#marvdasht

[ashitakaxsan]

Mysteries Of Iran Still Undeciphered

TEHRAN - Iranian filmmaker Pejman Mazaheripur, whose new documentary on Persepolis was screened at the Cinema Museum of Iran on Sunday evening, says the majestic UNESCO-registered site still harbors numerous unrevealed mysteries.

Addressing the attendees during the screening of his film, Mazaheripur expressed his belief that despite extensive research and numerous documentaries about Persepolis, there remain untold stories and unexplored facets waiting for researchers and filmmakers to delve into.

“This documentary is part of the Ancient Iran series, initiated in 1396 (2017) and meticulously researched and compiled until 1400 (2021),” Mazaheripur said at the start of his presentation.

“Under the supervision of Dr. Shahrokh Razmjou, the documentary underwent rigorous research phases. The initial film covered the early explorations [conducted at Persepolis] up until World War II, with the second film focusing on the significance of Ali Sami, the first Iranian archaeologist who commenced excavations at the foundation of Persepolis.”

Mazaheripur also mentioned the Italian conservation efforts that led to the identification and preservation of various artifacts, now housed in the National Museum of Iran. “The third film encompasses Razmjou's studies on specific structures within Persepolis… along with an analysis of the intricate details on the eastern side of the Apadana Palace.”

Regarding the challenges faced during the documentary's production, Mazaheripur highlighted the abundance of pre-existing films focusing on Persepolis' Achaemenid era, emphasizing the rarity of productions dedicated to archaeological and historical analysis.

"I firmly believe that Persepolis still holds undisclosed secrets, leaving ample space for researchers and filmmakers," Mazaheripur stated.

Referring to his recent documentary, Mazaheripur said: “We intended to uncover it based on in-depth research. Editing consumed most of our time due to the details stemming from our comprehensive studies.”

Reflecting on personal experiences during the documentary's production, Mazaheripur remarked on the challenge of accessing historical visual documents from various sources but expressed satisfaction with the culmination of their efforts.

Also known as Takht-e Jamshid, Persepolis ranks among the archaeological sites that have no equivalent, considering its unique architecture, urban planning, construction technology, and art.

Majestic approaches, monumental stairways, throne and reception rooms, and dependencies have made that 13-ha ensemble one of the world’s greatest archaeological sites.

Construction of its immense terrace was begun about 518 BC by Darius the Great, the Achaemenid Empire’s king. On this terrace, successive kings erected a series of architecturally stunning palatial buildings, among them the massive Apadana palace and the Throne Hall (“Hundred-Column Hall”).

The terrace is a grandiose architectural creation, with its double flight of access stairs, walls covered by sculpted friezes at various levels, monumental gateways, gigantic sculpted winged bulls, and remains of large halls.

By carefully engineering lighter roofs and using wooden lintels, the Achaemenid architects were able to use a minimal number of astonishingly slender columns to support open-area roofs. Columns were topped with elaborate capitals; typical was the double-bull capital where, resting on double volutes, the forequarters of two kneeling bulls, placed back-to-back, extended their coupled necks and their twin heads directly under the intersections of the beams of the ceiling.

"Narratives say that Persepolis was burnt by Alexander the Great in 330 BC apparently as revenge against the Persians, because it seems the Persian King Xerxes had burnt the Greek City of Athens around 150 years earlier". Actually Alexander the Great burnt the Palace of Xerxes,it were the Arab Conquerors who burnt down the city.

Source:https://www.tehrantimes.com/news/493172/Persepolis-still-harbors-numerous-mysteries-documentarist-says

[mutant-distraction]

Elisabet Bclan

Persepolis, Iran // August 2018

Persepolis (/pərˈsɛpəlɪs/; Old Persian: 𐎱𐎠𐎼𐎿, romanized: Pārsa; New Persian: تخت جمشید, romanized: Takht-e Jamshīd, lit. 'Throne of Jamshid') was the ceremonial capital of the Achaemenid Empire (c. 550–330 BC). It is situated in the plains of Marvdasht, encircled by the southern Zagros mountains, Fars province of Iran. It is one of the key Iranian cultural heritage sites and a UNESCO World Heritage Site since 1979. - Wikipedia

[mayowitch]

A Phenomenological Analysis of Persepolis

Begun by King Darius I circa 515 BCE, the palatial complex of Persepolis was once the ceremonial administrative hub and ritual capital of the Achaemenid Persian Empire (McFerrin 2022, 189; Sil’nov 2018, 59). Elevated from the surrounding Marvdasht Plain by an earthen terrace measuring approximately 450m by 280m and raised 9 to 18 meters from ground level, Persepolis was also situated on the Royal Road, making it well connected to other cities throughout the empire, such as Susa and Sardis while simultaneously elevating and disconnecting it from its surroundings, dominating the landscape (Soheil 2018, 25 & 17). As expressions of culture, built forms play a communicative role in the structuration process of society, coupling the paths of individual members of society at defined points and acting as tools to facilitate, control, and maintain social interaction on a large scale (Letesson andVansteenhuyse 2006, 92). Perception of architecture informs as much a part of its definition as the function of its rooms or the material facts of its construction (Letesson andVansteenhuyse 2006, 91). However, perception is not to be equated solely with vision but with the total experience of moving through the complex, as it would have been during its peak of activity primarily by Achaemenid subjects. I will analyse this experience based on the phenomenological factors outlined by McMahon (2013) in her analysis of Khorsabad: Accessibility and movement, field of view, light and shadow, and finally sound.

By controlling the size, angle, and number of entrances it is possible to subtly direct and communicate the publicity of entrances and therefore the spaces beyond them. Palaces function as both public and private architecture, highlighting the culturally specific nature of any binary understanding of these categories (Adams 2007, 361). However, the terrace of Persepolis can be approximately articulated within this dichotomy by distinguishing the north as the public sector and the south as private (Soheil 2018, 31). Intersecting with the distance travelled from the Gate of All Lands, requiring visitors to move through several zones to reach exclusivity, the areas associated most with the king’s personage are also at the highest elevation. The main structures of the terrace, as surveyed in the 1930s, vary from the lowest in the entrance courtyard, the Treasury, and the Harem, to the highest in the palaces of Xerxes and Darius (Soheil 2018, 28). This elevation not only allows individuals in the upper palaces to look out over the terrace and beyond, placing them in a visually dominant position over those below, but on entry would force the ascendant’s gaze upwards, making it more difficult to both look around and walk, limiting their mobility and suggesting a strategy of intimidation and control over the body (Adams 2007, 365 & 368). This sense of drawing closer to the private domain of the king also carries a sense of the growing personal control and knowledge held over the space, as walls and ceilings contract around the traveller, conveying the message that this space is coveted, desirable, and overseen by others (McMahon 2013, 170). Thresholds are the physical embodiment of these transitions between the domains of public and private, profane and sacred, and common and exclusive (Adams 2007, 361). The visuality of their design, inscriptions, and artworks imply a conscious engagement with the movement of users to emphasise the transition between outer and inner; compared to a single, slender-walled plane to pass through, gate spaces hold considerable and clearly defined presence forcing complete residence within the gate for a noticeable, even if brief, time (McMahon 2013, 169).

Accessibility is defined not only by the movement of individuals through three-dimensional space, but also by the clarity of a place’s purpose and the expectations placed upon the traveller (Laurence and Low 1990, 471). This is especially notable for outsiders, who, particularly in the multicultural society supported by Achaemenid rule, may lack an understanding of Persian social norms. An overabundance of access points could be intimidating for the uninitiated, who may not know which route to take (McMahon 2013, 168). However, upon entering from the Gate of All Lands, the Apadana immediately presents itself as the most significant and accessible passage, even communicating what could be expected to take place internally through the external reliefs of envoys (Adams 2007, 371). On the reliefs lining the stairways of the Apadana, orderly, identical, and armed guards stand flanking the visitor on each step. Similar figures flank the stairs to the Central Building; they are far more diverse, talking, gesturing, and touching, acting with less solemnity and without weapons. These figures stand at approximately one meter tall, neither leaving a significant impression of intimidation upon the traveller but wordlessly cueing the relevant norms of interaction in a specialised place (McFerrin 2022, 197). The behaviour depicted in the reliefs of Persepolis serves as a guide, unobtrusively teaching new modes of interactions to subjects, and in so doing underscoring changes from previous iterations of imperial governance while reassuring visitors that they are properly adhering to the new system (McFerrin 2022, 197). Additionally, throughout Persepolis the king appears on doorway reliefs, always directed towards the main spaces to reach the portico and then go out. Through these reliefs, a traveller penetrating Persepolis is regularly confronted by the king's visage, suggesting his agency and movement beyond a static figure, moving to meet and engage with visitors as well as suggest his omnipresence within the palace (McFerrin 2022, 209).

A key element of the visual experience of architecture that is frequently diminished by analysis through floor plans is the manipulation of fields of view, alternately diminishing and expanding dimensions to manipulate scale and sightlines (McMahon 2013, 169). Field of view is directly linked to perceptions of spaciousness, mobility, and freedom and within Persepolis is primarily manipulated through the use of walls and columns (McMahon 2013, 172). Within the boundary walls of Persepolis’ terrace, much of the outside landscape is obscured. However, evidence in the ruins of Persepolis does not suggest that this wall completely encircled the Terrace, relying on the elevation of the terrace itself for any potential defense. Rather, the walls are theorised to at most have served to sustain the image of imperial power and grandeur (Soheil 2018, 131). This also would have shortened the field of view of those within Persepolis save from a few controlled vantage points, such as from windows in the Apadana, generally giving the impression that travellers were removed and protected from the outside world, increasing the Persepolis’ prominence and importance in the absence of outside distractions. Furthermore, throughout Persepolis the numerous columns characteristic of Achaemenid Persian architecture encourage bodily perception to become more grounded, directing the traveller’s vision upwards towards the elaborate theriomorphic capitals (McFerrin 2022, 203). The enveloping verticality of these forms reinforces the comparatively small size of the bodies of visitors, drawing direct attention to the sheer scale of the structure, particularly due to the emphasis on proportions themselves as a guiding principle in Achaemenid architectural design (McFerrin 2022, 206; McMahon 2013, 168). Limiting how much of the room can be viewed at once in columnar halls creates an almost maze-like effect, destabilising the boundaries of the room and emphasising “a many to one—instead of a focused one on one—encounter with the central figure,” (Gopnik 2010, 203) in the case of the Apadana: the king. Much like the repetition of delegates and guards on the external reliefs, the repetition of the columns reinforces the importance of the collective (McFerrin 2022, 204).

Light and shadow were used throughout Persepolis to create texture and variance both on surfaces and to create contrast and vary the intensity of visual experience. At all times of year, the sun was a major variable in Persia; generally, the scouring heat of the sun was something to avoid, while shadow held positive aspects of relief, richness of colour, and increased visibility (McMahon 2013, 173). Based on the almost perennial reliability of stark sunlight, dark and light may have become “building materials” for creating structure and contrast (McMahon 2013, 173). For example, the walls of Persepolis utilise niched and buttressed facades to relieve the starkness of otherwise blank walls by creating regular decorative shadows, and similarly, all columns in Persepolis are fluted, creating a comparable vertical effect (Soheil 2018, 91; McMahon 2013, 173). Beyond this, thin layers of white pigment that have been found on multiple surfaces, making them more reflective in the bright sun and acting as a base coat to produce more vibrant colours when painted over, creating greater contrast and leaving a more vivid impression (Chaverdi et al. 2016, 29; Nagel 2013, 615). This technique was also used to increase the vibrancy of coloured floor plasters throughout the complex (Oudbash, Shekofteh, and Fadaei 2013, 493). Light may be combined with sensory multiplicities, like changes in temperature, field of view, or accessibility, to emphasise the transition between spaces by combining inputs to create a more impactful contrast (McMahon 2013, 174). For example, in addition to constricting fields of view and movement, low visibility can also make a space desirable, implying privacy, control over the environment, and respite from the rays of the sun (McMahon 2013, 170). All these phenomenological factors are entwined in a way that may not be possible to fully disentangle to create a holistic sensory experience (McFerrin 2022, 191).

Sounds are crucial to lived experiences of spaces, heralding material action and the application of force, implying the actions of surrounding agents and connection with others (Witmore 2006, 276). The sounds most often associated with a work of monumental architecture such as Persepolis would have been that of people; the sounds of movement and conversation would merge and diffuse into one omnipresent background noise (McMahon 2013, 175). However, the thick walls of Persepolis would also quickly muffle sounds, maintaining a sense of immediacy with those nearby. The use of plaster for internal floors rather than sound-absorbing brick may have been partially motivated by a desire to amplify the sound of footsteps, contributing to an increased awareness of the self and of the built space (Soheil 2018, 39). Beyond auditory sound inputs, at Persepolis interaction with reliefs presents visitors with immersive depictions of sound production (McFerrin 2022, 189). The evocation of sounds such as people in conversation or a lioness snarling, maw agape, produces separations by depicting conceptual sensations that, while visually comprehensible, are not audible (McFerrin 2022, 191). Even as the reliefs invite the blurring of reality between traveller and depiction, for instance through the portrayal of envoys and guards outside the entrance to the Apadana, they preclude the possibility of fully participating in the depicted setting through the denial of complete sensory engagement (McFerrin 2022, 191). To develop a nuanced appreciation of the practices and perceptions of the past, it is necessary to attempt to understand its richness and complexity (Witmore 2006, 284). Although visuals provide an invaluable basis for understanding, other sensory properties such as sound which are evident in the material world cannot be ignored, as archaeology also has a responsibility to examine all the implications of material presences (Witmore 2006, 270).

Persepolis’ designers used elevation, proportions, reliefs, light, and columns to create dramatic and variable experiences for users and to reproduce the themes of the strength in diversity of Achaemenid Persia and the ubiquity of the king’s political control. Without utilising a phenomenological approach, many of these factors that create such strong contrasts and impressions upon visitors are rendered oblique or invisible. However, experiential reconstructions of architecture, by considering perspectives and movements at ground level, powerfully counter non-representative and artificial bird’s-eye plans.

Bibliography:

Adams, Ellen. 2007. “pproaching Monuments in the Prehistoric Built Environment: New Light on the Minoan Palaces.” Oxford Journal of Archaeology 26, no. 4 (November): 359-394. https://doi.org/10.1111/j.1468-0092.2007.00289.x.

Askari Chaverdi, A., P. Callieri, M. Laurenzi Tabasso, and L. Lazzarini. 2016. “The Archaeological Site of Persepolis (Iran): Study of the Finishing Technique of the Bas-Reliefs and Architectural Surfaces.” Archaeometry 58, no. 1 (February): 17–34. https://doi.org/10.1111/arcm.12153.

Institute for the Study of Ancient Cultures. n.d. “Persepolis Terrace: Architecture, Reliefs, And Finds.” The University of Chicago. Accessed September 11th, 2024. https://isac.uchicago.edu/collections/photographic-archives/persepolis/persepolis-terrace-architecture-reliefs-and-finds.

J. Paul Getty Museum. 2022. "Persepolis Reimagined." The Getty. https://persepolis.getty.edu/.

Lawrence, Denise L., and Setha M. Low. 1990. “The Built Environment and Spatial Form.” Annual Review of Anthropology 19, no. 1: 453–505. https://doi.org/10.1146/annurev.an.19.100190.002321.

Letesson, Quentin, and Klaas Vansteenhuyse. 2006. "Towards an Archaeology of Perception: ‘Looking’ at the Minoan Palaces." Journal of Mediterranean Archaeology 19, no. 1: 91-119. https://doi.org/10.1558/jmea.v19i1.91.

McFerrin, Neville. 2022. “A Sense of Scale: Proprioception, Embodied Subjectivities, and the Space of Kingship at Persepolis.” In The Routledge Handbook of the Senses in the Ancient Near East, edited by Kiersten Neumann and Allison Thomason, 189–209. London: Routledge. https://doi.org/10.4324/9780429280207-12.

McMahon, Augusta. 2013. "Space, Sound, and Light: Toward a Sensory Experience of Ancient Monumental Architecture." American Journal of Archaeology 117, no. 2 (April): 163-179. https://doi.org/10.3764/aja.117.2.0163.

Motamedmanesh, Mahdi. 2022. "Achaemenid Building Technology: The Key to a New Reading of Royal Achaemenid Architecture.” Journal of the Society of Architectural Historians 81 no. 3 (September): 299–319. https://doi.org/10.1525/jsah.2022.81.3.299.

Nagel, Alexander. 2013. “Color and Gilding in Achaemenid Architecture and Sculpture.” In The Oxford Handbook of Ancient Iran, edited by Daniel T. Potts, 596–621. United States of America: Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199733309.013.0014.

Oudbashi, Omid, Atefeh Shekofteh, and Hamid Fadaei. 2023. “An Exploration of a 2500-Year-Old Monument: A Reappraisal of the Achaemenian Decorative Flooring Plasters in Persepolis World Heritage Site (ca. 550–330 BCE).” Studies in Conservation 68, no. 5 (July): 491–501. https://doi.org/10.1080/00393630.2022.2062562.

Sil’nov, Aleksandr V. 2018. “The Female Half Of The Imperial Palace at Persepolis: Architecture and Functional Lay-Out.” Acta Archaeologica Lodziensia, no. 64: 59–67. https://doi.org/10.26485/AAL/2018/64/5.

Soheil, Mehr Azar. 2018. The Concept of Monument in Achaemenid Empire. New York: Routledge. https://doi.org/10.4324/9781315165639.

Witmore, Christopher L. 2006. “Vision, Media, Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World.” Journal of Material Culture 11, no. 3 (November): 267-292. https://doi.org/10.1177/1359183506068806.

[selinbeautyir]

کانسیلر میبلین سری Eraser مدل Instant Anti-Age در میان کانسیلر ها دارای محبوبیت زیادی است. این کانسیلر جهت رفع تیرگی و عیوب نقاط مختلف صورت مانند دور چشم ها ،خط خنده ،خطوط بینی و پف و تیرگی دور چشم ها استفاده می گردد. پوشانندگی این محصول بسیار بالا بوده و با مقدار کمی از مایع آن، نتیجه بسیار مطلوبی حاصل می گردد و در نهایت پوستی یک دست و روشن به ارمغان می آورد. این محصول به صورت سرخود دارای پد بوده که سهولت استفاده و حمل آن را بیشتر می نماید. طراحی کاربردی میکروفیل اسفنج این محصول به گونه ای است که پوشش خود را بر کوچکترین حفره های پوست صورت نیز اعمال می کند. این پد کاملا آنتی باکتریال است. کانسیلر میبلین سری Eraser مدل Instant Anti-Age موارد استفاده کافیست درپوش قرمز رنگی که در بالا نمایش داده شده است را در جهت فلش هایی که روی آن حک شده است راپیچانده تا اثر مایع کانسیلر روی پد آشکار شود، اکنون پد آماده استفاده می باشد. ممکن است در دفعات اول لازم باشد دفعات بیشتری درپوش را بپیچانید. ویژگی حاوی کلاژن, ماندگاری بالا نوع پوست برای همه پوست ��ا ┇ ┇ ┇ 🔘 ┇خرید از سایت : Selinbeauty.ir ┇واتس اپ : 09023059097 #کانسیلر #کانسیلر_میبلین #میبلین_اصل #فیت_می_میبلین #کانتورینگ_صورت #کانتوروکانسیلر #میکاپ_آرتیست #کانتورمیکاپ #کانسیلرمیکاپ #گریم_صورت #گریمور_حرفه_ای #کانتورینگ_چهره #کانسیلرمایع#کانسیلرجامد (at Persepolis, MarvDasht) https://www.instagram.com/p/Cou3pDDN6PG/?igshid=NGJjMDIxMWI=

[normscarpetcleaning-blog]

Welcome to todays report from the Rugs Unraveled Guild (Agents of R.U.G.). For your viewing pleasure, I present to you, a few Persepolis Pattern Rugs. They are so intricate and beautiful!

Persepolis, located in Iran, Marvdasht, Fars Province, was the ceremonial capital of the Achaemenid Empire (ca. 550–330 BC) So, you can imagine a city full of pillars and kings and temples. Magical beasts and horses are woven into a rug. The architecture of the site is what you see in the rugs. 

https://normscarpetcleaning.com/area-rug-cleaning-near-me/

#Wayne #elburnil #stcharles #Batavia #Aurora#bartlettil #genevail #geneva #elburn

[itourisma-blog]

Marvdasht County

Name: Marvdasht County Location: Marvdasht county, Fars province, Iran Description: Marvdasht is the cradle of Iranian civilization and is one of the cities of Iran located in Fars province   نام: شهر مرودشت محل: ايران، استان فارس شرح: مرودشت مهد تمدن ايران و دومين شهر بزرگ استان فارس است   Please upload your related photo of Iran (If confirmed, it will be displayed on the website with your name) لطفا عکسهای مرتبط خود از ایران را از طریق لینک زیر برای ما ارسال نمایید. در صورت تایید، عکسها با نام و مشخصات شما در وب سایت منتشر خواهند شد Upload: https://itourisma.com/upload Read the full article

[ebrahimigd]

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A post shared by مجتبی ابراهیمی | طراح گرافیک (@ebrahimigd)

Sky replacement photoshop Mojtaba ebrahimi @ebrahimigd Photo by ali mousavi-unsplash #skyreplacement #photoshop #perspolis #iran #marvdasht #mojtabaebrahimi #ebrahimigd #niloofargraphic #فتوشاپ #ایران #فتوشاپ_عکس #تخت_جمشید #پرسپولیس #آسمان https://www.instagram.com/p/CfKFBEtMbvv/?igshid=NGJjMDIxMWI=

[farazfm]

Tomb of the Great Darius, The Great Xerxes and Ardeshir I, Marvdasht, United Nations of Persia 🇮🇷 #Tomb #Darius #TombOfDarius #TheGreatDarius #Cyrus #Xerxes #Persia #Persian #Iran #History #Honor #Art #Architecture #Life #Mountains #Iranian #Shiraz #Marvdasht #Persepolis #Zoroastrian #Zoroastrianism (at Tomb of Darius I)

[virginiathegoat]

The horrific video shows how the Islamic Regime's repressive forces attack the people will all types of weapons in marvdasht city. from a few hours ago 15th of November, 2022.

[manelod]

Rahmatollah Bashiri Powerlifter PRO

First, introduce yourself to our readers My name is Rahmatollah bashiri, born in Marvdasht (kenare), Live In Tehran-Iran How did you get started with bodybuilding? Well, when I was young I played football in the Iranian champion league (league 2) and I had a week point in my calves and couldn’t jump so high so my coach offered me to register in a bodybuilding gym and work on my calves. After 2 or 3 months I found that I feel like bodybuilding and making muscles. So I left Football forever and stuck to making muscles Where does your motivation come from? My motivation comes from all the people I have inspired to exercise. The same people who send me emails saying they have lost 20lbs or joined a gym because of me. I feel as if I have a duty/obligation to these people and that is my motivation. This is what pushes me to go to the gym and diet every day. What has been your biggest accomplishment in the powerlifting and bodybuilding field? My biggest accomplishments in powerlifting are winning 1 world raw deadlift championship hitting the world record in the WPC congress.

My biggest accomplishments in bodybuilding are winning 3 Fars province bodybuilding championship titles and qualifying for the Iranian bodybuilding championship contest What workout routine has worked best for you?

The best routine for my particular body has always been heavyweights mixed with high reps. This is how I was able to pack on dense muscle to my lean frame.

Full Routine:

Saturday: Back

Deadlifts 5×11-13 Lat Pull Downs 4×11-13 Bent-Over Barbell Rows 4×11-13 Underhand Pull-Ups 3×11-13 Seated Cable Rows 4×11-13 Overhand Pull-Ups 1 set to failure

Sunday: upper chest and shoulder Dumbbell Shoulder Press 5×11-13 Seated Dumbbell Side Raises 5×11-13 Seated Dumbbell Front Raises 3×11-13 Barbell Shrugs 4×11-13 Barbell Standing Military Press 4×11-13 Standing Dumbbell Arnold Presses 3×11-13 Incline Dumbbell Fly’s 4×11-13 Incline Barbell Bench Press 5×11

Monday: front leg Leg Extensions 5×11-13 Squat 13-11-9 5x7 Leg press 5 (7+7+7) Walking Lunges to failure Donkey Calf Raises 6×11-13

Tuesday: rest and massage

Wednesday: arms Seated Preacher Curls 4×11-13 French Curls (on the decline) 5×11-13 Standing Hammer Curls 4×11-13 Tricep Pushdowns 5×11-13 Heavy Barbell Curl 3×11-13 Seated Overhead Tricep Extensions 3×11-13

Thursday: hamstring and gluteus Lying leg curls 5x 13 Standing leg curls 5x 15 Leg press 5x15 Dumbbell lying leg curls 5x15 Back extension 5x15 Donkey calf raise 5x15

[presstvplus]

Ancient bas-relief (1800-years-old) depicting "The triumph of Persian Emperor Shapur I over the Roman emperors Valerian and Philip the Arab" in Marvdasht, Fars province.

[rastaan-blog]

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آژانس تبلیغاتی رستان.ساخت تیزرهای تبلیغاتی . موسسه ترمیم مو سحر ظهرابی.نشانی جدید:شیراز روبروی خیابان عفیف آباد ساخت انوع تیزرهای تبلیغاتی با انواع قیمت ها آدرس:مرودشت بعد از بیست متری بیمارستان به سمت دانشگاه آزاد جنب داروخانه دکتر رضایی-آژانس تبلیغاتی رستان Www.rastaan.ir #طراحی #لوگو #مرودشت #marvdasht #آرم #تبلیغ #تبلیغات #رستان #آگهی #سایت #تراکت #بروشور #کاتالوگ #پوستر #تیزر #وبسایت #پیامک #سربرگ #کتابچه #پاکت نامه #فولدر #برنامه_ریزی #کمپین_تبلیغاتی #عکاسی #عکاسی_صنعتی_تبلیغاتی #آژانس_تبلیغاتی #چاپ #چاپ_سیلک #افست #پاکت #رستان #هدایای_تبلیغاتی https://www.instagram.com/p/Bjl5dKJnirM/?utm_source=ig_tumblr_share&igshid=1xgl8mm5y5x73

[etymopedia]

‏‎#كعبة_زرادشت #نقش_رستم ، #مرودشت #Marvdasht في #فارس ، #ايران.. #اتموبيديا‎‏

[selinbeautyir]

معرفی لوسیون پوست سر ارایبا Erayba ayurvedic scalp lotion : لوسیون پوست سر ارایبا Erayba scalp lotion درمانگر وگان پوست سر ، غنی از مواد طبیعی. لوسیون پوست سر ارایبا پوست سر را ترمیم می کند و رشد موهای سالم را تحریک می کند و با اثر تسکین دهنده، آنتی اکسی��ان و بسیار مرطوب کننده. این محصول برند ارایبا سلامت مو و پوست سر را بازیابی می کند: حفظ و پیشگیری از ریزش مو، پیری مو را کند می کند، به از بین بردن شوره سر کمک می کند و ترشح چربی را تنظیم می کند. تاثیر آب لیمو و جینسینگ در ترکیبات لوسیون پوست سر Erayba : لیمو ترش: با مقادیر بالای اسید سیتریک و ویتامین C و نیز داشتن خواص آنتی اکسیدانی و حذف رادیکال های آزاد . باعث تحریک فولیکول های مو و افزایش گردش خون در آن ناحیه می شود. جینسینگ: اکنون به عنوان گیاه دارویی موثر در درمان ریزش مو بسیار شناخته شده است. امروزه استفاده از جینسینگ برای تقویت موها رواج پیدا کرده است و مهمترین دلیل آن این که می تواند ریشه مو را تقویت کند. محتوای جینسینگ، مواد مغذی دارد که برای ریشه مو مفید است. بنابراین می تواند به طور قابل توجهی از ریزش مو جلوگیری کند. ویژگی های لوسیون کف سر اسکالپ ارایبا : درمان پوسته ریزی تقویت پوست و ریشه مو رفع شورهای کف سر مراقبت کنندهکف سر خاصیت آبرسانی اصولی ساقه و ریشه مو درخشان کننده مو پاکسازی پوست سر ┇ ┇ ┇ 🔘 ┇خرید از سایت : Selinbeauty.ir ┇واتس اپ : 09023059097 #لوسیون_کف_سر#لوسیون_ارایبا#ترمیم_موهای_اسیب_دیده#ضدریزش#ضدریزش#جلوگیری_ازریزش#درمان_موهای_اسیب_دیده (at Persepolis, MarvDasht) https://www.instagram.com/p/CoXwgtDN-HW/?igshid=NGJjMDIxMWI=

[irganj-blog]

#هنر_تخت_جمشيد ♻️ تصویر نبرد شیر و گاو در نقش برجستۀ تخت جمشید را می توان نمادی از تقابل، نبرد و چیرگی اعتدال بهاری بر سرمای زمستان و همینطور تحویل سال و نوروز دانست. ⚠️ شیر و گاو از آن عناصری هستند که در هنر و همین‌طور تفکر مردم باستان نمودی بارز دارند و در بسیاری از مواقع در ارتباط با هم دیده می‌شوند. برای بررسی نماد شیر و گاو بهتر است که در ابتدا آن‌ها را به طور مجزا بررسی کنیم و سپس به ارتباط‌ میانشان بپردازیم. ⚠️ نماد #شیر از آن نمادهایی است که هم در معنی خوب به کار رفته است و هم در معنی بد. شیر به عنوان #سلطان جنگل شناخته شده است، پس با پادشاهان و سلاطین در ارتباط است .در واقع همان‌طور که شیر سلطان حیوانات است شاه نیز سلطان آدمیان است.(البته بد نیست بدانیم که شیر در دشت زندگی می‌کند نه در جنگل) شیر نماد عظمت، قدرت، دلیری�� عدالت و قانون است و از طرفی دیگر نماد بی‌رحمی و جنگ است. ⚠️ پیدا شدن شیر در هنر مصر و بین‌النهرین و ایران باستان نشان می‌دهد که این حیوان روزگاری در این مناطق می‌زیسته است . ظاهرا شیر موجود در بین‌النهرین و حوالی آن در قرن بیستم میلادی کشته شد و آخرین شیر ایرانی هم حدود هشت دهه پیش شکار شد. اما وجود این حیوان اثرش را بر اعتقادات و فرهنگ مردم از مدت‌ها قبل باقی گذاشته است. ⚠️ در کهن‌ترین نقوش و تصاویر، شیرها نگهبان پرستشگاه‌ها، قصرها و آرامگاه‌ها بودند و تصور می‌رفت درنده‌خویی آنها موجب دور کردن تاثیرات زیان‌آور باشد. بنابر کتاب‌های جانورشناسی قرون وسطی شیر نماد رستاخیز است. زیرا تصور می‌کردند که توله شیرها، مرده متولد می‌شوند و تنها در روز سوم هنگامی که پدرشان نفس خود رار بر آنها می‌دمد، زنده می‌شوند. در ادبیات، شیر استعاره‌‌ای شایسته برای پادشاهان دوستار جنگ است. شیری که یک گراز را می‌کشد معرف نیروی خورشید است که گراز زمستان را از پا درمی‌آورد. شیر و بره در کنار هم نماد بهشت بازیافته، وحدت آغاز هستی، عصر طلایی و رهایی از تعارض است. 🆔@irganj #persepolis, #shiraz , #iranhamsafar, #irantourism, #ancient, #ancient_iran, #takhtejamshid, #marvdasht, #light, #gate, #irantraveling, #travel, #irantravel, #aksiine, #akaskhooneh, #hamgardi #iran #تاریخ_تمدن_ایران #تاریخ_ایران #تاریخ_ایران_زمین #ایران_زمین #ایران_قدیم #تمدن_ایرانی

[itourisma-blog]

Persepolis Museum

Name: Persepolis Museum Location: Marvdasht county, Fars province, Iran Category: Museums Description: In the Persepolis Museum objects from the pre-historic, Achaemenian and Islamic periods are all collected in three different sections and are on exhibit   نام: موزه تخت جمشید محل: ایران، استان فارس، شهر مرودشت دسته بندی: موزه شرح: ساختمان این موزه کاخ اصلی حرمسرای خشایارشا بوده است که یکی از مجموعه کاخ‌های تخت جمشید است و قدمت آن به ۲۵۰۰ سال می‌رسد. از سال 1311 پس از بازسازیهای انجام شده، به عنوان موزه تخت جمشید مورد بهره برداری قرار گرفته است   Please upload your related photo of Iran (If confirmed, it will be displayed on the website with your name) لطفا عکسهای مرتبط خود از ایران را از طریق لینک زیر برای ما ارسال نمایید. در صورت تایید، عکسها با نام و مشخصات شما در وب سایت منتشر خواهند شد Upload: https://itourisma.com/upload   Read the full article