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اثر: رنگ روغن توضيح: سكه ساسانی Artwork Title: buran Artist name: samin zamani Year of completion: 2019 Dimensions: 140*140 cm material: oil on convas پوراندخت به معنای دختری با چهره گلگون، نخستین زنی که در ایران بر تخت شاهی تکیه زد پوراندخت حاصل ازدواجی بود که ادیبان و شاعران در وصفش منظومه «خسرو وشیرین» را سرودند پدرش خسرو پرویز شاهنشاه ساسانی، مادرش زنی اهل ارمنستان به نام شیرین که سوگلی شاه بود.

وع اثر: رنگ روغن توضیح: سکه ساسانى Title of the work: shapur I Artist name: samin zamani Year of completion: 2019 Dimensions: 140*140 Type& material: oil on canvas شاهپور بزرگ دومین شاهنشاه ساسانیان بعد از اردشیر پاپکان میباشد . بعد از کوروش بزرگ و داریووش بزرگ باید به درستی بخاطر پیروزیهای باشکوهش بر سه امپراطور رومی #گوردیانوس سوم #فیلیپ عرب #والریانوس او را سومین شاهنشاه بزرگ ایرانشهر دانست .

و درخت سرو در مشت ِ تبر ، من #شعر #شاعر #اشعار #شعرها #شعرفارسی http://farzandezamiin.blogfa.com/

vens در مرکز راه شیری سحابی مرداب و سه تکه را مشاهده میکنید . گوشه سمت راست بالا سیاره مشتری از پرنورترین اجرام اسمان شب قابل مشاهده می باشد . گوشه سمت چپ کهکشان راه شیری در ساعت هفت سیارات زحل و مریخ به رنگ زرد و پرنورتر از بقیه اجرام اسمانی قابل رؤیت است . This image is COMPOSITE Exif : Sky Nikon D7200 Tokina AT-X116 PRO DXII 11-16 F2.8 Ex : 25S F: 2.8 Iso : 2500 Focal : 11mm Exif : forground Nikon D7200 Tokina AT-X116 PRO DXII 11-16 F2.8 Ex : 4.0S F: 5.6 Iso : 100 Focal : 11mm Capture time : 03:04:42 AM Capture date : Aprill 16,2018

#پروانه_های_ایران #حسام_استوار #عکاسی_کلوزآپ #عکاسی_و_نقاشی #امپرسیونیسم

#title ; #bright_candle 🔥 . #hindi ☄ Iss #shamm_e_faroza ko #andhi se darate ho Iss shamm_e_faroza ke #parwane #hazaaron hai ... 💛 . #english 🌟 When it comes to this bright candle #you tried to #scare it with a #storm This bright candle Attracts #thousands of #moths ... 💝 💖 #persian ☄ این #شمع_فروزان را از #طوفان ها می ترسانی این #شمع #فروزان #پروانه های بیشماری دارد ... ❤ . #نقاشی #ابرنگ سایز : 25 * 35 #شمع #مفهومی #abrabg #watercolor #color #امیرا #امیرا_اشرف_الدینی

اجی پور شعر : امیر مسعود حاجی پور amirhajip00r@ instagram.com/amir_hajpour68

and Welcome to World of Sleepless Nights, Restless days and Mountains of laundry. Just Remember: What doesn't break you Will make you a better person.

thin it. Displaced Realities is an exploration of the precariousness of human experience, where what appears stable is constantly on the verge of collapse. It speaks to the fragility of structures—mental, physical, societal—that we rely on to define our place in the world. The composition fractures time and perception, reflecting a deep internal dissonance where the body and mind fall out of rhythm with their environment. Here, reality is never fixed; it is fluid, unsettled, and endlessly reconfigured. The figures—often distorted, incomplete, or caught in ambiguous motion—represent the tension between presence and absence, identity and dissolution. They inhabit a space that is both familiar and alien, echoing the psychological states of displacement, dissociation, and longing for coherence. The painting captures the ceaseless transformation of the human con

painting series that explores the primal forces driving human behavior through the symbolic figure of the wolf. Blending abstract expression and dynamic figuration, the works depict wolves not as wild creatures of nature alone, but as reflections of our inner instincts—loyalty and betrayal, hunger and restraint, individuality and the collective. Each canvas captures a tense choreography—a visual "dance"—where wolves appear locked in movement: circling, confronting, collapsing, or rising. This motion embodies both the beauty and brutality of survival, the unspoken language of power, and the delicate balance between dominance and vulnerability. The series invites viewers to question: are we watching animals, or are we seeing ourselves? In a world shaped by invisible hierarchies and instinctual decisions, Dance of the Wolves becomes a mirror held up to society

etween presence and erasure. This portrait is an exploration of identity, perception, and the fragile boundaries between flesh and void. How much of ourselves do we truly see? And how much is lost in the process of becoming?

tween presence and erasure. This portrait is an exploration of identity, perception, and the fragile boundaries between flesh and void. How much of ourselves do we truly see? And how much is lost in the process of becoming?

nvas—so large, they almost consume the figure itself. These exaggerated adornments are more than accessories; they are monuments to a world obsessed with wealth and status. When luxury becomes larger than life, does identity disappear? Do we own opulence, or does it own us? As the boundaries between self and possession blur, only one question remains—what is left of us when objects lose their meaning?

nvas—so large, they almost consume the figure itself. These exaggerated adornments are more than accessories; they are monuments to a world obsessed with wealth and status. When luxury becomes larger than life, does identity disappear? Do we own opulence, or does it own us? As the boundaries between self and possession blur, only one question remains—what is left of us when objects lose their meaning?

nvas—so large, they almost consume the figure itself. These exaggerated adornments are more than accessories; they are monuments to a world obsessed with wealth and status. When luxury becomes larger than life, does identity disappear? Do we own opulence, or does it own us? As the boundaries between self and possession blur, only one question remains—what is left of us when objects lose their meaning?

nvas—so large, they almost consume the figure itself. These exaggerated adornments are more than accessories; they are monuments to a world obsessed with wealth and status. When luxury becomes larger than life, does identity disappear? Do we own opulence, or does it own us? As the boundaries between self and possession blur, only one question remains—what is left of us when objects lose their meaning?

nvas—so large, they almost consume the figure itself. These exaggerated adornments are more than accessories; they are monuments to a world obsessed with wealth and status. When luxury becomes larger than life, does identity disappear? Do we own opulence, or does it own us? As the boundaries between self and possession blur, only one question remains—what is left of us when objects lose their meaning?

agram.com/haniehmim

The Father of the Bengali Nation Bangabandhu Sheikh Mujibur Rahman (1920-1975). Sheikh Mujibur Rahman(March 17, 1920 – August 15, 1975) was a Bengali politician and statesman who was the founding leader of Bangladesh. He headed the "Awami League (Political Party)" and served as the first President of Bangladesh, and later as Prime Minister. He is popularly referred to as "Sheikh Mujib (shortened as Mujib or Mujibur, not Rahman)", with the honorary title of Bangabandhu ("Friend of Bengal"), and widely revered in Bangladesh as the "Father of the Nation". Artwork Details: Subject: 35-year-old Bangabandhu Rendered Artwork Width: 14800 px Rendered Artwork Height: 20000 px Rendered Artwork Size: 439 MB The Artwork is posted in more compact dimensions (3552x4800px) within the DeviantArt Gallery.

/alirezamusic/file آهنگسازی، تنظیم و تکنوازی ویولون: علیرضا صفحه اینستاگرام آهنگساز: www.instagram.com/alirezamusicofficial