Farzane Kaboli Dance In Salar Aghili Iran

Farzane Kaboli Dance In Salar Aghili Iran – The Baran Auction, the fourth special auction of calligraphy, Iranian and Islamic art, was held on November 9 at the International Convention Center in Raizan. 26.26 billion tommans (more than 2 million dollars) were spent on it.

A rare five-page manuscript of Persian poet Ferdowsi’s masterpiece, the Shahnameh, sold for 9 billion tomans ($750,000) on Friday night, making it the most expensive work of art sold at auction in Iran. Manuscripts carved in the Nastalik style of Persian calligraphy date from the Timurid era (circa 1370-1507).

Farzane Kaboli Dance In Salar Aghili Iran

The second most expensive item sold at auction was a miniature portrait of Nawab Akbari Beygum, an Indian king and princess decorated with calligraphy around it. This work was created by an Indian artist during the Zand dynasty (1751-1794). He received 5.7 billion tomans.

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The Cyrus cylinder, translated into Persian by calligrapher Hossein Niktalab, was the third highest-grossing auction item, selling for 3.9 billion tomans. The inscription weighs 65 kg and contains 8 kg of turquoise and 18.5 kg of opal.

The fourth most expensive item at the auction was a ring with verses from the Quran carved by Hossein Yasawul, which sold for 900 million tumans.

Portrait of Ali-Ebn-Ebrahim – the first Shiite Imam, Hazrat Ali (A.S), Imam Hassan (A.S) and Imam Hossein (A.S) from the Qajar period – 380 million tomman.

Mirza Gholamreza Isfahani – Black Chirograph Fragment Dated 1298 – 170 Million Tomans

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Khrist Taleghani – Qajar Era Silver Bracelet Inscribed Al-Quran Powder – 160 Million Tomans

Mohammadreza ibn zia-Aldin – Manuscript of Masnavi Shirin and Farhad 1227 100 million tomans

Two Quranic verses with Nastalik lines are from the Qajar era – 80 million tomman

Abd-Al Rashid – Two pieces of Safavi era Chalipa – 80 million tomans

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Mir Hossein Tabrizi – Black Christian section of 80 million tomman until 1295

Mir Hossein Tork and his disciples – 7 pieces of Qajar era chirography – 80 million tomans

4 chirographs of Hafez poems composed during the era of Mir Emad Safavi – 80 million tomans

Gholamhossein Amir Khani – Fragments of Nastalik Christian Prophecy Anecdotes with Ramin Merati Manuscript – 75 million tomman

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12 Lines of the Quran with Kufic Script Adapted from the Quran – 70 million tommans

Two parts Malek Mohammad – Mir Emmad AL-Hassani Qazvini hitography, 65 million tomans, 1319.

Zein AlAbedin Mahallati – Scroll of Surah Hud with Geographical Dates up to 1296 – 55 Million Tomans

Seyyed Mohammad Isfahani – Aye Alkorsi Chirography dated 1315 – 50 million tomans

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20 pages of poetry by Mirza Koochak and 53 pages by Vesal Shirazi 46 million tumans belonging to the Qajar era.

The Ashura Sermon written by Mohammad Bakr Isfahani is related to 1267 AD or 44 million tomans.

Abd Al Hossein Farmanfarma’s wooden stick with silver handle dates from the Qajar era and costs 40 million tomans.

Gyrographic Portrait of Molana and Asadola Kermani by Zia dated 1222 or 40 million tomans.

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The mirror frame with praise and salutations to the Prophet Muhammad (pbuh) and his descendants is from the Qajar period, 40 million tomman.

Pour Agha Bozorg – Anekdot Shirography Nastalik Selsele Alzahab 1311 AD – 40 million tomman.

Mohammad Kazem Waleh Isfahani – Fragment of chirography from 1215 – 40 million tomans

Kitab Manshaat, written by Mirza Mehdi Khan Monshi, dates from the Afshari era and contains 33 million tomans.

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Dashed line Nastali, allied with Mirza Golamreza Isfahani, dates back to the Qajar era – 29 million tomans

Mohammad Ali – Copper plate with Nastalik line engraving, 1298, 25 million tomans

The Qajar era ring dates back to 1221 and is worth 12 million tomans. Farzane Kabuli is an Iranian dancer, choreographer, stage and film actor. Before the revolution, she was one of the most famous dancers in the country.

The Islamic Republic banned the dance after the 1979 revolution. Despite severe restrictions, Ms. Kaboli continued her artistic pursuits and worked as a choreographer, teaching “form and rhythmic movements” that replaced the “dance” of the Islamic Republic.

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Kaboli was born into a musical family and started dancing at an early age. She was a high jump champion for several years before enrolling in Iran’s National and Folk Art Dance Academy with her father’s encouragement. She studied dance with British choreographer Robert de Warren and received acting training from her husband, Iranian theater director Hadi Marzban.

I love this country. I love my job and the students who live here. My work is different from others because it attracts viewers wherever it goes in the world. I can perform anywhere with little effort. Except I can only perform for a female audience, I can do it here too.

I love being here because I have students with me who started at the age of three and are now 25 years old. I’ve seen them grow up, and that’s important to me. This is the result of my efforts. I have a 29 year old student studying with me. I have seen them grow, mature and succeed, and that is priceless. So I have to stay here.

My husband, mother and I are all American citizens. I live in the United States, but I can’t live there, so I returned to Iran. I am very sensitive and happy living in Iran.

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I fell in love with dance at a young age, before I could walk. I responded by jumping up and down to the beat of the music. My father was a great dulcimer player and my mother played the accordion. My maternal uncle Mr. Garmsiri is a drama teacher and his brother is a radio singer.

I was born into an artistic family, so you could say it’s in my genes. When I was in high school, I was asked to organize a program to celebrate important events such as Mother’s Day and the Shah’s [Mohammad Reza Pahlavi] birthday. I was also a high jump champion.

I cut my hair short and performed as a male dance partner with my girlfriend. I choreographed and represented my high school in various competitions held at Farhang Hall in Tehran.

You are part of a five-piece troupe of dancers for world leaders at the Persepolis celebration of the 2,500th anniversary of the Persian Empire.

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They asked the five of us to choreograph each piece of music they gave us. However, I was the only person doing the choreography. I was also selected for the dance company for the Persepolis festival. The dancers took turns performing several solo performances for world leaders. I am proud of the performance.

Since we both worked in the Ministry of Culture, we were transferred to the performing arts department and did meaningless work. Then they auditioned dancers and I was given the only acting spot available. I was excited when I got the job, and that’s how I got into theater.

I am a solo dancer, never worked with a group. Now she attends group dance lessons and works with children in a large studio. During the years I worked from home, I would gather up to 35 students at home at the end of each year to reflect on their achievements. I designed their costumes, make-up and choreographed their solos.

In the early 90s, a magazine interviewed me four or five days after the show. A few days before the interview, the magazine informed its readers that I would be in the office. I have people calling me from all over the country wanting to know if anything has happened to me or if I’m okay. I asked the caller why he was worried.

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The caller said they saw one of my movies. I think they are referring to one of the movies I was in. But I found out that one of my irresponsible students had shared a video of my son playing at my house. After the video came out, I spent a month and a half in Evin prison in Tehran.

Salar Agili has planned to play 10 songs. Given the red line of the Islamic Republic, I only work with serious parts and avoid cheerful songs. I know we have to limit and limit movement

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