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Parthian places are often overlooked in excavations, and Parthian layers difficult to disguish from those around them.
Even in ketabkhaneh ketab pdf farsi representations, figures look frontally out to the viewer rather than at each other, a feature that anticipates the art of Late Antiquitymedieval Europe and Byzantium.
Great attention is paid to the details of clothing, which in full-length figures is shown decorated with elaborate designs, probably embroidered, including large figures. The classical archaeologist and director of the excavations, Michael Rostovtzeffrealized that the art of the first centuries AD, Palmyra ketabkhaneh ketab pdf farsi, Dura Europosbut also in Iran up to the Buddhist India followed the same principles.
He called this artwork Parthian art.
In architecture, patterns in plaster were very popular, almost all now lost. Once the technique was developed these covered large surfaces and perhaps shared elements of their design with carpets and other textiles, also now almost entirely lost.
The Colossal Statue of Shapur Ir. AD — Sasanian artor Sasanian art, was produced under the Sasanian Empire which ruled from the 3rd to 7th centuries AD, before the Muslim conquest of Persia was completed around The resulting Sasanian dynasty would last for four hundred years, ruling modern Iran, Iraq, and much ketabkhaneh ketab pdf farsi to the east and north of modern Iran.
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At times the Levant, much of Anatolia and parts of Egypt and Arabia were under its ketabkhaneh ketab pdf farsi. It began a new era in Iran and Mesopotamiawhich in many ways was built on Achaemenid traditions, including the art of the period.
Nevertheless, there were also other influences on art of the period that came from as far as China and the Mediterranean. Ketabkhaneh ketab pdf farsi reliefs were probably greatly outnumbered by interior ones in plaster, of which only fragments have survived.
Free standing sculptures faded out of popularity in this time as compared to the period under the Parthians, but the Colossal Statue of Shapur I r.
Ketabkhaneh ketab pdf farsi — is a major exception, carved from a stalagmite grown in a cave;  there are literary mentions of other colossal statues of kings, now lost.
Images of rulers dominate many of the surviving works, though none are as large as the Colossal Statue of Shapur I.
Hunting and battle scenes enjoyed a special popularity, and lightly-clothed dancing girls and entertainers. Representations are often arranged like a coat of arms, which in turn may have had a strong influence on the production of art in Europe and East Asia.
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Although Parthian art preferred the front view, the narrative representations of the Sassanian art often features figures shown in the profile or a three-quarter view.
Frontal views occur less frequently.
The old city was abandoned in the decades after the Muslims eventually took the city in and has been extensively excavated in ketabkhaneh ketab pdf farsi times. Large areas of wall paintings survived from the palace and private houses, which are mostly now in the Hermitage Museum or Tashkent.
They covered whole rooms and ketabkhaneh ketab pdf farsi accompanied by large quantities of reliefs in wood. The subjects are similar to other Sasanian art, with enthroned kings, feasts, battles, and beautiful women, and there are illustrations of both Persian and Indian epics, as well as a complex mixture of deities.
They mostly date from the 7th and 8th centuries.
Ketabkhaneh ketab pdf farsi have high-quality engraved or embossed decoration from a courtly repertoire of mounted kings or heroes, and scenes of hunting, combat and feasting, often partially gilded. Ewers, presumably for wine, may feature dancing girls in relief.
These were exported to China, and also westwards.