Harrisonwith organic shapes.Elementary School.During the years of 1984 through 2003 Sherman has won numerous awards inMr. Hay was awarded thirteen California international juried art competitions inArts Council, Artist in Residence Grants New York, California, Arizona, Texas andfor Artists Serving Social Institutions. Utah.He taught visual arts to inmates atSierra Conservation Center. Each ofthese grants were ten months, includingmediums ranging from drawing,painting, mural painting, handmadepaper-making, printmaking, sculptureand mosaic tile murals.Mr. Hay has designed and completedfour Public Art Projects. In 1995 he was14

In 2003, he won the Juror’s award,a Golden Bear from the CaliforniaState Fair. Throughout the lasttwenty years he won five Awards ofExcellence and five Awards of Meritat the California State Fair, Fine ArtsDivision in Sacramento.Sherman has taught drawing andpainting part-time for YosemiteJunior College District at ColumbiaCollege and Modesto JuniorCollege. He also taught at MercedJunior College for four years.Presently, his paintings combinedboth of his love for design andarchitecture with his love of thehuman figure to create surrealistic,expressionistic work. Mr. Hay hasalso been creating a hugeenvironmental sculpture using rock,stone, concrete, ceramic and metalat his home in Sonora, California.

"Khayyam" redirects here. Forother uses, see Khayyam(disambiguation).Omar KhayyámOmar Khayyam bust in Nishapur,IranBorn 18 May 1048Nishapur, Khorasan, IranDied 4 December 1131 (aged83)Khorasan, IranSchool Persian mathematics,Persian poetry, Persian philosophyMain interestsMathematics, Astronomy,Philosophy, PoetryInfluencesOmar Khayyám; born Ghiyāth ad-Dīn Abu'l-FatḥʿUmar ibn Ibrāhīm al-KhayyāmNīshāpūrī pronounced18 May 1048 – 4 December 1131,was a Persian mathematician,astronomer, philosopher, and poet,who is widely considered to be oneof the most influential scientists ofall time. He wrote numeroustreatises on mechanics,geography, mineralogy andastrology.Born in Nishapur, in northeasternIran also known as Persia, at ayoung age he moved to Samarkandand obtained his education there.Afterwards he moved to Bukharaand became established as one ofthe major mathematicians andastronomers of the medievalperiod. He is the author of one ofthe most important treatises onalgebra written before moderntimes, the Treatise onDemonstration of Problems ofAlgebra (1070), which includes ageometric method for solving cubicequations by intersecting ahyperbola with a circle. Hecontributed to a calendar reform.His significance as a philosopherand teacher, and his few remainingphilosophical works, have notreceived the same attention as hisscientific and poetic writings. Al-Zamakhshari referred to him as“the philosopher of the world”. Hetaught the philosophy of Avicennafor decades in Nishapur, whereKhayyám was born and buried. Hismausoleum there remains amasterpiece of Iranian architecturevisited by many people every year..16

Outside Iran and Persian-speaking countries, Khayyám has had animpact on literature and societies through the translation of his worksand popularization by other scholars. The greatest such impact was inEnglish-speaking countries; the English scholar Thomas Hyde (1636–1703) was the first non-Persian to study him. The most influential of allwas Edward FitzGerald (1809–83), who made Khayyám the mostfamous poet of the East in the West through his celebrated translationand adaptations of Khayyám's rather small number of quatrains(Persian: رباعیات rubāʿiyāt) in the Rubaiyat of Omar Khayyam.Omar Khayyám died in 1131 and is buried in the Khayyám Garden inNishapur. The reconstruction of the tombs of Persian icons like Hafez,Saadi, Attar, Poor sina and others were built by Reza Shah and in 1963,the Mausoleum of Omar Khayyám was reconstructed on the site byHoushang Seyhoun

Early lifeGhiyāth ad-Din Abu'l-Fat'h 'Umaribn Ibrāhīm al-Khayyām Nīshāpūrīwas born in Nishapur, in Iran, thena Seljuq capital in Khorasan, whichrivaled Cairo or Baghdad incultural prominence in that era.He is thought to have been borninto a family of tent-makers(khayyāmī "tent-maker"), which hewould make into a play on wordslater in life:Khayyám, who stitched the tentsof science,Has fallen in grief's furnace andbeen suddenly burned,The shears of Fate have cut thetent ropes of his life,And the broker of Hope has soldhim for nothing!— Omar KhayyámHe spent part of his childhood inthe town of Balkh (in present-daynorthern Afghanistan), studyingunder the well-known scholarSheikh Muhammad Mansuri. Helater studied under ImamMowaffaq Nishapuri, who wasconsidered one of the greatestteachers of the Khorasan region.Throughout his life, Omar Khayyámwas tireless in his efforts; by day hewould teach algebra and geometry,in the evening he would attend theSeljuq court as an adviser of Malik-Shah I,[9] and at night he wouldstudy astronomy and completeimportant aspects of the Jalalicalendar.Omar Khayyám's years in Isfahanwere very productive ones, butafter the death of the Seljuq SultanMalik-Shah I (presumably by theAssassins sect), the Sultan's widowturned against him as an adviser,and as a result, he soon set out onhis Hajj or pilgrimage to Mecca andMedina. He was then allowed towork as a court astrologer, and waspermitted to return to Nishapur,where he was renowned for hisworks, and continued to teachmathematics, astronomy and evenmedicine.

MathematicianKhayyám was famous during histimes as a mathematician. He wrotethe influential Treatise onDemonstration of Problems ofAlgebra (1070), which laid down theprinciples of algebra, part of thebody of Mathematics that waseventually transmitted to Europe. Inparticular, he derived generalmethods for solving cubic equationsand even some higher orders."Cubic equation and intersection ofconic sections" the first pageof two-chaptered manuscript keptinTehran UniversityIn the Treatise, he wrote on thetriangular array of binomialcoefficients known as Pascal'striangle. In 1077, Khayyám wroteSharh ma ashkala min musadaratkitab Uqlidis (Explanations of theDifficulties in the Postulates ofEuclid) published in English as "Onthe Difficulties of Euclid'sDefinitions". An important part ofthe book is concerned with Euclid'sfamous parallel postulate, whichattracted the interest of Thabit ibnQurra. Al-Haytham had previouslyattempted a demonstration of thepostulate; Khayyám's attempt was adistinct advance, and his criticismsmade their way to Europe, and mayhave contributed to the eventualdevelopment of non-Euclideangeometry.Omar Khayyám created importantworks on geometry, specifically onthe theory of proportions. Hisnotable contemporarymathematicians included Al-Khaziniand Abu Hatim al-Muzaffar ibnIsmail al-IsfizariTheory of parallelsSee also: History of non-Euclideangeometry and Parallel postulateAt the Tomb of Omar Khayyam, byJay HambidgeKhayyám wrote a book entitledExplanations of the difficulties in thepostulates in Euclid's Elements. Thebook consists of several sections onthe parallel postulate , on theEuclidean definition of ratios and theAnthyphairetic ratio (moderncontinued fractions) , and on themultiplication of ratios

The first section is a treatise mathematicians to prove thecontaining some propositions and proposition. And he, as Aristotle,lemmas concerning the parallel refuses the use of motion inpostulate. It has reached the geometry and therefore dismissesWestern world from a reproduction the different attempt by Ibnin a manuscript written in 1387-88 Haytham too. In a sense he madeAD by the Persian mathematician the first attempt at formulating aTusi. Tusi mentions explicitly that non-Euclidean postulate as anhe re-writes the treatise "in alternative to the parallel postulate,Khayyám's own words" and quotesKhayyám, saying that "they areworth adding to Euclid's Elementsafter Proposition 28."Thisproposition states a conditionenough for having two lines inplane parallel to one another. Afterthis proposition follows another,numbered 29, which is converse tothe previous one.The proof ofEuclid uses the so-called parallelpostulate . Objection to the use ofparallel postulate and alternativeview of proposition 29 have been amajor problem in foundation ofwhat is now called non-Euclideangeometry.The treatise of Khayyám can beconsidered the first treatment ofthe parallels axiom not based onpetitio principii, but on a moreintuitive postulate. Khayyámrefutes the previous attempts byother Greek and Persian

Geometric algebraWhoever thinks algebra is atrick in obtaining unknowns hasthought it in vain. No attentionshould be paid to the fact thatalgebra and geometry aredifferent in appearance. Algebrasare geometric facts which areproved by propositions five andsix of Book two of Elements.Omar KhayyamOmar Khayyám's geometricsolution to the cubicequation x3 + 200x = 20x2 + 2000.This philosophical view ofmathematics (see below) hashad a significant impact onKhayyám's celebrated approachand methodin geometric algebra and inparticular in solving cubicequations. In that his solutionis not a direct path to anumerical solution and in fact hissolutions are not numbers butrather line segments. In this regardKhayyám's work can be consideredthe first systematic study and thefirst exact method of solving cubicequations.In an untitled writing on cubicequations by Khayyám discoveredin the 20th century, where theabove quote appears, Khayyámworks on problems of geometricalgebra. First is the problem of"finding a point on a quadrant of acircle such that when a normal isdropped from the point to one ofthe bounding radii, the ratio of thenormal's length to that of theradius equals the ratio of thesegments determined by the footof the normal." Again in solving thisproblem, he reduces it to anothergeometric problem: "find a righttriangle having the property thatthe hypotenuse equals the sum ofone leg (i.e. side) plus the altitudeon the hypotenuse ".To solve thisgeometric problem, he specializes aparameter and reaches the cubicequation x3 + 200x = 20x2 + 2000.Indeed, he finds a positive root forthis equation by intersecting ahyperbola with a circle. Thisparticular geometric solution ofcubic equations has been furtherinvestigated and extended todegree four equations.Regarding more general equationshe states that the solution of cubicequations requires the use of conicsections and that it cannot besolved by ruler and compass

methods. A proof of this possibilitywas only plausible 750 years afterKhayyám died. In this paperKhayyám mentions his will toprepare a paper giving full solutionto cubic equations: "If theopportunity arises and I cansucceed, I shall give all thesefourteen forms with all theirbranches and cases, and how todistinguish whatever is possible orimpossible so that a paper,containing elements which aregreatly useful in this art, will beprepared."This refers to the book Treatise onDemonstrations of Problems ofAlgebra (1070), which laid downthe principles of algebra, part ofthe body of Persian Mathematicsthat was eventually transmitted toEurope. In particular, he derivedgeneral methods for solving cubicequations and even some higherorders.AstronomerThe Jalali calendar was introducedby Omar Khayyám alongside otherMathematicians and Astronomersin Nishapur, today it is one of theoldest calendars in the world aswell as the most accurate solarcalendar in use today. Since thecalendar uses astronomicalcalculation for determining thevernal equinox, it has no intrinsicerror, but this makes it anobservation based calendar.Like most Persian mathematiciansof the period, Khayyám was also anastronomer and achieved fame inthat role. In 1073, the Seljuq SultanJalal al-Din Malik-Shah Saljuqi(Malik-Shah I, 1072–92), invitedKhayyám to build an observatory,along with various otherdistinguished scientists. Accordingto some accounts, the version ofthe medieval Iranian calendar inwhich 2,820 solar years togethercontain 1,029,983 days (or 683 leapyears, for an average year length of365.24219858156 days) was basedon the measurements of Khayyámand his colleagues. Anotherproposal is that Khayyám's calendarsimply contained eight leap daysevery thirty-three years (for a yearlength of 365.2424 days). In eithercase, his calendar was moreaccurate to the mean tropical yearthan the Gregorian calendar of 500years later. The modern Iraniancalendar is based on hiscalculations.

Heliocentric theoryephemeris for calculating dates.It is sometimes claimed that The lengths of the months can varyKhayyám demonstrated that the between 29 and 31 days dependingearth rotates on its axis[ by on the moment when the sunpresenting a model of the stars to crosses into a new zodiacal area (anhis contemporary al-Ghazali in a attribute common to most Hinduplanetarium.calendars). This meant thatThe other source for the claim that seasonal errors were lower than inKhayyám believed in heliocentrism the Gregorian calendar.is Edward FitzGerald's popular but The modern-day Iranian calendaranachronistic rendering of standardizes the month lengthsKhayyam's poetry, in which the first based on a reform from 1925, thuslines are mistranslated with a minimizing the effect of solarheliocentric image of the Sun transits. Seasonal errors areflinging "the Stone that puts the somewhat higher than in the JalaliStars to Flight".version, but leap years areCalendar reformcalculated as before.Khayyám was a member of a panelthat reformed the Iranian calendar.The panel was convened by SeljukSultan Malik Shah I, and completedits reforms in 1079, resulting in theJalali calendar.The Jalali calendar remained in useacross Greater Iran from the 11thto the 20th centuries. It is the basisof the Iranian calendar, which isfollowed today in Iran andAfghanistan. While the Jalalicalendar is more accurate than theGregorian, it is based on actualsolar transit, similar to Hinducalendars, and requires an

Gulnar G.Sacoorwhich expresses without reason. Pure.She was born in Mozambique. Living in Direct. Enabling me to experience gracePortugal since 1974. Started self-taught and peace, fundamental in thispainting since 1984, having since then disturbed time of mass fear andparticipated in many painting, drawing confusion. I love to play with colors.and art history courses in different They have the ability to trigger ourportuguese art schools (SNBA, INATEL, emotions, to affect the way we think,FBAUL, CCB, Atelier Dra. Rosa Fazenda, act and influence our attitudes. TheyDojo Zen Lisboa, among others).It is a can make us happy and sad, and sowork in progress! The artist has been forward... I paint according to my statesdisplayed in various individual and of mind, leaving to those who perceivecollective exhibitions since 2000. She is them the final task of appreciating thealso represented in private and official paintings. It is in art that I search peacecollections both in Portugal and abroad. and lightness of spirit. It’s thanks to itIn the process of her evolution, various that I renew my energies and the dailytechniques were used, while presently life with hope and joy. I accept myshe focuses on the use of acrylics, evolution by the inspiration life bringsmixed media and collages. Member of me every day.National Society of Fine Arts – Portugal,Associação Galeria Aberta.Statement"My life is my school" (M. Ghandi)This saying has always directed andinspired me. It was with this frame ofmind that I initiated a new path in mylife, as a decision in the newMillennium, doing what pleases memost and continue to work with passionand joy.My intention is to work throughthe fountain of Grace and Gratitude to,in my own way, contribute positively forbalance and peace in all walks of life:personal, professional, social and global.My goal is to hopefully convey energythrough colors making this my humblecontribution towards grace and peace. Ipaint with love. The profound Love24

Robert Andler-LipskiHe is a visual artist specialized inmixed media, based in SouthShields, North East of England.Studied Methodology of ArtsTeaching and Philosophy.Completed Artistic TapestryWeaving and Artistic MosaicDesign. Robert very early wasintroduced to the nature basedfigurative, modern and abstractpainting. Worked as a fine artsteacher, journalist, graphic designerand creative consultant. However,after years he decided to devotehimself exclusively to the artisticcareer. His artworks are in a privateand institutional collectionsworldwide (e.i. permanentexposition at Bede's WorldMuseum, Jarrow, UK; SouthTyneside Council, South Shields,UK). Robert is a Member ofInternational Society of Assemblage& Collage Artists (US) 25

The snowy tunnel is one of thenatural monuments in the city Aznain Lorestan.This tunnel has beenformed naturally in ice and snow inthe slopes of Oshtoran Koohmountain in the area Kamandan inthe city AZNA .The length of thistunnel is over 800 meters and itsheight from the floor to the ceilingis between 2-5 meters long . Youcan visit this tunnel only in Springand summer due to the lowtemperatures in winter andAutumn. To get to this tunel youwould have to drive to theKamandan village and then walk fortwo hours in the mountain areas .Azna is a city in and capital of AznaCounty, Lorestan Province, Iran. Atthe 2011 census, its population was41,706, in 11,594 families.Azna is located in the ZagrosMountains.It currently serves as a refuge campfor the Faili Kurds.This township is located 133 km.east of Khoramabad and 75 km.south of Arak. It experiences coldwinters and moderate summers.The city is en route Esfahan -Khuzestan and is connected to therailway network of the country

Brfy-- tunnel Azna-Iran

Amir kabirdam-Iranhttp://www.aziz-anzabi.com