نتایج جست جو "for" در سایت 100هنر

it for you ابعاد: ۳۰*۳۰*۳۵ سانتیمتر Dimension: 30x30x35 cm از مجموعه: درد آشکار Unshielded desire series ساخت سال ۱۳۹۸

ce in the darkness Acrylic and chalk pastel on canvas

te · pearl-finish museum quality for highest age resistance.

از اثر انگشت. از مهر ، کین و تمام تلاشی که در خود پنهان میکند! ...میدهندو باز میستانند خواه تقدیر باشد خواه لطافت باران .... دست ها بیان میکنند ناگفته های تقدیر را می توان تا ابد به دست ها رجوع کرد. It remained a "Hand" print from an ancient man A warm "Hand" from a friend My Hands talking from a friend From her fingerprint From love, hate and all hide in them. "Hands" talk Of unknown fate and rosewater of rain They are referable for ever. #ترکیب مواد روی بوم # ابعاد : ۱۰۰ در ۷۰

ابراهیمی_جویباری #تابلو #نقاشیخط #اکریلیک #بوم #دکوراسیون #خاص #جذاب #رنگ #حس #هنر #هنرمندان_ایرانی #iranian #artist #art #canvas #acrylic #design #decor #homedecor #forsale #exhibition

) #هنر #نقاشی_مدرن #نقاشی #آبستره #ابر_و_باد #اکریلیک #هنر_مدرن #آبستره_سلولی #تابلو_آبستره #تابلو_دکوراتیو #تابلو_دکوراسیون #تابلو_مدرن #تابلو_فروشی #art #abstractart #abstract #acrylic #modernart #modernpainting #acrylicabstract #fluidart #fluidacrylic #fluidpainting #fluidartwork #abstraction #liquidpainting #flowart #acrylicblog #forsale

ز آنکه از رویاهایت دست بکشی، به یاد بیار که سقوط مادرِ پرواز است...

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

از اثر انگشت. از مه‌ر ، کین و تمام تلاشی که در خود پنهان میکند! ...میدهندو باز میستانند خواه تقدیر باشد خواه لطافت باران .... دست ها بیان میکنند ناگفته های تقدیر را می توان تا ابد به دست ها رجوع کرد. It remained a "Hand" print from an ancient man A warm "Hand" from a friend My Hands talking from a friend From her fingerprint From love, hate and all hide in them. "Hands" talk Of unknown fate and rosewater of rain They are referable for ever.

از اثر انگشت. از مه‌ر ، کین و تمام تلاشی که در خود پنهان میکند! ...میدهندو باز میستانند خواه تقدیر باشد خواه لطافت باران .... دست ها بیان میکنند ناگفته های تقدیر را می توان تا ابد به دست ها رجوع کرد. It remained a "Hand" print from an ancient man A warm "Hand" from a friend My Hands talking from a friend From her fingerprint From love, hate and all hide in them. "Hands" talk Of unknown fate and rosewater of rain They are referable for ever.

از اثر انگشت. از مه‌ر ، کین و تمام تلاشی که در خود پنهان میکند! ...میدهندو باز میستانند خواه تقدیر باشد خواه لطافت باران .... دست ها بیان میکنند ناگفته های تقدیر را می توان تا ابد به دست ها رجوع کرد. It remained a "Hand" print from an ancient man A warm "Hand" from a friend My Hands talking from a friend From her fingerprint From love, hate and all hide in them. "Hands" talk Of unknown fate and rosewater of rain They are referable for ever.

از اثر انگشت. از مه‌ر ، کین و تمام تلاشی که در خود پنهان میکند! ...میدهندو باز میستانند خواه تقدیر باشد خواه لطافت باران .... دست ها بیان میکنند ناگفته های تقدیر را می توان تا ابد به دست ها رجوع کرد. It remained a "Hand" print from an ancient man A warm "Hand" from a friend My Hands talking from a friend From her fingerprint From love, hate and all hide in them. "Hands" talk Of unknown fate and rosewater of rain They are referable for ever.

از اثر انگشت. از مه‌ر ، کین و تمام تلاشی که در خود پنهان میکند! ...میدهندو باز میستانند خواه تقدیر باشد خواه لطافت باران .... دست ها بیان میکنند ناگفته های تقدیر را می توان تا ابد به دست ها رجوع کرد. It remained a "Hand" print from an ancient man A warm "Hand" from a friend My Hands talking from a friend From her fingerprint From love, hate and all hide in them. "Hands" talk Of unknown fate and rosewater of rain They are referable for ever.

canvas# imaginationartwork# contemporaryart# tree# sky# reflection#

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

re the fragile yet relentless tension between two opposing forces—predators and prey, dominance and submission, power and vulnerability. These works are not mere depictions of the natural order but a reflection of the structures that shape our existence—social, political, and existential. Architecture, rigid and imposing, emerges as a silent force of control, while organic, fluid figures twist and dissolve beneath it, struggling for space, for breath, for survival. The contrast between these elements reveals the unspoken rules governing our world—the quiet violence embedded in civilization, the primal instincts buried beneath constructed realities. The bodies in my paintings do not belong to individuals; they are specters of collective experience, echoes of submission and defiance. Boundaries blur—who hunts, and who is hunted? In a world designed for conques

re the fragile yet relentless tension between two opposing forces—predators and prey, dominance and submission, power and vulnerability. These works are not mere depictions of the natural order but a reflection of the structures that shape our existence—social, political, and existential. Architecture, rigid and imposing, emerges as a silent force of control, while organic, fluid figures twist and dissolve beneath it, struggling for space, for breath, for survival. The contrast between these elements reveals the unspoken rules governing our world—the quiet violence embedded in civilization, the primal instincts buried beneath constructed realities. The bodies in my paintings do not belong to individuals; they are specters of collective experience, echoes of submission and defiance. Boundaries blur—who hunts, and who is hunted? In a world designed for conques

ملودی بیگی

os. En direct de l'atelier Livraison à domicile avec certificat d'authenticité, Les frais d'emballage sont offerts. Ngono Guy, also known by the pseudonym NGuyzo is an architect who graduated from Krakow Polytechnic, but he's also a Self-taught and versatile visual artist born in Cameroon in 1987. He currently lives and works in the city of Krakow in Poland. Nguyzo paints, installs, and also practices several African dances since adolescence. Although he admits to having a weakness for surrealism and mythology, Nguyzo draws on his own daily experiences and his culture to question his history and his existence through his art. He is very attached to people and interested in issues related to integration

tificate of Authenticity

elephant headed god is depicted in many forms throughout the myths; this acrylic on canvas painting shows the Lord with four hands holding flute standing on lotus. #Kerala Mural paintings are traditional paintings done on temple walls depicting Gods as well as Goddesses.