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The Fourth "Art For Peace" Festival at Iranian Artists' Forum
The fourth term of "Art for Peace" Festival opened at Iranian Artist Forum on 15 September 2016
Noted Iranian film ‘Immortal’ has won NETPAC Award from the Vladivostok International Film Festival of Asia-Pacific Countries in Russia.
“Under the Shadow” is written and directed by British-Iranian Anvari and stars Narges Rashidi, Avin Manshadi and Bobby Naderi. The film is produced by Lucan Toh, Oliver Roskill and Emily Leo of Wigwam Films.
Gergiev's friendship with the Iranian conductor goes back to 1979 when a young Rahbari led the Berlin Philharmonic Orchestra and served as assistant to the late Austrian conductor Herbert von Karajan
Kami's Party which had its world premiere at Black Nights Film Festival 2013, Cologne Film Festival 26-29 May 2016 and received the best film award at the 3rd Prague Iranian Film Festival, Czech Republic 2014, did not get the required permission to go on screen in his homeland.
A Very Ordinary Citizen', a film by Iranian director Majid Barzegar, will be screened in the competition section of the Calgary International Film Festival.
All Lights Indian Int’l Filmfest (ALIIFF) features ‘Houra’ and ‘Rice Cake’ made by two Iranian debut directors.
This year’s CineIran festival will screen eleven of the year’s most acclaimed films, and we are honoured to host some of Iranian cinema’s biggest superstars.
The second season of archaeological expedition in Takestan’s Islamic Azad University site uncovered structures Sassanid in origin.
The artwork 'Last Portrait' by Iranian photographer Sadeq Souri won the second top award at the 8th edition of Kuala Lumpur International Photoawards.
Iranian short film 'Hasti' directed by Kamal Parnak will be screened in the 21st Latvian 2ANNAS Film Festival, September 27- October 2.
Excavations in an ancient hill in Shazand in the Central Province of Iran have found evidence of settlement which goes back to 8 millennia ago.
Geopolitics and Contemporary Art, Part II: The Nation-State as the Possible Container for Global Struggles
One of the consequences of globalization and the deterritorialization of financial capital has been that the decisions that affect world citizens are now made by representatives of a corporate oligarchy untethered from the direct interests of nation-states. Secret negotiations and treaties have taken the place of constitutions and other forms of social contract, becoming the dominant method for managing natural resources, transnational security, copyright, privatization, food autonomy, financial fluxes, drug patents, and so forth.
Preserving historical fabrics in Iran in comparison to western countries is a newly established endeavor. This concern grew in Europe from several years ago and synchronous to modernization of societies. Technological developments in the twentieth century, providing the possibility to generate multiple copies of artworks firstly heralded a new age, in which Art, previously available only to the elite, was taken and brought among the ruck.
In the 1960s and ’70s, politicization meant taking a position, establishing and following a political program, taking up armed struggle, putting one’s skills (including art) at the service of the revolution, fighting in the name of the horizon of state socialism, and acting in solidarity with anti-imperialist and decolonization struggles.
Painters may view scenes in a way that's similar to how the world really is: A mishmash of colors, lines and shapes.
In recent years, in celebration of the Persian New Year, the Tehran Municipality and the Organization of Tehran Beautification have been organizing an annual spring urban art event comprised of art exhibits and installations in public spaces around the city. With each coming year the event has grown larger with a greater number of participating artists and encompassing a wider range of art forms...
Abstract A discerning trait of Persian painting, which differentiates it from the Western style of painting, is the irrefutable resemblance between the male and female figures. Persian painting is closely entwined with Persian poetry and therefore, the primary focus of this study are the illustrations accompanying poems which narrate Persian folklores in order to have portrayals of culturally well-known male and female figures. An attempt is made to compare and demonstrate the similarities between the studies done on Persian literature and metaphor, and the studies done on Persian art...
Nowrouz is the only festival that is still celebrated across the entire “Iranian World”; meaning the world that was once defined by the boundaries of the Iranian Empire and the land on which Iranian culture remains alive. The term “Iranian World” remaining from the late Iranian archaeologist Shahriar Adl (2) refers to a geographical region that covers today’s country of Iran as well as Afghanistan, Tajikistan, Uzbekistan and even parts of India and what was once known as the Ottoman Empire...
Looking back on twentieth century modernism from the standpoint of today, it seems that its major aesthetic component was actually provincialism. Across the world, different forms of social and economic modernization emerged, leading artists to develop new practices that broke from tradition to engage with these shifting circumstances. However, the early canonization of “modern art” in Western Europe, followed by the transfer of power to New York towards the middle of the century, meant that most practitioners were inevitably forced to benchmark themselves against external examples. This produced major power imbalances between artists from different nations
It is said both inthe native and foreign sourcesthat the original Avesta “written on 12,000 prepared cow-skins, and with gold ink,” was burnt together with other treasures and books when Alexander of Macedonia set Parsgarde (Persepolis) on fire. (1) In other sources, it is said that there were actually two copies, one kept in Shapigan treasury and the other in the “citadel of writings” dejnebeshteh (2) whose exact location had never been found, thus a mystery.
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Born in 1936 to a prominent dynasty in the ancient city of Neyshapur, in the province of Khorasan, Iran. Iran Darroudi is a revered Iranian painter, director, writer, art critic and university professor. Her paternal family was among well-known merchants in the north-eastern province, while her maternal family were Caucasian merchants, who immigrated to Iran and settled in Mash-had after the Soviet Revolution.


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An exhibition by Aliyar Rasti
Opening: 23 September 2016
Ahmad Tak
Opening: 23 Sep, 2016
Abbas Babaei
Avishan Taghvashoar & Nima Balazadeh
Painting exhibition by Aryan Lavasani
Selected Artists
Painter and Sculptore
Selected Iranian Film , Cinema , Theater Artists
Theater Director
Film director and screen-writer
Film director and screen writer
Movie Director
Movie director