#hamoon

[alangoo]

WADI Collection by Hamoon for ALANGOO Private

Wadi collection is designed by a super creative non-binary fashion designer Hamoon Mahmoodi. Traveling all the way from Turkey to Los Angeles, this collection was recently showcased at ALANGOO’s prestigious and very successful runway show. Click to read about ALANGOO Fashion Weekend. WADI collection has also been featured on Fox TV across the country. Tap below to watch the full interview. Fox…

[trackmelodycom]

???? Listen And Download New Music By Hamoon Qaroon Called Barfe Piri With 2 Quality 320 And 128 On TrackMelody Media ???? New Persian Music Hamoon Qaroon – Barfe Piri ???? Download New Music By Hamoon Qaroon Called Barfe Piri With Best Quality➕Play Online On TrackMelody Media???? . . #TrackMelody #persian_music #Persian_music_download #Iranian_music_download #New_Persian_Music #New_Music #Arabic_music #Turkish_music #pop #rock #rap #jazz #download_music #trend_music

[omid441]

آهنگ حسین هامون واگیر https://www.music-single.com/hosein-hamoon-vagir.html

[maalru70]

Mario Alberto Ruiz Eres toda una Mujer autor.Albert Hamoon y Nike Hazlew...

[bigsearchir]

بهترین صندلی اپن آشپزخانه جک دار و ثابت [5 برند جدید و مدرن]

آیا می‌خواهید صندلی اپن برای آشپزخانه تهیه کنید و بین مدل و برندهای متعدد غرق شده‌اید؟ با توجه به تنوع محصولات در بازار، کاملا طبیعی است! ما در این راهنمای خرید نکاتی که قبل از خرید صندلی کانتر و جزیره باید در نظر بگیرید را شرح می‌دهیم و همچنین، فهرستی از بهترین صندلی اپن آشپزخانه جک دار و بدون جک را معرفی کنیم. برای اطلاع از مدل‌های جدید و مدرن، این نوشته را تا انتها دنبال کنید.

بهترین صندلی اپن آشپزخانه

۱. صندلی اپن آشپزخانه هوگر (Hogger)

اگر این روزها به دنبال صندلی برای اپن آشپزخانه باشید، حتماً با تولیدات برند «هوگر» روبه‌رو شده‌اید. صندلی اپن این کمپانی به علت طراحی متنوع می‌تواند به‌عنوان یک عنصر دکوراتیو زیبا در خانۀ شما نیز شناخته و همچنین منجر به سهولت در نشست و برخاست شما شود. بدنۀ صندلی کانتر هوگر از فلز یا پلاستیک مقاوم ABS بوده و قسمت نشیمن آن دارای اسفنج مرغوب است. روکش صندلی هوگر اغلب از جنس پارچه‌های زیبا و باکیفیت دیاموند است که در طرح‌ها و رنگ‌های بسیار متنوعی در محصولات به‌کار گرفته می‌شوند. این صندلی‌های کانتر اغلب به‌صورت سفارشی تولید می‌شوند و در بسیاری از موارد برای افزایش استحکام و زیبایی، پایه‌های محصول را به استفاده از کروم آبکاری می‌کنند. به‌طورکلی، «Hogger» یکی از گزینه‌های مناسب برای تهیه بهترین صندلی اپن آشپزخانه جک دار و بدون جک است.     مزایا: معایب: چند مدل از بهترین صندلی اپن آشپزخانه هوگر ۲. صندلی اپن آشپزخانه نیلپر (Nilper)

نیلپر نامی آشنا در صنعت ساخت بهترین صندلی کانتر و اداری ایرانی است. ارتفاع صندلی جزیره نیلپر قابل انتخاب یا تنظیم در دو اندازۀ ۴۵ و ۶۰ سانتی‌متر از سطح زمین است که این محصولات را برای انواع سبک طراحی اپن و کانتر تناسب می‌بخشد. صندلی اپن این برند نشیمنگاه‌هایی از جنس چوب و اسفنج مرغوب دارد که می‌توانید آن را هماهنگ با سبک دکوراسیون منزلتان انتخاب کنید. پیش‌تر از این صندلی‌های نیلپر تنها با پایه‌های چوبی یا فلزی ساخته می‌شدند، اما به‌مرورزمان صندلی‌های چرخ‌دار نیز به کاتالوگ این شرکت افزوده شدند. اگر شما هم خواهان خرید بهترین صندلی اپن آشپزخانه هستید که دوام و کیفیت خوبی داشته باشد، صندلی‌های این برند را بررسی کنید.   مزایا: معایب: ۳. صندلی کانتر آشپزخانه کروماتیک (Kromatik)

«کروماتیک» از برندهای شناخته‌شده در تولید صندلی ناهارخوری آشپزخانه با قیمت‌های مقرون‌به‌صرفه است. این کمپانی ایرانی صندلی‌های خود را اغلب از «پلی‌پروپیلن» و چوب تولید می‌کند، به همین علت این محصولات می‌توانند برای خانه‌ای با دکوراسیون سنتی، مدرن و تلفیقی انتخاب مناسبی باشند. معمولا صندلی‌های کانتر کروماتیک قابلیت تنظیم ارتفاع ندارند؛ همچنین تنوع محصولات این شرکت محدود است. اگرچه ممکن است در آینده این موارد را بهبود دهند. بااین‌حال از بین همین تعداد از بهترین صندلی اپن آشپزخانه کروماتیک، می‌توانید مدل مدنظر خود را با هزینه‌ای مناسب انتخاب کنید.   مزایا: معایب: چند مدل از بهترین صندلی اپن آشپزخانه کروماتیک ۴. صندلی کانتر و جزیره استیل هامون (Hamoon Steel)

برند استیل هامون طی این سال‌ها به دنبال ارائۀ محصولاتی با طراحیِ منحصربه‌فرد و کاربردی بوده است. محصولات این کمپانی از زیبایی بصری قابل توجهی برخوردار هستند و با وجود تنوع بسیار بالا، می‌تواند پاسخگوی ملاک‌های شما در راستای انتخاب بهترین صندلی برای اپن آشپزخانه باشند. استیل هامون از برندهای پیشرو در تولید صندلی کانتر دسته‌دار و انواع دیگر این صندلی‌ها بود که برای نخستین بار در ایران، اقدام به تولید محصولاتی با جنسی تلفیقی از چوب، فلز آبکاری‌شده و پلاستیک مقاوم نمود و طراحی محصولات خود را به تیم حرفه‌ای خود سپرد. از صندلی‌های این کمپانی به عنوان یک عضو دکوراتیو در خانه نیز می‌توانید استفاده کنید. در کل، این کمپانی یکی از گزینه‌های تهیه بهترین صندلی اپن آشپزخانه در بازار به محسوب می‌شود. مزایا: معایب: چند مدل از بهترین صندلی اپن آشپزخانه استیل هامون

راهنمای خرید صندلی اپن آشپزخانه

صندلی اپن یا همان صندلی کانتر، به پای ثابت اثاثیۀ منازل تبدیل شده است. اما در بازارِ رقابتی مبلمان با حجم بالایی از تنوع مواجه می‌شوید که اگر با آگاهی با آن برخورد نکنید، ممکن است شرایط انتخاب مناسب را از دست بدهید. چه نکاتی برای تهیه بهترین صندلی اپن آشپزخانه مهم است؟ در ادامه بخوانید.

Read the full article

[whileiamdying]

FILM; Revealing an Iran Where the Chadors Are Most Chic

by Godfrey Cheshire Nov. 8, 1998

IN the sweepstakes for the title Most Interesting and Accomplished Filmmaker the United States Has Never Heard Of, Dariush Mehrjui has certain obvious advantages. While still in his 20's, the Iranian director made ''The Cow'' (1969), a film so powerful that it not only was credited with launching Iran's modern cinema but also, a decade later, made a fan of the Ayatollah Khomeini and thus helped assure that country's cinema of having a post-Revolutionary phase. Cosmopolitan and ever-controversial, Mr. Mehrjui has had films banned by the Shah's regime and the Islamic Republic, and almost surely is the only filmmaker reared a devout Muslim who counts the novelists J. D. Salinger and Saul Bellow as major influences on his work. He's even made a film of Mr. Salinger's ''Franny and Zooey,'' called ''Pari,'' set in contemporary Iran.

That film, and a retrospective of eight other movies by Dariush Mehrjui, will be shown starting on Friday, when the Film Society of Lincoln Center begins a three-week series on Iranian film.

While the extent of Mr. Mehrjui's career may come as news to American cinephiles, his importance is universally recognized in Iran. In 1997, when the respected Iranian journal Film Monthly polled its readers and critics, the results showed that the readers regarded Mr. Mehrjui's ''Hamoon,'' a dark satire of modern Iran, as the best Iranian film in history, ahead of such internationally acclaimed works as Abbas Kiarostami's ''Through the Olive Trees'' and Mohsen Makhmalbaf's ''Gabbeh.'' The critics, meanwhile, ranked Mr. Mehrjui higher in importance than Mr. Kiarostami and Mr. Makhmalbaf, and cited ''Hamoon'' as more significant than any of their films.

So why hasn't his renown traveled as well as others'? Back in 1971, ''The Cow'' won prizes at film festivals in Chicago and Venice, and even some of his more recent films have captured international awards (his ''Leila'' played last spring's New Directors/ New Films series at the Museum of Modern Art). Yet in the last decade Mr. Mehrjui hasn't been favored by many of the top European film festivals, and the reasons evoke a paradox that goes to the heart of his work and its cultural resonances.

When asked, European festival programmers usually say that they bypass Mr. Mehrjui's films because his work is ''too Western.'' That opinion provokes howls of disbelieving laughter in Iran. Iranians feel sure they know why the West doesn't ''get'' Mr. Mehrjui, and they'll gladly tell you: it's that his films are ''too Iranian.''

Both perceptions stem from the fact that, virtually alone among Iranian directors, Mr. Mehrjui deals regularly, knowingly and provocatively with Iran's middle and upper-middle classes. His characters drive BMWs, wear chadors that are distinctly chic, and argue (endlessly) over art, religion, divorce settlements and real-estate deals. At a time when ''Iranian cinema'' internationally connotes a certain distanced exoticism, views of rug-weaving nomads or impoverished children against crumbling buildings, Mr. Mehrjui's sleek, educated, post-modern Teheran is clearly anomalous.

But hardly forbidding. ''You see his characters and feel like you could step into their living rooms and be perfectly comfortable,'' says Richard Pena, the programming director of the Film Society of Lincoln Center, which included Mehrjui films in its two previous Iranian festivals.

MR. MEHRJUI, who lives with his wife, Farial, a Harvard-educated architect, and their two children in genteel northern Teheran, belongs to the world he describes. Born in 1939 to a middle-class family, he describes himself as being intensely interested in music, fiction, religion, philosophy and other subjects as a teen-ager. Vittorio De Sica's neorealist classic ''The Bicycle Thief'' was the film that sparked his interest in cinema. After learning English and investigating what were then a very small group of universities abroad that taught film, he selected the University of California at Los Angeles and enrolled in 1959.

The experience proved disillusioning. He was excited by the visions of Antonioni, Fellini and Godard, filmmakers never mentioned by his professors, who, Mr. Mehrjui recalled, ''were the kind of people who had not been able to make it in Hollywood themselves but would bring the rotten atmosphere of Hollywood to the class and impose it on us.'' He switched his major to philosophy.

Returning to Iran in 1965, he took an offer to direct a James Bond spoof that set new standards for technical ambition in Iran but was a commercial disappointment. His artistic career began with his second feature.

''The Cow'' remains a dazzling achievement, the most impressive of Mr. Mehrjui's pre-Revolutionary features. Showing the influence of the neorealist works he admired, the film depicts a poor village thrown into turmoil by the loss of its one cow, whose owner develops a mad identification with the dead animal.

Spare, allusive, featuring starkly beautiful black and white photography and an extraordinary lead performance by Ezatollah Entezami, now Iran's most revered actor, ''The Cow'' had a catalytic effect on Iran's filmmakers and critics. But the Shah's government, which had funded it, bristled at the film's depiction of poverty and suppressed its public display.

Social themes remained at the center of his work through the 70's. ''Mr. Simpleton'' (1970), a satire about a bumpkin seduced by Teheran's big-city ways, was his one box office smash during this period, and the one film not to run afoul of official views. ''Postman'' (1971), a free adaptation of Georg Buchner's ''Wozzeck,'' won prizes at the Venice Film Festival but provoked the Shah's censors, while ''The Cycle'' (1974), a blistering drama about poor people forced to sell their blood, was slapped with a ban that lasted three years.

In the months before the 1979 Revolution, Mr. Mehrjui spent time in France filming the Ayatollah Khomeini, whom he supported, and other exiled anti-Shah leaders. Watching ''The Cow'' reportedly spurred Khomeini to comment approvingly on the cinema's social uses, a statement that proved valuable to progressive officials trying to revive the film industry under the Islamic Republic.

After a sojourn in France, where he made a meditative docudrama about the poet Rimbaud, Mr. Mehrjui returned to Iran and found his post-Revolutionary voice in ''The Tenants'' (1987), an exuberant, brilliantly mounted comedy about a group of apartment dwellers at war with the slick realtor who wants to evict them. The Islamic Republic's first runaway hit, the film, like other Mehrjui works, still amazes with its stingingly direct satire of contemporary social discontents.

''Hamoon'' (1990), which I, like Iranians, consider his best film, tells of a hapless 40-year-old intellectual undergoing a mental meltdown as his marriage unravels. The most autobiographical of his movies, the dark comedy-drama shows a third world society invaded by Toshiba and Sony, where characters fixate on their connections to Kierkegaard and Salinger as well as to Islamic religious figures, and where the protagonist's artist wife shouts at her beleaguered lawyer, ''Women have no rights in this country!''

That accusation leads directly to the four female-centered films Mr. Mehrjui made next. ''Banoo'' (1992), a brooding satire loosely based on Bunuel's ''Viridiana,'' about a rich women whose house is invaded by poor people, has been banned since completion. ''Sara'' (1994) and ''Pari'' (1995) transfer well-known Western literary works -- Ibsen's ''A Doll's House'' and Mr. Salinger's ''Franny and Zooey,'' respectively -- to contemporary Iran with fascinating results. (Both films star the popular young actress Niki Karimi, who will appear with a group of Iranian women filmmakers at a Nov. 20 screening.) And ''Leila,'' a melodrama about a young wife whose in-laws pressure her to allow her husband to take a second wife, has the distinction of being the first Mehrjui film picked up for United States distribution; it will be released in the spring by First Run Features.

His most recent film, which he will introduce at the series opening on Friday, is ''The Pear Tree.'' It depicts a writer recalling his adolescence in the idyllic Teheran of decades past. A lyrical, burnished memory film, it occasioned one of the director's slyest end runs around the censor: unable to show the hair of the teen-age girl who dominates the story's flashback, he depicts the character getting her head shaved because of lice, then wearing a ''wig'' that looks suspiciously like the young actress's hair. The witty ruse typifies the ingenuity of a director who has managed to chronicle the fortunes of Iranians through three decades of shifting political winds.

[nctrnm]

#NowPlaying: "Premiere: Keope - There Went Gingo (LERM & Hamoon Edit) - Urge To Dance" by Electronic Groove

[blogynews]

"Monstrous Cyclone Hamoon Set to Ravage Bangladesh Overnight: IMD Issues Urgent Warning | Brace for Impact, India News"

Cyclone Hamoon has intensified into a ‘very severe’ cyclonic storm as it moves east-northeastwards with a speed of 23 kmph over the Bay of Bengal, according to the India Meteorological Department (IMD). The storm, known as “Hamoon,” is currently located at 20.3°N latitude and 89.9°E longitude, approximately 330 km east of Paradip (Odisha). It is also 290 km east-southeast of Digha (West Bengal),…

[blogynewz]

"Monstrous Cyclone Hamoon Set to Ravage Bangladesh Overnight: IMD Issues Urgent Warning | Brace for Impact, India News"

Cyclone Hamoon has intensified into a ‘very severe’ cyclonic storm as it moves east-northeastwards with a speed of 23 kmph over the Bay of Bengal, according to the India Meteorological Department (IMD). The storm, known as “Hamoon,” is currently located at 20.3°N latitude and 89.9°E longitude, approximately 330 km east of Paradip (Odisha). It is also 290 km east-southeast of Digha (West Bengal),…

[blogynewsz]

"Monstrous Cyclone Hamoon Set to Ravage Bangladesh Overnight: IMD Issues Urgent Warning | Brace for Impact, India News"

Cyclone Hamoon has intensified into a ‘very severe’ cyclonic storm as it moves east-northeastwards with a speed of 23 kmph over the Bay of Bengal, according to the India Meteorological Department (IMD). The storm, known as “Hamoon,” is currently located at 20.3°N latitude and 89.9°E longitude, approximately 330 km east of Paradip (Odisha). It is also 290 km east-southeast of Digha (West Bengal),…

[deepballoondreamer]

Kolkata: Devoteess at a 'puja pandal' during 'Maha Asthami' of Durga Puja festival, in Kolkata, Sunday, 

Cyclone Hamoon: As cyclone Hamoon is likely to intensify in the next twelve hours, there are high chances of heavy rainfall spoiling the festive spirits of Durga Puja celebrations in West Bengal and Odisha Whole India is immersed in the celebration of nine-day-long Navratri festival. However, West Bengal, known for its grand pandals and pompous celebrations of Navratri festival is at the risk of…

[gobeautifulnerdbouquetlove]

Will Cyclone Hamoon in BoB Impact Durga Puja Festivities in West Bengal and Odisha? | Weather.com - The Weather Channel

http://dlvr.it/SxqD2l

[trackmelodycom]

🎵 Listen And Download New Music By Hamoon Qaroon Called Sagharam Shekaste With 2 Quality 320 And 128 On TrackMelody Media 🎵 New Persian Music Hamoon Qaroon – Sagharam Shekaste 🎶 Download New Music By Hamoon Qaroon Called Sagharam Shekaste With Best Quality➕Play Online On TrackMelody Media📼 . . #TrackMelody #persian_music #Persian_music_download #Iranian_music_download #New_Persian_Music #New_Music #Arabic_music #Turkish_music #pop #rock #rap #jazz #download_music #trend_music

[omid441]

آهنگ تو غیر از من هزارتا راه داری ولی من بی تو یک بن بست تنهام https://www.music-single.com/hamoon-hashemi-hamin-halaa.html

[masumcetin]

Rüveyda. ———

Fezayı bağlayarak yorgun kanatlarına Bir güvercin uçurup kıtalar arasından Çağırdın beni Geçerek birer birer sürgün kanyonlarını Derbeder koşup geldim ışıldayan tahtına Yarım koyup bir bardak kurşun rengi çayımı Yıkarak yalnızlığa kurduğum sarayımı Yetim çığlıklarımı duyurmak üzre sana Koşup geldim; iliştir beni memnu bahtına

Adını söylemek istemiyorum Her hecesi amansız bir kor dudaklarımda Her harfine yıllardır şimşeklerle yarıştım Zindanlara karıştım, ölümlerle tanıştım Adını söylemek istemiyorum Rüveyda dediğim zaman Anla ki, senin için yürüyor kelimeler Çığlığımın atardamarlarından Hangi yıldızdır bilmem, gözlerin Kayar da üzerime Rüveyda Önce tuhaf bir deprem yayılır bedenime Sonra açılır önümde ıstırap vadileri Silik renkleriyle adımlarıma Çözülmeye yüz tutan bir mazi mühürlenir Hayalin bittiği menfeze doğru Alaca bir at koşar içimde Zamansız, mekânsız nefese doğru Uslanmaz bir yürek taşıdığıma dair Yaygın bir kanaat dolaşır aynalarda Oysa Rüveyda Baştanbaşa ben Kevser akan, gül kokan bir kalbin filiziyim

Kitaplara sürdüğüm kapkara lekelerden Bir anlatsam nasıl utandığımı Bir doğrulsam eğildiğim yerlerden Ağarır tanyeri nilüferlerin Alaca bir at koşar içimde Ezer toynaklarıyla anılarımı

Sular köpürmemeliydi Rüveyda Kırılmamalıydı ıslak dalları hasret servilerinin Ben zehire alışkınım, şerbete değil Rüyalar nefret eder avare duruşumdan Kâbuslar çeker ancak derdimi yeryüzünde Sen gün boyu simsiyah bir ufukla beraber Ben her gece bir Mehdî türküsüyle çilekeş Yargılamak için zeval kayıtlarını İnkılap bekliyorum

Hangi umut çiçeğidir bilmem, ellerin Uzanır da gönlüme Rüveyda Derinden bir ok saplanır bağrıma Beynimi çağıran bir sese doğru Alaca bir at koşar içimde Zamansız, mekânsız nefese doğru

Varlığın cinayettir memleketimde işlenen Akıtır kanını asil pehlivanların Yokluğun sükûnettir kuşatır evrenimi Varlığın ve yokluğun ölümüdür baharın

Şimdi yıldızlardan bakamıyorsun Göklerinde bir Belkıs otururdu Rüveyda Binlerce gökkuşağı olurdu kirpiklerin Güneş bir anne gibi dururdu başucunda Artık dokunamıyor kâkülün bulutlara Karalara bürünmüş saçlarında dolunay Ben bu kadar zulme lâyık mıyım Rüveyda

Hangi ressamı vurur bilmem, endamın Sarar da benliğimi Ben beni tanımam kaldırımlarda Kafesleri yutan kafese doğru Alaca bir at koşar içimde Zamansız, mekânsız nefese doğru

Kırmızı bir kurdele bağlayarak alnına Duydun mu orkideye duâ eden birini Bu ısmarlama yüzler yok mu Rüveyda Bu yapmacık bebekler Gözyaşı akıtırken gülenler yok mu Beni kahrediyor geceler boyu

Hangi çağın gelişidir bilmem, gülüşün Soluk bir dünyanın mezarlarına Gömerek gurbetimi Kapadı karanlığa Yesrib, kapılarını Meydan okuyuşun çağın ordularına Bilmem hangi mevsimin başlangıcıdır Doruklardan öte hevese doğru Alaca bir at koşar içimde Zamansız, mekânsız nefese doğru

Yasını tutuyorum kararttığım düşlerin Yıpranmış divaneler gibiyim sokaklarda Amansız bir yalnızlık üfleyen pencereler Lif lif yoluyor kahır seyyahı bedenimi Önümde, haksızlığın hesaba çekildiği Siyahın simsiyahı tanımadığı mahşer Arkamda, kare kare ömrümü belirleyen Hatırladıkça yanıp tutuştuğum resimler

Söyle, nasıl aşarım pişmanlık dağlarını Yeniden bir Nil olup taşar mıyım çöllere Kim giydirir başıma tacını nihayetin Kim takar bileğime hürriyet künyesini Karada balık gibi nasıl yaşarım, söyle.

Rüveyda, seziyorum; tahammülün kalmadı Ama dur, boşaltayım bütün çığlıklarımı Asırlardır köhne barınaklarda Küflenen, çürüyen çığlıklarımı

At vuruldu; içim paramparça Rüveyda Gölgelerin ardına sakladım kusurumu Sen orda kayıtsızca gülümsüyor gibisin Ben burda damla damla eriyip akıyorum Yine de, bırakamam yerlere gururumu İstenmediğim yeri usulca terk ederim Hâtıra kalsın diye bırakır da ruhumu Mahzun bir derviş gibi boyun büker, giderim

——————

Nurullah Genç, Rüveyda Fotoğraflar: Dariush Mehrjui’nin 1989 yapımı, “Hamoon” filminden, (Bita Farrahi & Khosro Shakibai).

[haamoonhashemi]

#Vocal record in #Iran #Tv #studio سر ضبط با دوستان خوش صدا، #جاوید_عسکری و #رضا_فکری #Iran #TV #studio #record #sound #voice #vocals #haamoonhashemi #hamoonhashemi #hamoon #هامون_هاشمی https://www.instagram.com/p/BBQkJvTJrdT/?igshid=c7abyjmvix40