Aug 2015

Gulnar Sacoor

ShermanHay

Robert Andler-Lipski

Toby Brown

Omar Khayyám

Iran

competition

Director: Aziz Anzabi

Editor and translator :

Asra Yaghoubi

Research: Zohreh

Nazari

http://www.aziz-anzabi.com

1. Bahram Dabiri4. Competition5. Toby Brown6. Marc Chagall 13. Competition14. Sherman Hay 16. Khayyam24. Gulnar G.Sacoor25. Robert Andler-

Lipski26. Iran

خوش باش_ خیام اگر ز باده مستی

خوش باش -با ماهرخی اگر نشستی

چون عاقبت کار جهان نیستی است

چو هستی خوش باش -انگار که نیستی Khayyam,if you get intoxicated while drinking wine,then do so and be happyAnd if you are glad communicating to virtuous humans,then do so.As the sequel of life is inexistence,so think that even you don't exist.therefore be delighted as you liviein the present.

Bahram Dabiriwas born in Shiraz in 1950.His family appreciated art; his mother was the daughter of a landowner who loved artand literature, and his father, who took no pride in aristocracy, had a deep interest in literature and history.Dabiri’s childhood was simultaneous with the disintegration of Iran’s social system and the emergence of a new elite.Even the remnants of an aristocracy on the verge of extinction could not help keep his family in his hometown, leaving them with no alternative but to migrate to Tehran. is an Iranian painter and artist. Dabiri work has been displayed in many exhibitions in Iran, United States, Spain, Germany and United Arab Emirates.Academic careerIn 1970, he was accepted into the Fine Arts Department of Tehran University, and received his undergraduate degree in painting.ExhibitionsDabiri's work has been displayed, among others, at Museum of

Contemporary Art, Tehran, French Embassy, Tehran, 2000 Art Expo New York, 2000 Contemporary Iranian Modern Art exhibition, New York, Reagan Center, Washington, Fabien Fryns Gallery, Marbella, Spain, Hotel Mirage, UAE, BernakGallery, Bremen, Germany.Influences[Dabiri's initial influence came by the works of Hieronymus Bosch and Pieter Bruegel the Elder. He studied under Hannibal Alkhas, Behjat Sadr, Parviz Tanavoli and Rouin Pakbaz.

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"Drawing"

Deadline: September 14, 2015 (Midnight EST)

Open for Submissions, $7,600 in Cash & Marketing Prizes Theme:

"Drawing" Whether the work is created as classical or experimental this call is all about drawing. Drawing is the original art and language of man and continues to allow us to communicate what we see and feel. A drawing can be formal and refined or expressive and energetic, can even capture our thoughts with doodling. Marks, lines or shaded areas expresses our external world and our individual thoughts. It is a record of who we are as humans and our need to connect with each other.

Art-Competition.net announces "Drawing" art call to artists for an online-juried international competition, for drawing only. Deadline for submission - September 14, 2015 (Midnight EST), $7,600 in Cash & Marketing Prizes. (Winners will receive extensive marketing of their work worldwide.) The competition is open to all artists 18 years of age or older expressing themselves in any drawing medium. For example digital art, pastel, charcoal, pencil, experimental mediums, etc. The work can be in black and white or color of any subject from representational to non-representational expression.

Submission Deadline: 09/14/15 (Midnight EST)Jury Selection: 09/18/15Notification: 09/23/15Submission Fees:

Entry Fee: 1 image $20, 3 images $35, 7 images $60Payments: All credit and debit cards are accepted through PayPal 4

Toby BrownThe majority of Toby Brown work is based around a feeling or emotion…but there is also an element of how the artist’s interpretation of a line or verse from a song. His work starts it’s journey through closed eyes, listening to music. Lyrics and the feel of a song take Tony’smind to a place of images and colour. Listening to music takes him into a dream like state, where nothing is as it appears to be, the eyes do not focus and an image or an idea appear and disappear within a split second. Through the medium of sound animage is born. A string of musical notes are transformed into an intense, sometimes emotive image…a group of words from a song brought to life by the strokes of a brush.Not obvious and devoid of elaboration, each piece can either be viewed along with listening to the chosen song that inspired each work or viewed as an intense, stand alone body of work.Lone, distorted figures emerge from a mist, leaving the viewer wanting tolook deeper into each piece. Seen as a natural progression, with a love of music and art, the two blend effortlessly together…using music as a vehicle to transfer what is heard onto canvas.Drawing inspiration from bands such as Pink Floyd, Kasabian and Jimi Hendrix, the viewer gets a glimpse of how Toby Brown thinks. His work stands mostly in oils and on a large scale. He has often

been told that his singular style is very similar to that of an airbrush although Tony doesn’t paint as such…more like scrubbing the paint onto the canvas and building up the tones and shades that way. As a result of this process the artist gets through many brushes very quickly, but it’s seen as a small price to pay for the end result.A particular fact, Toby has 35% vision in his left eye, so in his work he incorporates both eyes, hence the blurred effect. Toby Brown was born with this condition, but it was never seen as a problem, he early found it gives his work an interesting twist as a result, it shows the viewer how Tony sees the world around.

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Marc Chagall 6 July 1887 – 28 March 1985) was a Russian-French artist.21 Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). An early modernist, he was associated with several major artistic styles and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.According to art historianMichael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.

Before World War I, he traveledbetween St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk. "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".

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Early lifeChagall's ParentsMarc Chagall was born MoisheSegal in a Lithuanian Jewish family in Liozna,near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887. At the time of his birth, Vitebsk's population was about 66,000, with half the population being Jewish. A picturesque city of churches and synagogues, it was called "Russian Toledo", after a cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from theirhome. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire being 13 roubles a month). Chagall would later include fish

motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:

Day after day, winter and summer, at six o'clock in the morning, my father got up and went off to the synagogue. There he said his usual prayer for some dead man or other. On his return he made ready the samovar, drank some tea and went to work. Hellish work, the work of a galley-slave. Why try to hide it? How tell about it? No word will ever ease my father's lot... There was always plenty of butter and cheese on our table. Buttered bread, like an eternal symbol, was never out of my childish hands.

One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia. They also made furniture and various agricultural tools. From the late 18th century to the First World War, the Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently takenover by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.

Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Vitebsk itself had been a center of that culture dating from the 1730s with its teachings derived from the

Kabbalah. Chagall scholar Susan Goodman describes the links and sources of his art to his early home:

Chagall's art can be understood as the response to a situation that has long marked the history of Russian Jews. Though they were cultural innovators who made important contributions to the broader society, Jews were considered outsiders in a frequently hostile society... Chagall himself was born of a family steeped in religious life; his parents were observant Hasidic Jews who found spiritual satisfaction in a life defined by their faith and organized by prayer.Chagall was friends with SholomDovber Schneerson, and later with Menachem M. Schneerson.

Art educationPortrait of Chagall by Yehuda (Yuri) Pen, his first art teacher in VitebskIn Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.

A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuvawrites that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.

He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.Artistic inspirationMarc Chagall, 1911, Trois heures et demie (Le poète), Half-Past Three (The Poet) Halb vierUhr, oil on canvas, 195.9 x 144.8 cm, The Louise and Walter Arensberg Collection, 1950, Philadelphia

Museum of Art Marc Chagall, 1911, I and the Village, oil on canvas, 192.1 x 151.4 cm, Museum of Modern Art, New YorkMarc Chagall, 1911-12, The Drunkard (Le saoul), 1912, oil on canvas. 85 x 115 cm. Private collectionMarc Chagall, 1912, Calvary (Golgotha), oil on canvas, 174.6 x 192.4 cm, Museum of Modern Art, New York. Alternative titles: Kreuzigung Bild 2 Christusgewidmet [Golgotha. Crucifixion. Dedicated to Christ]. Sold through Galerie Der Sturm (HerwarthWalden), Berlin to Bernhard Koehler (1849–1927), Berlin, 1913. Exhibited: Erster DeutscherHerbstsalon, Berlin, 1913Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."

Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art."Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... scenes of childhood so indelibly in one's mind and to invest themwith an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "

Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":

Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that colordescending like stars from the sky and landing, bright and transparent, like snow on our roofs.

Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.

Art Call "Abstract II" - 6 Days Left To EnterDeadline: August 17, 2015 (Midnight EST)Cash Prizes Have Doubled First Place Now $1,000 Open for Submissions, $1,500 in Cash $6,825 in PrizesTheme:"Abstract ll" The artist's work can be the "abstracting of representational objects" as in expressionistic, surrealistic or cubistic work. "Pure abstraction" is also accepted where there is little to no visual references of the external world.

Art-Competition.net announces a Call to Artists for "Abstract ll" an online-juried international competition, July 10, 2015 - August 17, 2015 (Midnight EST), Cash Prizes are Doubled, $1,500 in Cash and $6,825 in Prizes. (Winners will receive extensive marketing of their work.)

Submission Deadline: 08/17/15 (Midnight EST)Jury Selection: 08/20/15Notification: 08/25/15Submission Fees:

Entry Fee: 1 image $20, 3 images $35, 7 images $60Payments: All credit and debit cards are accepted through PayPal.

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Sherman Hay Sherman was born in 1948 and raisedin San Jose, California.Sherman started his love of art at age five working along side his grandmother creating mosaic designs on bowls. He enjoyed drawing in high school.In 1966, he was drafted and served in Vietnam. In 1976, he received his B.A. Degree in Art in from California State University, Hayward where he learned the fine art of lithography and intaglio printmaking. Mr. Hay attended California State University, Humboldt in Arcata, and graduated with a Masters of Art Degree in 1979. During this period of time Sherman’s prints were expressionist figurative works with realistic facial structures that tended to be political in nature. In the 1980’s, Mr. Hay again became intrigued with design and architecture. He combined the constructivist geometric ideas along with organic shapes.During the years of 1984 through 2003 Mr. Hay was awarded thirteen California Arts Council, Artist in Residence Grants for Artists Serving Social Institutions. He taught visual arts to inmates at Sierra Conservation Center. Each of these grants were ten months, including mediums ranging from drawing, painting, mural painting, handmade paper-making, printmaking, sculpture and mosaic tile murals.Mr. Hay has designed and completed four Public Art Projects. In 1995 he was

awarded his first Public Art Commission to create an Outdoor Sculpture for the Calaveras County Library in San Andreas, California. In 2000 and 2001, he designed and created two mosaic tile murals for local elementary schools in Calaveras County. The first one is a larger than life size mural depicting Mark Twain for Mark Twain Elementary School in Angels Camp. The second one is a cougar for Copperopolis Elementary School in Copperopolis. These images are realistic but contain sophisticated design concepts. Sherman won first place in the Gemini Saw International Competition for his mural design at Copperopolis Elementary School. In 2004, Sherman was awarded a Public Art Commission for the City of Stockton. He designed ten contemporary butterflies cut out of metal. These brass butterflies were embedded into the concrete sidewalk in front of Harrison Elementary School.Sherman has won numerous awards in international juried art competitions in New York, California, Arizona, Texas and Utah.

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In 2003, he won the Juror’s award, a Golden Bear from the California State Fair. Throughout the last twenty years he won five Awards of Excellence and five Awards of Merit at the California State Fair, Fine Arts Division in Sacramento.Sherman has taught drawing and painting part-time for Yosemite Junior College District at Columbia College and Modesto Junior College. He also taught at Merced Junior College for four years.Presently, his paintings combined both of his love for design and architecture with his love of the human figure to create surrealistic, expressionistic work. Mr. Hay has also been creating a huge environmental sculpture using rock, stone, concrete, ceramic and metal at his home in Sonora, California.

"Khayyam" redirects here. For other uses, see Khayyam (disambiguation).Omar KhayyámOmar Khayyam bust in Nishapur, IranBorn 18 May 1048Nishapur, Khorasan, IranDied 4 December 1131 (aged 83)Khorasan, IranSchool Persian mathematics, Persian poetry, Persian philosophyMain interestsMathematics, Astronomy, Philosophy, PoetryInfluencesOmar Khayyám; born Ghiyāth ad-Dīn Abu'l-FatḥʿUmar ibn Ibrāhīm al-KhayyāmNīshāpūrī pronounced18 May 1048 – 4 December 1131, was a Persian mathematician, astronomer, philosopher, and poet, who is widely considered to be one of the most influential scientists of all time. He wrote numerous treatises on mechanics, geography, mineralogy and astrology.Born in Nishapur, in northeasternIran also known as Persia, at a young age he moved to Samarkand

and obtained his education there.

Afterwards he moved to Bukhara and became established as one of the major mathematicians and astronomers of the medieval period. He is the author of one of the most important treatises on algebra written before modern times, the Treatise on Demonstration of Problems of Algebra (1070), which includes a geometric method for solving cubic equations by intersecting a hyperbola with a circle. He contributed to a calendar reform.His significance as a philosopher and teacher, and his few remaining philosophical works, have not received the same attention as his scientific and poetic writings. Al-Zamakhshari referred to him as “the philosopher of the world”. He taught the philosophy of Avicenna for decades in Nishapur, where Khayyám was born and buried. His mausoleum there remains a masterpiece of Iranian architecture visited by many people every year..

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Outside Iran and Persian-speaking countries, Khayyám has had an impact on literature and societies through the translation of his works and popularization by other scholars. The greatest such impact was in English-speaking countries; the English scholar Thomas Hyde (1636–1703) was the first non-Persian to study him. The most influential of all was Edward FitzGerald (1809–83), who made Khayyám the most famous poet of the East in the West through his celebrated translation and adaptations of Khayyám's rather small number of quatrains (Persian: رباعیات rubāʿiyāt) in the Rubaiyat of Omar Khayyam.Omar Khayyám died in 1131 and is buried in the Khayyám Garden in Nishapur. The reconstruction of the tombs of Persian icons like Hafez, Saadi, Attar, Poor sina and others were built by Reza Shah and in 1963, the Mausoleum of Omar Khayyám was reconstructed on the site by Houshang Seyhoun

Early lifeGhiyāth ad-Din Abu'l-Fat'h 'Umaribn Ibrāhīm al-Khayyām Nīshāpūrīwas born in Nishapur, in Iran, then a Seljuq capital in Khorasan, which rivaled Cairo or Baghdad in cultural prominence in that era. He is thought to have been born into a family of tent-makers (khayyāmī "tent-maker"), which he would make into a play on words later in life:

Khayyám, who stitched the tentsof science,Has fallen in grief's furnace and been suddenly burned,The shears of Fate have cut thetent ropes of his life,And the broker of Hope has sold him for nothing!— Omar KhayyámHe spent part of his childhood in the town of Balkh (in present-day northern Afghanistan), studying under the well-known scholar Sheikh Muhammad Mansuri. He later studied under Imam Mowaffaq Nishapuri, who was considered one of the greatest teachers of the Khorasan region. Throughout his life, Omar Khayyámwas tireless in his efforts; by day he

would teach algebra and geometry, in the evening he would attend the Seljuq court as an adviser of Malik-Shah I,[9] and at night he would study astronomy and complete important aspects of the Jalalicalendar.

Omar Khayyám's years in Isfahan were very productive ones, but after the death of the Seljuq Sultan Malik-Shah I (presumably by the Assassins sect), the Sultan's widow turned against him as an adviser, and as a result, he soon set out on his Hajj or pilgrimage to Mecca and Medina. He was then allowed to work as a court astrologer, and was permitted to return to Nishapur, where he was renowned for his works, and continued to teach mathematics, astronomy and even medicine.

MathematicianKhayyám was famous during his times as a mathematician. He wrote the influential Treatise on Demonstration of Problems of Algebra (1070), which laid down the principles of algebra, part of the body of Mathematics that was eventually transmitted to Europe. In particular, he derived general methods for solving cubic equations and even some higher orders."Cubic equation and intersection of conic sections" the first page of two-chaptered manuscript kept in Tehran UniversityIn the Treatise, he wrote on the triangular array of binomial coefficients known as Pascal's triangle. In 1077, Khayyám wrote Sharh ma ashkala min musadaratkitab Uqlidis (Explanations of the Difficulties in the Postulates of Euclid) published in English as "On the Difficulties of Euclid's Definitions". An important part of the book is concerned with Euclid's famous parallel postulate, which attracted the interest of Thabit ibnQurra. Al-Haytham had previously attempted a demonstration of the postulate; Khayyám's attempt was a

distinct advance, and his criticisms made their way to Europe, and may have contributed to the eventual development of non-Euclidean geometry.Omar Khayyám created important works on geometry, specifically on the theory of proportions. His notable contemporary mathematicians included Al-Khaziniand Abu Hatim al-Muzaffar ibnIsmail al-Isfizari

Theory of parallelsSee also: History of non-Euclidean geometry and Parallel postulateAt the Tomb of Omar Khayyam, by Jay HambidgeKhayyám wrote a book entitled Explanations of the difficulties in the postulates in Euclid's Elements. The book consists of several sections on the parallel postulate , on the Euclidean definition of ratios and the Anthyphairetic ratio (modern continued fractions) , and on the multiplication of ratios

The first section is a treatise containing some propositions and lemmas concerning the parallel postulate. It has reached the Western world from a reproduction in a manuscript written in 1387-88 AD by the Persian mathematician Tusi. Tusi mentions explicitly that he re-writes the treatise "in Khayyám's own words" and quotes Khayyám, saying that "they are worth adding to Euclid's Elements after Proposition 28."This proposition states a condition enough for having two lines in plane parallel to one another. After this proposition follows another, numbered 29, which is converse to the previous one.The proof of Euclid uses the so-called parallel postulate . Objection to the use of parallel postulate and alternative view of proposition 29 have been a major problem in foundation of what is now called non-Euclidean geometry.The treatise of Khayyám can be considered the first treatment of the parallels axiom not based on petitio principii, but on a more intuitive postulate. Khayyámrefutes the previous attempts by other Greek and Persian

mathematicians to prove the proposition. And he, as Aristotle, refuses the use of motion in geometry and therefore dismisses the different attempt by IbnHaytham too. In a sense he made the first attempt at formulating a non-Euclidean postulate as an alternative to the parallel postulate,

Geometric algebraWhoever thinks algebra is a trick in obtaining unknowns has thought it in vain. No attention should be paid to the fact that algebra and geometry are different in appearance. Algebras are geometric facts which are proved by propositions five andsix of Book two of Elements.Omar KhayyamOmar Khayyám's geometric solution to the cubicequation x3 + 200x = 20x2 + 2000.This philosophical view of mathematics (see below) hashad a significant impact on Khayyám's celebrated approach and methodin geometric algebra and in particular in solving cubic equations. In that his solutionis not a direct path to anumerical solution and in fact his solutions are not numbers but rather line segments. In this regard Khayyám's work can be considered the first systematic study and the first exact method of solving cubic equations.In an untitled writing on cubic equations by Khayyám discovered in the 20th century, where the

above quote appears, Khayyámworks on problems of geometric algebra. First is the problem of "finding a point on a quadrant of a circle such that when a normal is dropped from the point to one of the bounding radii, the ratio of the normal's length to that of the radius equals the ratio of the segments determined by the foot of the normal." Again in solving this problem, he reduces it to another geometric problem: "find a right triangle having the property that the hypotenuse equals the sum of one leg (i.e. side) plus the altitude on the hypotenuse ".To solve this geometric problem, he specializes a parameter and reaches the cubic equation x3 + 200x = 20x2 + 2000. Indeed, he finds a positive root for this equation by intersecting a hyperbola with a circle. This particular geometric solution of cubic equations has been further investigated and extended to degree four equations.Regarding more general equations he states that the solution of cubic equations requires the use of conic sections and that it cannot be solved by ruler and compass

methods. A proof of this possibility was only plausible 750 years after Khayyám died. In this paper Khayyám mentions his will to prepare a paper giving full solution to cubic equations: "If the opportunity arises and I can succeed, I shall give all these fourteen forms with all their branches and cases, and how to distinguish whatever is possible or impossible so that a paper, containing elements which are greatly useful in this art, will be prepared."This refers to the book Treatise on Demonstrations of Problems of Algebra (1070), which laid down the principles of algebra, part of the body of Persian Mathematics that was eventually transmitted to Europe. In particular, he derived general methods for solving cubic equations and even some higher orders. AstronomerThe Jalali calendar was introduced by Omar Khayyám alongside other Mathematicians and Astronomers in Nishapur, today it is one of the oldest calendars in the world as well as the most accurate solar calendar in use today. Since the

calendar uses astronomical calculation for determining the vernal equinox, it has no intrinsic error, but this makes it an observation based calendar.Like most Persian mathematicians of the period, Khayyám was also an astronomer and achieved fame in that role. In 1073, the Seljuq Sultan Jalal al-Din Malik-Shah Saljuqi(Malik-Shah I, 1072–92), invited Khayyám to build an observatory, along with various other distinguished scientists. According to some accounts, the version of the medieval Iranian calendar in which 2,820 solar years together contain 1,029,983 days (or 683 leap years, for an average year length of 365.24219858156 days) was based on the measurements of Khayyámand his colleagues. Another proposal is that Khayyám's calendar simply contained eight leap days every thirty-three years (for a year length of 365.2424 days). In either case, his calendar was more accurate to the mean tropical year than the Gregorian calendar of 500 years later. The modern Iranian calendar is based on his calculations.

Heliocentric theoryIt is sometimes claimed that Khayyám demonstrated that the earth rotates on its axis[ by presenting a model of the stars to his contemporary al-Ghazali in a planetarium.The other source for the claim that Khayyám believed in heliocentrismis Edward FitzGerald's popular but anachronistic rendering of Khayyam's poetry, in which the first lines are mistranslated with a heliocentric image of the Sun flinging "the Stone that puts the Stars to Flight".Calendar reformKhayyám was a member of a panel that reformed the Iranian calendar. The panel was convened by Seljuk Sultan Malik Shah I, and completed its reforms in 1079, resulting in the Jalali calendar.The Jalali calendar remained in use across Greater Iran from the 11th to the 20th centuries. It is the basis of the Iranian calendar, which is followed today in Iran and Afghanistan. While the Jalalicalendar is more accurate than the Gregorian, it is based on actual solar transit, similar to Hindu calendars, and requires an

ephemeris for calculating dates. The lengths of the months can vary between 29 and 31 days depending on the moment when the sun crosses into a new zodiacal area (an attribute common to most Hindu calendars). This meant that seasonal errors were lower than in the Gregorian calendar.The modern-day Iranian calendar standardizes the month lengths based on a reform from 1925, thus minimizing the effect of solar transits. Seasonal errors are somewhat higher than in the Jalaliversion, but leap years are calculated as before.

Gulnar G.SacoorShe was born in Mozambique. Living in Portugal since 1974. Started self-taught painting since 1984, having since then participated in many painting, drawing and art history courses in different portuguese art schools (SNBA, INATEL, FBAUL, CCB, Atelier Dra. Rosa Fazenda, Dojo Zen Lisboa, among others).It is a work in progress! The artist has been displayed in various individual and collective exhibitions since 2000. She is also represented in private and official collections both in Portugal and abroad. In the process of her evolution, various techniques were used, while presently she focuses on the use of acrylics,mixed media and collages. Member of National Society of Fine Arts – Portugal, Associação Galeria Aberta.Statement"My life is my school" (M. Ghandi) This saying has always directed and inspired me. It was with this frame of mind that I initiated a new path in my life, as a decision in the new Millennium, doing what pleases me most and continue to work with passion and joy.My intention is to work through the fountain of Grace and Gratitude to, in my own way, contribute positively for balance and peace in all walks of life: personal, professional, social and global. My goal is to hopefully convey energy through colors making this my humble contribution towards grace and peace. I paint with love. The profound Love

which expresses without reason. Pure. Direct. Enabling me to experience grace and peace, fundamental in this disturbed time of mass fear and confusion. I love to play with colors. They have the ability to trigger our emotions, to affect the way we think, act and influence our attitudes. They can make us happy and sad, and so forward... I paint according to my states of mind, leaving to those who perceive them the final task of appreciating the paintings. It is in art that I search peace and lightness of spirit. It’s thanks to it that I renew my energies and the daily life with hope and joy. I accept my evolution by the inspiration life brings me every day.

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Robert Andler-LipskiHe is a visual artist specialized in mixed media, based in South Shields, North East of England. Studied Methodology of Arts Teaching and Philosophy. Completed Artistic Tapestry Weaving and Artistic Mosaic Design. Robert very early was introduced to the nature based figurative, modern and abstract painting. Worked as a fine arts teacher, journalist, graphic designer and creative consultant. However, after years he decided to devote himself exclusively to the artistic career. His artworks are in a private and institutional collections worldwide (e.i. permanent exposition at Bede's World Museum, Jarrow, UK; South Tyneside Council, South Shields, UK). Robert is a Member of International Society of Assemblage & Collage Artists (US) 25

The snowy tunnel is one of the natural monuments in the city Aznain Lorestan.This tunnel has been formed naturally in ice and snow in the slopes of Oshtoran Koohmountain in the area Kamandan in the city AZNA .The length of this tunnel is over 800 meters and its height from the floor to the ceiling is between 2-5 meters long . You can visit this tunnel only in Spring and summer due to the low temperatures in winter and Autumn. To get to this tunel you would have to drive to the Kamandan village and then walk for two hours in the mountain areas .Azna is a city in and capital of AznaCounty, Lorestan Province, Iran. At the 2011 census, its population was 41,706, in 11,594 families.Azna is located in the Zagros Mountains.It currently serves as a refuge camp for the Faili Kurds.This township is located 133 km. east of Khoramabad and 75 km. south of Arak. It experiences cold winters and moderate summers. The city is en route Esfahan -Khuzestan and is connected to the railway network of the country

Brfy-- tunnel Azna-Iran

Amir kabirdam-Iran

http://www.aziz-anzabi.com