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Téhéran (Iran) --- Cartes --- Early works to 2000

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Nothing particular happened to disrupt the morning of the second day. I continued to follow the increasingly oppressive meanders of this strange swamp,0despairing of ever finding further traces of another human being, when I became aware of a gentle lapping noise coming from a nearby pool. I?d barely caught a glimpse of a naked young woman?s graceful curves when she was bitten by a snake, and then she fled. I will never forget the expression on her pale face: a mixture of surprise and fear, pain and pleasure. So much so that I wondered to what extent she had not yielded to the desire to be the serpent?s victim.0Promising myself not to mistake water snakes for floating branches, I set off in pursuit of the bather. After a few minutes, the sight of an unexpected scene stopped me in my tracks. A group of Naiads, similar in every way to the one I was chasing, were frolicking in the sludgy green waters, joyous and carefree: one hanging upside-down from a branch, the others playing with the severed tentacles of a giant octopus?

kunst --- eenentwintigste eeuw --- kunstenaarsboeken --- artists' books --- Khatibi Sanam --- Iran --- België --- schilderkunst --- 75.071 KHATIBI --- schilderen [kunst] --- Khatibi, Sanam --- painting [image-making] --- 75.07 --- Khatibi, Sanam °1979 (°Teheran, Iran) --- Belgische kunstenaars --- Vrouwelijke kunstenaars --- Schilderkunst ; schilders

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This publication focuses on Sanam Khatibi?s meticulously painted small still lifes. With the finest brush she applies light and shadow in oil paint to various miniature shapes. The compositions themselves are quite unassuming. Objects loom haphazardly from the golden or black background and seem to sing in polyphony in the vein of Orlando di Lasso, Johannes Ockeghem and other masters of polyphony.00The highly detailed objects come from a golden age that has yet to come. In contrast with the Dutch Golden Age of the 1600s, hers is a century of self-flagellation, cosmology, human sacrifice, femininity, prestige and decapitation. A century in which all forms surrounding us mysteriously shrink. This futuristic universe will reduce the human footprint. The world will shrink to the scale of a postcard of a still life painted by Sanam Khatibi.

Khatibi, Sanam --- painting [image-making] --- still lifes --- kunst --- Khatibi Sanam --- eenentwintigste eeuw --- kunstenaarsboeken --- artists' books --- stillevens --- schilderkunst --- België --- Iran --- 75.071 KHATIBI --- 75.07 --- Khatibi, Sanam °1979 (°Teheran, Iran) --- Belgische kunstenaars --- Vrouwelijke kunstenaars --- Schilderkunst ; schilders A-Z --- Exhibitions --- Still-life painting, Belgian --- Still-life painting, Belgian. --- Khatibi, Sanam. --- 2000-2099

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Armajani, Siah --- 7.071 ARMAJANI, SIAH --- Siah Armajani (° 1939, Teheran, Iran), nu levend en werkzaam in de Verenigde Staten --- Kunst ; in en op openbare plaatsen --- Public art ; Siah Armajani --- Kunst en politiek --- Bruggen ; 20ste eeuw --- Meubelontwerpen --- Tuin- en parkaanleg --- Interieurarchitectuur ; 20ste eeuw --- Architectuursculptuur --- 7.07 --- 749.07 --- Creatieve en vertolkende bezigheden in verband met kunst. Activiteiten van beroepsartiesten--ARMAJANI, SIAH --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Meubelontwerpers ; designers ; interieurarchitecten

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In God and Man in Tehran, Hossein Kamaly explores the historical processes that have made and unmade contending visions of God in Iran's capital throughout the past two hundred years. Kamaly examines how ideas of God have been mobilized, contested, and transformed, emphasizing how notions of the divine have given shape to and in turn have been shaped by divergent conceptualizations of nature, reason, law, morality, and authority.God and Man in Tehran analyzes official government policies, modern textbooks, and university curricula; popular beliefs and ritual practices; and philosophical and juridical attitudes toward theological questions in traditional institutions. Kamaly considers continuity and change in religiosity under the Qajar and Pahlavi dynasties; the significance of outbreaks of messianic expectations; why a modernizing nation took a sudden turn toward state religiosity; and how the Islamic Republic deploys visions of God against foreign enemies and domestic critics. Beyond the majority Shia Muslim population, the book includes minority and suppressed voices, discussing the views of Sunni Muslims, Armenian and Assyrian Christians, Jews, Bahais, and Zoroastrians and investigating issues of gender and class. With a focus on the diversity of ideas of the divine, God and Man in Tehran offers a novel perspective on the intellectual movements that have shaped Iranian modernity.

God (Islam) --- Allah --- Monotheism (Islam) --- Islam --- Tehran (Iran) --- Teheran (Iran) --- Tihrān (Iran) --- Te-hei-lan (Iran) --- Baladīyah-i Ṭihrān (Iran) --- Shahrdārī-i Tihrān (Iran) --- Teheran --- تهران (Iran) --- Дыхьэрэн (Iran) --- Dykhʹėrėn (Iran) --- طهران (Iran) --- Горад Тэгеран (Iran) --- Horad Tėheran (Iran) --- Тэгеран (Iran) --- Техеран (Iran) --- Tekheran (Iran) --- Тегеран (Iran) --- Tegeran (Iran) --- Τεχεράνη (Iran) --- Techeranē (Iran) --- Teherano (Iran) --- 테헤란 (Iran) --- Тæхран (Iran) --- Tækhran (Iran) --- טהראן (Iran) --- Тегьран (Iran) --- Tegʹran (Iran) --- Teheranum (Iran) --- Teherāna (Iran) --- Teheranas (Iran) --- テヘラン (Iran) --- Tekhḣeran (Iran) --- Tehron (Iran) --- Teerã (Iran) --- Teerão (Iran) --- Teherani (Iran) --- Tahraan (Iran) --- Tăḣran (Iran) --- טעהראן (Iran) --- Teherans (Iran) --- 德黑兰 (Iran) --- Deheilan (Iran) --- History.