#minassian

[saefinnur]

the beauty in our hearts is real.

[pulsenigeria]

Toronto van attack suspect Alek Minassian’s interest in ‘incel’ movement the latest sign of troubled life

Toronto van attack suspect Alek Minassian’s interest in ‘incel’ movement the latest sign of troubled life

The story of Minassian’s ‘sad and confusing’ life comes fragmented from a cluster of people who knew him, but none who appear to have known him well

Adrian Humphreys and Jake Edmiston Netanyahu and his defence minister given the unilateral power to take Israel to war

TORONTO — The distressing…

View On WordPress

[aretebrands]

Toronto Van Driver Kills at Least 10 People in ‘Pure Carnage’

More than a dozen other people were injured in what was one of the worst mass killings in the modern history of Canada. The police said the driver was in custody.

Can Creative Thinking Work?

In light of yesterday’s senseless killings, I feel both regrettably numb and unempowered to do anything. 

These stories seem to happen weekly which, outside of new regulations and an unwanted police state, are there creative solutions to fight back? 

Can cities, school, and other public spaces be designed to be both welcoming and safe?

[myshitblogger-blog]

Toronto van attack: Alek Minassian praised 'incel' killer

Toronto van attack: Alek Minassian praised ‘incel’ killer

[ad_1]

Media playback is unsupported on your device

Media caption“I have a gun in my pocket” – the moment Alek Minassian was arrested.

A van driver accused of killing 10 people in Toronto posted to Facebook minutes before the attack to praise killer Elliot Rodger and refer to the misogynistic “incel” Reddit group.

Alek Minassian, 25, was charged on Tuesday with 10 counts of murder…

View On WordPress

[usanewsgoogle]

Alek Minassian: First picture of Toronto van crash suspect

Alek Minassian: First picture of Toronto van crash suspect

1/52 23 April 2018

A boy walks on a pile of rubbish overlaying a drain in New Delh

Reuters

2/52 22 April 2018

Newly ordained monks lie on the ground as Pope Francis leads a mass in Saint Peter’s Basilica on the Vatican

REUTERS

three/52

View On WordPress

[doorandaysh]

Duduk 3000 years old Armenian instrument

The duduk (doo-dook) is an antiquated twofold reed woodwind made of apricot wood. It is indigenous to Armenia. It is ordinarily played in sets: while the principal player plays the melody, the second plays a consistent automaton, and the sound of the two instruments together makes a wealthier, all the more frightful sound.

The unflattened reed and round and hollow body create a sound nearer to the English horn than to all the more ordinarily known twofold reeds. Dissimilar to other twofold reed instruments like the oboe or shawm, the duduk has an expansive reed relative to its size. UNESCO declared the Armenian duduk and its music as a Masterpiece of the Intangible Heritage of Humanity in 2005 and engraved it in 2008. Duduk music has been utilized as a part of various movies, most remarkably in The Russia House and Gladiator.

Varieties of the duduk exist in Eastern Europe, the Middle East and Central Asia, incorporating the balaban in Azerbaijan and Iran.

The duduk is a twofold reed instrument with antiquated starting points, having existed since in any event the fifth century, while there are Armenian researchers who trust it existed over 1,500 years before that. The most punctual instruments like the duduk's available frame are made of bone or totally of stick. Today, the duduk is only made of wood with an expansive twofold reed, with the body produced using matured apricot wood.

The specific tuning depends intensely on the area in which it is played. In the twentieth century, the Armenian duduk started to be institutionalized diatonic in scale and single-octave in extend. Accidentals, or chromatics are accomplished utilizing fingering systems. The instrument's body likewise has diverse lengths relying on the scope of the instrument and district. The reed (Armenian: եղեգն, eġegn), is produced using maybe a couple bits of stick in a duck-charge sort gathering. Dissimilar to other twofold reed instruments, the reed is very wide, giving the duduk the two its extraordinary, sorrowful sound, and in addition its noteworthy breath prerequisites. The duduk player is called dudukahar (դուդուկահար) in Armenian.

The entertainer utilizes air put away in his cheeks to continue playing the instrument while he breathes in air into his lungs. This "roundabout" breathing method is generally utilized with all the twofold reed instruments in the Middle East.

Duduk "is constantly played with the backup of a moment dum duduk, which gives the music a vitality and tonic air, changing the scale concordantly with the vital duduk."

[brownpersian-blog]

Did you know that hidden in the archives of the Brown Library is one of the largest private collections of Persian, Mughal and Indian miniature paintings in the country? Me neither. The best part: most, if not all, of the paintings are available online for your viewing pleasure.

[cultureclash-flow-blog]

Portraiture

BY LAURA CURLIN

Although there is a general perception that Islamic art is not figural, particularly within mosques, because of traditions from  the Hadith. However, the growth of portraiture in Iran and Mughal India out of the miniature tradition can be clearly seen in the wealth of images discussed below. Portraits in the eastern part of the Islamic world blended the local miniature tradition with contemporary Western styles and influences from East Asia.

This leaf from Brown's Minassian Collection, was likely once part of a manuscript and includes a floral border, similar to the decorated borders that make up an integral feature of the art of the book. Although little is known about this particular piece, it seems to be highly influenced by Western culture. The dress of the picture's subject could be from Europe, though I am not qualified to identify its origins. The broad range of dates provided by the Collection complicates the matter, as styles of painting varied greatly within the Islamic world as well as in Europe during that time period. However, this leaf is still a fascinating piece, as it does not fit neatly into the descriptors used for Islamic art.

from Brown's Minassian Collection of Persian, Mughal, and Indian Miniature Paintings, 1450-1600

This portrait represents another form of figural representation from approximately the same period as the Minassian leaf. The dress portrayed is less unusual, and substantial influence from East Asia can be seen in the posture and form of the lady. However, this painting also stands out from most portraits from the period in that it is a single work, and does not appear to have been part of a manuscript. The seal above the figure belongs to Shah Abbas, of the Safavid dynasty. Although this painting was made just before Abbas's rule, Shah Abbas is known for cultivating the arts and relationships with Europe and China. The painter, Muhammadi of Herat, was well known, although not a member of a kitab-khana, and his simple style was highly influential in the development of the style of Khurasan manuscripts produced   commercially.

Portrait of a Lady Holding a Flower, Muhammadi of Herat, 1565-75 from the Metropolitan Museum of Art

This portrait of Fath Ali Shah blends several artistic styles. While the basic composition of the painting, a ruler sitting on a carpet with a pillow behind him, is common in Islamic art portraying leaders, the State Hermitage Museum's website calls this the "Turkish manner"  of seating. Other paintings with similar compositions, however, generally have simpler backgrounds. The scene shown through a window may have been copied from a Western painting, or was at least heavily influenced by Western styles. This portrait also demonstrates the use of symbolism in depictions of Qajar royalty. Fath Ali Shah sent his portraits to Napoleon, the tsar of Russia, and the English East India Company as diplomatic gifts. Royal portraits were meant to foster diplomatic relations with Europe while conveying the strength of Qajar Iran. 

Portrait of Fath Ali Shah Seated, Mihr Ali, 1813-1814 from the State Hermitage Museum, St. Petersburg, Russia

Although this work is dated only approximately twenty years after the portrait of Fath Ali Shah, the style is very different. The portrait of Abbas Mirza is signed, but I could not find any other references to the artist. Abbas Mirza was the son of Fath Ali Shah and reigned from 1797 to 1833. This painting could have been made in his memory. Qajar Iran's international standing suffered as Iran had to cede large swaths of territory to Russia following a war 1826-1828. This portrait, in less vibrant hues and without a symbolic saber, shows a far more subdued Iran than Fath Ali Shah's portrait. 

A Portrait of the Crown Prince 'Abbas Mirza, signed L. Herr, 1833, from Qajar Iran

Image from the portraits auction by Christie's

Portraiture in the Islamic world has continued to grow, including self-portraits. The picture to the left by Y.Z. Kami does not have any stylistic features that would unmistakably identify it as Islamic art or Middle Eastern Art. However, some critics believe Kami's work illustrates a Sufi contemplativeness. Kami's portraits are not easily categorized. Are they influenced by Islamic miniatures and Qajar depictions of royalty? More likely, Kami's work belongs to its own time and place, just like the other portraits shown here, while simultaneously problematizing the definition of Islamic art. 

Untitled, Y.Z. Kami, 2010 from the Gagosian Gallery

Y. Z. Kami was born in Tehran, Iran, and works in New York.

Robinson, B. W. "Muhammadi and the Khurasan Style." Iran 30 (1992): 17-29. JSTOR.

Sardar, Marika. "Shah Abbas and the Arts of Isfahan". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://www.metmuseum.org/toah/hd/shah/hd_shah.htm (October 2003)