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Relevant bibliographies by topics / Persian art

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Academic literature on the topic 'Persian art'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Persian art"

1

Kennedy, Rebecca Futo. "A Tale of Two Kings: Competing Aspects of Power in Aeschylus' Persians." Ramus 42, no. 1-2 (2013): 64–88. http://dx.doi.org/10.1017/s0048671x00000072.

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The frequent assumption that they [the Persians] were as greatly concerned on these levels [historically, culturally, strategically] with Greece [as they were with the east] is a misconception which stems from our own western view of the world and from the unfortunate fact that Greece has given us our main literary sources of information on the Achaemenids. It was the Greeks who were fascinated by Persia, by Persian mores, and, yes, by Persian court art and luxury goods—not the reverse. If only the Persians had spawned the likes of Aeschylus and Herodotus, our perceptions of their preoccupations would be quite different.Athenians were indeed fascinated by Persia as their art and literature attest. The fascination was both cultural and political, but not without tensions. Part of that fascination manifested itself in the allure of Persian kings and what they represented. The kings ruled over a vast empire, larger than any the Mediterranean world had yet seen. They sought in their iconography and building programmes to exert a particular identity for themselves and the Achaemenid dynasty. Although the Athenians were not imperialists of the type we see in Persia, Rome or the figure of Alexander, they did build for themselves a small, Hellenic empire (archē) and they adopted a number of Persian mechanisms of power and some aspects of Achaemenid iconography for representing their power. Aeschylus' Persians, produced in 472 BCE, helps us understand the Athenians' developing archē, specifically how the representations of the two Persian Kings in the play helped the Athenians differentiate and define their power vis-à-vis the Great Persian Menace and, more importantly, the rest of the Greeks. By understanding better the engagement by the Athenians with Persian culture, we can better understand how the Athenians conceptualised their own power and position in the Aegean in the early 5th century BCE.

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Komaroff, Linda, Richard Ettinghausen, and Ehsan Yarshater. "Highlights of Persian Art." Journal of the American Oriental Society 107, no. 1 (1987): 193. http://dx.doi.org/10.2307/603004.

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Fallahi, Esmaeil, Pontia Fallahi, and Shahla Mahdavi. "Ancient Urban Gardens of Persia: Concept, History, and Influence on Other World Gardens." HortTechnology 30, no. 1 (2020): 6–12. http://dx.doi.org/10.21273/horttech04415-19.

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The history of Persian gardens goes back to a few millennia before the emergence of Islam in Iran (Persia). Designs of Persian gardens have influenced and are used extensively in the gardens of Al-Andalus in Spain, Humayun’s Tomb and the Taj Mahal in India, and many gardens in the United States and other countries around the globe. Bagh in the Persian language (Farsi) means garden and the word Baghdad (the capital city of Iraq) is rooted from the words bagh and daad (meaning “the garden of justice”). Pasargadae, the ancient Persian capital city, is the earliest example of Persian garden design known in human civilization as chahar bagh or 4-fold garden design. Bagh-e-Eram, or Garden of Eden or Eram Garden, is one the most attractive Persian gardens and is located in Shiraz, Iran. There are numerous other urban ancient gardens in Iran, including Bagh-e-Shahzadeh (Shazdeh), meaning “The Prince’s Garden” in Mahan, Golestan National Park near the Caspian Sea; Bagh-e-Fin in Kashan; Bagh-e-El-Goli in Tabriz; and Bagh-e-Golshan in Tabas. The design of each Persian garden is influenced by climate, art, beliefs, poetry, literature, and romance of the country and the region where the garden is located. In addition, each garden may have a gene bank of fruits, flowers, herbs, and vegetables. Although countless gardens were destroyed in the hands of invaders throughout the centuries, Persians have attempted either to rebuild or build new gardens generation after generation, each of which has become a favorite destination to tourists from around the world.

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B., S., Jean During, Zia Mirabdolbaghi, and Dariush Safvat. "The Art of Persian Music." Yearbook for Traditional Music 24 (1992): 172. http://dx.doi.org/10.2307/768492.

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Danielson, Virginia, Jean During, and Zia Mirabdolbaghi. "The Art of Persian Music." Notes 49, no. 2 (1992): 607. http://dx.doi.org/10.2307/897936.

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Canby, Sheila R., and Abolala Soudavar. "Art of the Persian Courts." Artibus Asiae 54, no. 3/4 (1994): 382. http://dx.doi.org/10.2307/3250066.

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Caton, Margaret, Jean During, Zia Mirabdolbaghi, and Dariush Safvat. "The Art of Persian Music." Asian Music 23, no. 2 (1992): 172. http://dx.doi.org/10.2307/834180.

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Watkin, Henry Jay. "The cypriote surrender to Persia." Journal of Hellenic Studies 107 (November 1987): 154–63. http://dx.doi.org/10.2307/630076.

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At present there appears to be general agreement that Cyprus entered the Persian Empire some time between c. 545 and 539. It will be argued here that this event did not occur until 526 or 525. The point involves other, much broader issues. Any power wishing to control Cyprus must possess a substantial navy. When, then, did Persia acquire sufficient naval strength to control the eastern Mediterranean? This last problem in turn raises the question of when the Persians annexed the countries of the Levant and Asia Minor from which they drew the whole of their fleet. Finally, because elaborate theories concerning the development of sixth century Cypriote sculpture have been built upon the conclusion that Cyprus submitted to Persia c. 545, a revision of that date will have important repercussions upon the history of Cypriote art.

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Compareti, Matteo. "The Spread Wings Motif on Armenian Steles: Its Meaning and Parallels in Sasanian Art." Iran and the Caucasus 14, no. 2 (2010): 201–32. http://dx.doi.org/10.1163/157338410x12743419190106.

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AbstractThis paper is a study on the so-called “spread wings”—a particular element of the Sasanian art that is attested also in other regions of the Persian Empire in Late Antiquity, including the western coast of the Persian Gulf and the Caucasus. The spread wings can be observed on Sasanian coins above the royal crowns, which are considered specific for every Sasanian sovereign, supporting astronomical elements, like the crescent, star, and, possibly, the sun. The Arabs and the peoples of the Caucasus who adopted Christianity used the spread wings element as a pedestal for the cross. In Armenian literature, there are some connections between those spread wings and glory, so that a kind of pedestal could be considered a device to exalt or glorify the element above it. The floating ribbons attached to Sasanian crowns had possibly the same meaning and were adopted also outside of proper Persia. In the same way, it could be considered correct to identify those luminaries on Sasanian crowns as divine elements connected with the religion of pre-Islamic Persia.

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Bier, Carol. "The Appearance of Persian on Islamic Art." Iranian Studies 45, no. 2 (2012): 312–14. http://dx.doi.org/10.1080/00210862.2012.650000.

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Dissertations / Theses on the topic "Persian art"

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Jafari, Jasmine. "The Persian Art of Denial." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/501.

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Rashti, Sogol. "Persian in practice." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2003.

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Since the beginning of humankind, architecture has been a sacred source for all civilizations, and that has provided a gateway for man to reach the heavens above. In terms of concept and value, Persian art and architecture is considered as a rich source to be acknowledged. Within Persian architecture, the emphasis was placed strongly on beauty and sacred geometry; Persians calculated the proportions of heaven reflected upon them in the dimensions of buildings on the earth. Iranian culture has utilized the written word as an art form; this goes beyond normal means of communication. Iranian calligraphers produced eloquent styles and patterns through their divine talent, and this was displayed in the architecture. Parviz Tanavoli, as the greatest contemporary artist of Iran, has a strong tendency to be attracted to words and letters which has a long history in Iranian culture. Experimenting through aspects of cultural interaction in fine and applied arts has led to the understanding that when aesthetic elements of cultures are used to create a new design, it leads to both a new aesthetic creation and a fresh understanding of the cultures involved. This collection was designed and manufactured by concentrating on organic and curved forms and utilizing them in the design practice, while having a touch on cultural elements such as patterns and alphabets. The curved abstract shapes create a conceptual harmony, depicted in Persian patterns via functional three dimensional pieces.

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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.

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Khazaie, Mohammad. "The arabesque motif (islimi) in early Islamic Persian art : origin, form and meaning." Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391020.

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Fahimi-Far, Asghar. "Continuity and discontinuity in Persian art : a study in Qajarid mural decoration (1785-1925)." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272158.

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This study investigates the continuity and discontinuity of Persian traditional mural decoration and art, focusesing on the Qajarid period. The study intends to establish that cultural sources and forces such as religion, language and the socio-political environment have had an impact on the development and continuity in Persian mural decoration and art. Continuity and discontinuity of Persian art were parallel with the continuity and discontinuity of Persian cultural forces the rise and decline of art was closely associated with the development of national culture. Persian artistic traditions can be shown in continuity over three millennia was influenced by external sources, without radical change of direction. Continuity can be observed until the seventeenth century, to a peak of achievement as remarkable as the art of the Safavids. Three main epochs may be seen in Persian culture; the pre-Islamic. Islamic and contemporary epochs. National culture and art was formed and evolved in antiquity, and then continued and was enriched by the assimilation of Islamic beliefs during the next epoch and it finally merged with international styles very slowly during the post- Safavid epoch due to the strong impact of western culture and art, finally changing definitively during the Qajarid period. The assimilation of Persian art with European art led to the sudden decline of Persian art as a self-contained, self- dependent style.

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Irannejad, Sara. "A Thousand and One Interconnections: Exploring Experiences of Persian Diasporic Identity Through Contemporary Visual Art Practice." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/384285.

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My personal experiences of migrating from Iran to Australia inform my practice and perspectives on the notions of ‘home’ and ‘belonging’ in the relationship of diasporas with their adopted environment. In formulating these issues, this exegesis follows a practice-based, exploratory, and interdisciplinary methodology to examine the multiple senses of place in the experiences of diasporas. I employ an allegorical framework in which I juxtapose Iranian and Australian elements, creating hybrid works of art where the final reading is greater than the sum of their parts. I accomplish this through an exploration of various mediums, including image transfer, body projection, pokerwork, and video transitions. I collect images, fragments, and objects that have authentic metaphoric meanings related to Iran and Australia. Through my process-based studio practice, I revise, amend, and adapt these items, placing them in compositions that suggest new spaces of meaning. I particularly draw from the allegories of the ‘Persian Paradise Garden’ manifested in miniature paintings, carpet designs, and poetry—among other traditional depictions. I argue that using traces of Australian nature and history within this allegorical framework is an effective model for interpreting ‘home’ as a ‘garden of contemplation’, and a possible means for translating cultural ‘interruption’ and ‘interconnection’ in contemporary art practice. Additionally, due to its central significance in relation to Iranian identity, the mytho-historical poems, and miniatures of Shahnameh (The Book of Kings) written by Abu al-Qasem Ferdowsi in the eleventh century, is also integral and greatly acknowledged in this research. The paradoxes of displacement—past and present, tradition and contemporary, and East and West—are evoked in the work of artists Shirin Neshat, Mona Hatoum, Shahzia Sikander, and Hossein Valamanesh. Through studying the practices of these artists and my studio works, this exegesis is intellectually indebted to the theories of ‘hybridity’ and ‘third space’, conceptualised by Homi Bhabha and extended by Nikos Papastergiadis and others. These theories propose that interactive and evolving spaces appear when two cultural poles collide, acting as interconnecting channels between the two—the place of origin and the place of adoption: in this case Iran and Australia.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text

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Sadeghi, Asal. "De l'art persan à la création iranienne contemporaine des entrelacs texte-image-son." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20071.

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De nombreux arts traditionnels et contemporains présentent une inventivité et une vitalité remarquable, cependant pour beaucoup ils ne sont peu ou pas étudiés.L'approche choisie dans ce mémoire tentera d'examiner la création artistique iranienne du point de vue de son ancrage dans la tradition, ainsi que dans les rapports texte-image-son qui caractérisent l'art persan.Ma démarche consiste à trouver des solutions plastiques (en peinture) qui expriment les rapports entre l’intérieur et l’extérieur. Les différents modes de représentation et les effets formels servent à l’extériorisation des sensations. Donc il en résulte différents niveaux d’interprétation : d’abord celui qui consiste à examiner les messages qui nous viennent de la perception, puis celui du langage et de l’expression plastique qui interprète les formes et reconstruit le message. Il existe aussi un décalage entre l’interprétation plastique d’un état mental (en peinture) ; et l’observation et l’enregistrement de la réalité (par le son) qui servent ici de point de départ pour la peinture<br>Many traditional and contemporary arts have remarkable inventiveness and vitality, and little or no study.The approach chosen in this project will try to examine the Iranian artistic creation from the point of view of its anchoring in the tradition, as well as in the text-image-sound relationship that characterizes Persian art.My approach is to find plastic solutions (in painting) that express the relationship between the inside and the outside. The different modes of representation and the formal effects serve to externalize sensations. So it results in different levels of interpretation: first of all to examine the messages that come to us from perception, then that of the language and the plastic expression which interprets the forms and reconstructs the message. There is also a gap between the plastic interpretation of a mental state (in painting); and the observation and recording of reality (by sound) which serves here as a starting point for painting

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Lic, Agnieszka. "Christian stucco decoration in southern Mesopotamia and the Persian Gulf region, sixth to ninth centuries." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:23636a63-9682-4a2a-b27b-49f2f3df59ac.

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Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.

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Honari, Leila. "Farsh-e-Parandeh: Animated Mandalic Carpet Projection: Exploring the Links between Proto-Animation Techniques in Persian Traditional Arts and the Foundation of Animation and Cinema." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388648.

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This thesis probes associations between ancient Persian arts, which have a circular or mandalic structure, and the various nineteenth-century optical toys that were vital stages in bringing movement to cinema; and examines if the aesthetic links between them are coincidental or may be the result of a discontinuous historical trajectory. Research findings indicates that ancient items that have been found in archaeological digs from Persia hold a significant clue and may be an important piece of the jigsaw of understanding the antecedents of film and moving image—in particular, animation. This thesis builds on an iconographic analysis of a selection of historical artefacts from Persia and compares and contrasts them with the nineteenth century optical toys such as the zoetrope and phenakistoscope. These theoretical and historical dimensions have been incorporated into the creative practice exploring the above associations creatively and affectively. Farsh-e-Parandeh (roughly translated as ‘Flying Carpet’ from Farsi), as an animated aerial-projected installation —a moving-image version of a traditional Persian carpet— reflects renowned philosopher Attar’s Conference of the Birds (AD 1177) as a reference point for mandalic structures of Persian and Sufi mystical stories. Farsh-e-Parandeh challenges the notion of moving-image production history as a necessarily linear projection. This installation instead constructs an immersive, holistic engagement based on cyclic patterned arrangements that harken back to nineteenthcentury moving image forms of early animations.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Griffith Film School<br>Arts, Education and Law<br>Full Text

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Sheikhi, Shoustari Masoud. "An investigation into representations of women in Iranian New Wave cinema." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10150.

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In an analytical look into the history of the formation of Iranian New Wave cinema, this research explores the key elements that constitute integration between the women representation and the evolution of New Wave visual narrative. The paper will preliminarily examine the public’s response to the early representation of women in classic Iranian cinema and discusses the impact of the socio-political modifications, imposed by the process of modernisation, on the reception of the early representation by the Iranian public. The paper then discuss aspects of the philosophical framework in relation to the role of gender in the conception of artwork. The artistic growth of Forugh Farrokhzad, a prominent figure in modern Persian poetry and the New Wave Iranian cinema will be explored. Through the example of Farrokhzad, the intention is to identify the key elements regarding the influence of Persian poetry on the formation of New Wave visual narrative. This brings the paper to the third chapter where the implications of the Islamic revolutionary regime’s regulatory frameworks on the image of women in cinema will be discussed. Also the paper examines the role that the representation of women plays as an instrument of the Islamic republic to generate a process of reproduction of new national culture. In contrast, the alternative response of independent filmmakers to the mainstream representation of women will be explored by the means of re-examination of the structure of the film star system, the aesthetic of censorship and the act of viewing approach in relation to images of women. In the final chapter, the connection between my film practice and the characteristics of Iranian New Wave visual narrative is established through analysis of the key elements associated with the representation of gender in the works of New Wave filmmakers such as Forugh Farrokhzad, Rakhshan Bani-Etemad, Bahram Beyzai, and Abbas Kiarostami.

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Books on the topic "Persian art"

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Studies in Persian art. Pindar Press, 1993.

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Lukonin, Vladimir Grigorʹevich. Lost treasures of Persia: Persian art in the Hermitage Museum. Mage, 1996.

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Lukonin, Vladimir Grigorʹevich. Persian art: The lost treasures. Parkstone Press, 2012.

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1946-, Mirabdolbaghi Zia, and Safvat Dariush 1922-, eds. The art of Persian music. Mage Publishers, 1991.

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O'Kane, Bernard. Studies in Persian art and architecture. American University in Cairo Press, 1995.

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O'Kane, Bernard. Studies in Persian art and architecture. American University in Cairo Press, 1995.

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New York. Persian tiles. Metropolitan Museum of Art, 1993.

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J, Gilmour Brian J., British Institute of Persian Studies., and University of Oxford. Faculty of Oriental Studies. Board., eds. Persian steel: The Tanavoli collection. Oxford University Press for the Board of the Faculty of Oriental Studies, University of Oxford and the British Institute of Persian Studies, 2000.

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Jestice, Phyllis G. Ancient Persian warfare. GS Learning Library, 2009.

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The appearance of Persian on Islamic art. Bibliotheca Persica, 2009.

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Book chapters on the topic "Persian art"

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Crane, Howard, and Lorenz Korn. "Turko-Persian Empires between Anatolia and India." In A Companion to Islamic Art and Architecture. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119069218.ch13.

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Gadoin, Isabelle. "The 1885 Exhibition of “Persian and Arab Art”." In Private Collectors of Islamic Art in Late Nineteenth-Century London. Routledge, 2021. http://dx.doi.org/10.4324/9781003167709-4.

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Husain, S. M. Azizuddin. "Impact of Persian Ghazals on Mughal Monuments." In Art and Architectural Traditions of India and Iran. Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-16.

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Bovill, Carl. "Using Christopher Alexander’s Fifteen Properties of Art and Nature to Visually Compare and Contrast the Tessellations of Mirza Akbar." In Persian Architecture and Mathematics. Springer Basel, 2012. http://dx.doi.org/10.1007/978-3-0348-0507-0_9.

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Kheiri, Faezeh, and Muliyadi Mahamood. "The Portrayal of Persian Art and Culture in Children Books Illustration in Iran." In Proceedings of the Art and Design International Conference (AnDIC 2016). Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_28.

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Perveen, Shaista. "Imperative Role of Nur Jahan and Her Persian Roots in the Evolution of Mughal Garden Tombs." In Art and Architectural Traditions of India and Iran. Routledge India, 2021. http://dx.doi.org/10.4324/9781003229421-15.

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Gohrab, Asghar Seyed. "6. Improvisation as a Chief Pillar of the Poetic Art in Persian Literary Tradition." In Images, Improvisations, Sound, and Silence from 1000 to 1800, edited by Babette Hellemans and Alissa Jones Nelson. Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048529186-009.

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"List of Figures." In Persian Art. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474469685-001.

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Santos, Raquel. "CHAPTER 7 Persian, Indian or Indo-Persian? The Study of Sixteenth- and Seventeenth-century Knotted Pile Carpets." In Persian Art. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474469685-011.

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Stermotich-Cappellari, Francesco. "CHAPTER 8 The Calligraphic Art of Mishkin Qalam." In Persian Art. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474469685-012.

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Conference papers on the topic "Persian art"

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Mansouri, Amin, and Heshaam Faili. "State-of-the-art English to Persian Statistical Machine Translation system." In 2012 16th CSI International Symposium on Artificial Intelligence and Signal Processing (AISP). IEEE, 2012. http://dx.doi.org/10.1109/aisp.2012.6313739.

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Ismail, Muhammad Uzair, Zuliskandar Ramli, and Ros Mahwati Ahmad Zakaria. "Turco-Persian Influence in the Islamic Art of the Malay Archipelago." In 9th Asbam International Conference (Archeology, History, & Culture In The Nature of Malay) (ASBAM 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220408.019.

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Mohammadi, Masoumeh, and Shadi Tavakoli. "WassBERT: High-Performance BERT-based Persian Sentiment Analyzer and Comparison to Other State-of-the-art Approaches." In 3rd International Conference on Data Science and Machine Learning (DSML 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.121517.

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Applications require the ability to perceive others' opinions as one of the most outstanding parts of knowledge. Finding the positive or negative feelings in sentences is called sentiment analysis (SA). Businesses use it to understand customer sentiment in comments on websites or social media. An optimized loss function and novel data augmentation methods are proposed for this study, based on Bidirectional Encoder Representations from Transformers (BERT). First, a crawled dataset from Persian movie comments on various sites has been prepared. Then, balancing and augmentation techniques are accomplished on the dataset. Next, some deep models and the proposed BERT are applied to the dataset. We focus on customizing the loss function, which achieves an overall accuracy of 94.06 for multi-label (positive, negative, neutral) sentences. And the comparative experiments are conducted on the dataset, where the results reveal the performance of the proposed model is significantly superior compared with other models.

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Kovačić, Pšenica. "A Reflection on Effect of Human on Evolution of Cats." In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d20.

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In this text we focus on the problems in human interference with evolution of domestic cats. Based on documented records on pedigree cats, their exhibitions, and photographs, a brief comparison is made with the popular culture, status and situation of cats in the 21st century. Problems arising from physiological and psychological transformation of cats living with human are discussed. In particular, art is exposed as a possibility to influence the understanding of cats and their relation with human. Keywords: Persian cat; Exotic cat; Scottish lapwing cat; Munchkin cat; Sphynx cat; Cat breeds

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Seyyed, Hossein Nasr. "The Significance of Islamic Manuscripts." In The Significance of Islamic Manuscripts. Al-Furqān Islamic Heritage Foundation, 1992. http://dx.doi.org/10.56656/100130.02.

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The people (al-ummah) Who were destined to receive the revelation in which the above verses are contained, could not remain unaffected on the human level by either the central significance of the Pen which God takes to witness in the verse cited above, nor by the inexhaustibleness of the treasury of the Words of God. The ummah which created Islamic civilization could not but live by the pen and its fruit in the form of the written word. Nor could it cease to produce a great number of works written primarily in Arabic, secondarily in Persian, and then in nearly all the vernacular languages of the Islamic world ranging from Turkish to Malay and Bengali to Berber. The civilization which received the imprint of the Qurʾānic revelation produced a vast corpus of writings which has probably not been matched in quantity by the literature of any other civilization before the discovery of printing. It also produced a body of writings which contains not only the thought. art, and sentiments of that notable segment of humanity which comprises the Islamic people, but also many of the intellectual and scholarly treasures of The civilizations of antiquity to which Islam became heir and much of whose heritage it preserved in accordance With its function as the last plenar religion of this humanity. Moreover, manuscripts were written by Muslims or minorities living within the Islamic world which contain knowledge of other civilizations and peoples.

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Li, Jumei. "Preparation of Tang Chang'an Persian Studies." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.49.

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Margolis, Zak, John Oyzon, and Elouise Oyzon. "Evolution in the first person." In ACM SIGGRAPH 99 Electronic art and animation catalog. ACM Press, 1999. http://dx.doi.org/10.1145/312379.312921.

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Dalvandi, Arefe, Pooya Amini Behbahani, and Steve DiPaola. "Exploring Persian rug design using a computational evolutionary approach." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.20.

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Liu, Junfeng, Christopher Symons, and Ranga Raju Vatsavai. "Persona-Based Conversational AI: State of the Art and Challenges." In 2022 IEEE International Conference on Data Mining Workshops (ICDMW). IEEE, 2022. http://dx.doi.org/10.1109/icdmw58026.2022.00129.

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Hou, Li, Qi Liu, Yang Zi, Yingxin Zhou, and Ruoxue Zhai. "State-of-the-Art Deep Person Re-identification: A Review." In 2020 7th International Conference on Information Science and Control Engineering (ICISCE). IEEE, 2020. http://dx.doi.org/10.1109/icisce50968.2020.00268.

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Reports on the topic "Persian art"

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Venlet, Douglas J. Operational Art 101: A Primer from Picasso to the Persian Gulf. Creating a Masterpiece of Long-Standing Value. Defense Technical Information Center, 1996. http://dx.doi.org/10.21236/ada307763.

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Khan, Bilal S. General Khalid Bin Waleed: Understanding the 7th Century Campaign against Sassanid Persian Empire from the Perspective of Operational Art. Defense Technical Information Center, 2012. http://dx.doi.org/10.21236/ada580381.

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Yeregui, Mariela. Reseña del libro de Luciana Marino (comp., ed.), "Un libro de actividades. Experiencias en primera persona sobre la educación en el arte". Jar-online.net, 2020. http://dx.doi.org/10.22501/jarnet.0036.

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Arango-Arango, Carlos A., Ana Carolina Ramirez-Pineda, and Manuela Restrepo-Bernal. Person-to-business Instant payments in Colombia: would it stick? Banco de la República, 2022. http://dx.doi.org/10.32468/be.1192.

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More than 60 countries in the world have already implemented instant payment systems (IPS). However, in many cases they have been operational mainly for person-to-person transactions. This study looks at the challenges IPS may face in developing economies like Colombia as they advance further into the person-to-business transactions space. Using a survey on Colombian merchants (IV-2020), the study explores the factors associated with merchants´ propensity to adopt instant payments and those associated with the adoption of current electronic payment alternatives. It shows that IPS will need to have a broad strategy to penetrate the person-to-business space, as they will have to compete with the low marginal costs and immediacy that cash already offers and the high levels of informality in the commerce sector, especially for micro businesses. Furthermore, IPS will have to meet the high expectations merchants have about instant payments enabling access to other financial services, enhancing their competitiveness, and increasing their bottom line.

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Outes Velarde, Juliana, Harry Bregazzi, Srinithya Nagarajan, Ozioma Paul, Andreea Anastasiu, and Eleanor Carter. INDIGO Impact Bond Insights. Government Outcomes Lab, 2023. http://dx.doi.org/10.35489/bsg-golab-ri_2023/001.

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This is the fourth in a series of biannual insights reports on the adoption of impact bond models globally. For this edition, we present a special section on education projects. This report is intended to be accessible and useful to researchers, practitioners and any other person with an interest in the state of-the-art of social impact bond projects. It also aims at providing a better understanding of the latest developments of the impact bond ecosystem and where the new trends are emerging.

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Syvash, Kateryna. AUDIENCE FEEDBACK AS AN ELEMENT OF PARASOCIAL COMMUNICATION WITH SCREEN MEDIA-PERSONS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11062.

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Parasocial communication is defined as an illusory and one-sided interaction between the viewer and the media person, which is analogous to interpersonal communication. Among the classic media, television has the greatest potential for such interaction through a combination of audio and visual series and a wide range of television content – from newscasts to talent shows. Viewers’ reaction to this product can be seen as a defining element of parasociality and directly affect the popularity of a media person and the ratings of the TV channel. In this article we will consider feedback as part of parasocial communication and describe ways to express it in times of media transformations. The psychological interaction «media person – viewer» had been the focus of research by both psychologists and media experts for over 60 years. During the study, scientists described the predictors, functions, manifestations and possible consequences of paracommunication. One of the key elements of the formed parasocial connections is the real audience reaction. Our goal is to conceptualize the concept of feedback in the paradigm of parasocial communication and describe the main types of reactions to the media person in long-term parasocial relationships. The research focuses on the ways in which the viewer’s feedback on the television media person is expressed, bypassing the issue of classifying the audience’s feedback as «positive» and «negative». For this purpose, more than 20 interdisciplinary scientific works on the issue of parasocial interaction were analyzed and their generalization was carried out. Based on previous research, the types and methods of feedback in the television context are separated. With successful parasocial interaction, the viewer can react in different ways to the media person. The type of feedback will directly depend on the strength of the already established communication with the media person. We distinguish seven types of feedback and divide them into those that occur during or after a television show; those that are spontaneous or planned; aimed directly at the media person or third parties. We offer the following types of feedback from TV viewers: «talking to the TV»; telling about the experience of parasocial communication to others; following on social networks; likes and comments; imitation of behavior and appearance; purchase of recommended brands; fanart.

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Garzón Maceda, María, Eleanor Krabill, and Almudena Azcárate Ortega. 2021 Outer Space Security Conference Report. UNIDIR, 2021. http://dx.doi.org/10.37559/wmd/21/space02.

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The 2021 UNIDIR Outer Space Security Conference (OS21) was held on 27 and 28 September 2021 both virtually and in person at the Palais des Nations in Geneva, Switzerland. The central conversations at OS21 are condensed in this document, as well as several key takeaway points.

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Vasanth K, Pooja, and Dwaipayan Banerjee. Operations SOP: How to Organise COVID Vaccination for 200-Person Educational Institutions / Small Organisations. Indian Institute for Human Settlements, 2021. http://dx.doi.org/10.24943/opssop.072021.

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This document details the Standard Operating Procedures (SOP) which can be followed by any small organisations/educational institutions/ apartment complexes (approximately up to 200 individuals) for organising an on-site COVID-19 vaccination drive for their staff, students, residents and family. The sections detail the basic design and process workflow that can be planned within the premises to ensure elimination of unproductive waiting time on one hand and also provide maximum safety for all beneficiaries from chances of cross transmission of COVID-19 infection. The document captures details about the manpower planning, zone demarcations and roles and responsibilities of stakeholders, which can be used as a guideline for setting up similar initiatives. The COVID-19 safety protocols have also been covered to ensure adherence of processes as a safeguard against infections. A section has been added at the end on lessons learnt, which provides an insight on how to further improve the existing process and account for additional aspects which need to be considered for an improved experience and enhanced safety.

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Lichand, Guilherme, Carlos Alberto Dória, Onicio Leal Neto, and João Cossi. The Impacts of Remote Learning in Secondary Education: Evidence from Brazil during the Pandemic. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003344.

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The goal of this paper is to document the pedagogic impacts of the remote learning strategy used by an state department of education in Brazil during the pandemic. We found that dropout risk increased by 365% under remote learning. While risk increased with local disease activity, most of it can be attributed directly to the absence of in-person classes: we estimate that dropout risk increased by no less than 247% across the State, even at the low end of the distribution of per capita Covid-19 cases. Average standardized test scores decreased by 0.32 standard deviation, as if students had only learned 27.5% of the in-person equivalent under remote learning. Learning losses did not systematically increase with local disease activity, attesting that they are in fact the outcome of remote learning, rather than a consequence of other health or economic impacts of Covid-19. Authorizing schools to partially reopen for in-person classes increased high-school students test scores by 20% relative to the control group.

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Szybinska Matusiak, Barbara, Justyna Martyniuk-Peczek, Sergio Sibilio, et al. Subtask A: User perspective and requirements - A.3 Personas. IEA SHC Task 61, 2021. http://dx.doi.org/10.18777/ieashc-task61-2021-0009.

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The consumption of energy for lighting in buildings depends very much on the way people interact with the build environment. In this study the following building types were studied, office, school, university, commercial and industry buildings. For each building type typical user groups were identified. Then, Personas have been created for each group. As opposed to describing users with numbers and statistics, a single Persona reflects a group and is presented with a narrative. The Persona has a name, a family and living conditions that are representative for the group, also her/his values and interests are not uncommon. The Personas “typical day” includes a time schedule typical for the group. Visual conditions are common for the group, but some specific challenges connected to the visual conditions that may occur in the group are also mentioned.

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