#termeh

[dlyarchitecture]

[pomegranatepixieart]

We shall be free ♥️

(the gorgeous termeh is from the Yazd bazaar, can’t recall the name of the exact shop but I’ll add it here if I find it later)

[televikacom]

A Separation | Another Glance at the Film Nader and Simin, A Separation

Nader and Simin, A Separation

A Separation is an Iranian drama film that was released in 2011 and was written and directed by Asghar Farhadi. The film stars Leila Hatami, Peyman Moaadi, Shahab Hosseini, Sareh Bayat, and Sarina Farhadi. A Separation is also known by its alternate title, "Nader and Simin, A Separation." The plot centers on an Iranian couple from the middle class who decide to divorce, the anguish and desperation endured by their daughter as a result of the egotistical disputes that led to their divorce, and the conflicts that arise when the husband hires a lower-class caregiver for his elderly father who suffers from Alzheimer's disease. The daughter also suffers from egotistical disputes and the divorce of her parents.

A Separation; A Movie More Than A Film

Even though it has been more than a decade since the premiere of Asghar Farhadi's most significant picture, A Separation, viewers interested in the film might find something new and appeal in viewing the film once more in the present day. When seeing the movie for a second time, one of the essential things to look out for is the discovery of minute and specific details. These details demonstrate the director's talent for turning a mundane occurrence into a dramatic situation that is both captivating and terrifying.

The success of Asghar Farhadi's fifth feature film has elevated him to such a high position that the script may easily serve as a learning unit in colleges throughout the world that teaches screenwriting and directing. In addition to having a remarkable effect on society, the picture's phenomenal success at international film festivals, for which it was nominated for the first Academy Award in the history of Iran's cinema, inspired a large number of other filmmakers to follow in his footsteps.

Because of the success of the movie "A Separation," filmmakers in Iran were inspired to produce films that could never provide the same level of creativity and effect that the story of A Separation had in the cultural and social spheres, but which nonetheless earned them recognition. It would seem that the key to Farhadi's success is a point that is both straightforward and challenging at the same time. This point is what sets him apart from all of his contemporaries and other directors. This uncomplicated argument is nothing more than an accent on the specifics.

Minute Details In “A Separation”

It is here that simple details such as taking the girl to school, leaving garbage at the door (which becomes a significant issue in court when the garbage bag is torn and the entrance stairs of the apartment are dirty), taking the change from the station attendant (which, along with the sequence of Nader's presence at Razie's house and writing a payment check in their name and recalling Nader's usual monologue about not giving money by force to anyone, shows a real manifestation of the contradictions of human behavior in different situations).

All the details above show us that we have seen a movie with an accurate and skilled filmmaker behind it that has a dramatic logic for all the moments of the story he is telling. Unlike directors who design and execute many scenes and dialogues of secondary characters just to increase the time of the film and reach the 90-minute limit of screening in cinemas; Surprisingly, Asghar Farhadi has not included any dialogue or action outside the structure of the drama or help characterization in the story.

Perhaps a look at the impact of secondary characters such as the neighbors and the teacher who tries the primary concern of the girl (Termeh, played by Sarina Farhadi), which is learning, let us know more about Asghar Farhadi's skill in complicating a simple situation through attention and focus on details.

Two Key Sequences in A Separation

Perhaps, Asghar Farhadi's intelligence can be seen in two sequences; 1) in The opening sequence - where the reason for the separation is migration to a country that offers a brighter future for them - 2) In the second scene of the film, Simin (played by Leila Hatami) amidst the clutter her house and passing through the workers who are busy carrying her piano, she went to different corners of her house to collect her belongings. This is the trembling camera on Farhadi, which, with its dynamic mise-en-scène, fuels the chaos in the atmosphere of the couple.

It takes about 7 minutes from the moment Simin enters the house to the moment she leaves, taking the nurse with her. During these 7 minutes, Asghar Farhadi quickly introduces us to the atmosphere of the house, the relationships between the main characters in his story, the grandfather who has Alzheimer's, and the nurse who agrees to work in their house to help the Simin family, making an acquaintance and spends the next few minutes of the film on the strength of the foundations of the drama, which all come to fruition in the second half with Razie's (played by Sareh Bayat) complaint against Nader.

A Separation Is NOT A Classic Drama

The exciting thing is that Farhadi, unlike the everyday classic dramas, which starts with a crisis in the relationship between the couple, and by involving them in a story, in the end, the story brings them to peace; The crisis of the couple in A Separation has continued endlessly, and even after solving their problem with Razieh's family (and despite the closeness of the husband and wife to each other, which leads to Simin's paternal house document being at their disposal), they are still aware of the divorce issue. It is deadlocked and makes the initial crisis of the film seem like an eternal inevitability.

The bitterness of the story takes on wider dimensions when we remember the girl who has always made her parents and those around her idol (We see the girl regularly studying and practicing the right behavior), and occasionally they teach her honesty and abstinence. She invites self-interested behavior by observing the mistakes and lies of his parents during the crisis, and she reaches strange conclusions from the complications of life, which even forces her to lie when faced with the judge's question; where she falsely says when facing the judge's question that she was the one who told her father about the exchange of phone numbers between the teacher and the nurse.

Maybe now, and in the face of the endless crisis that has gripped Nader and Simin's family, we can better understand the endgame that Asghar Farhadi has planned for the final chapter of his film. The end of the game comes from the heart of the drama itself and becomes an undeniable necessity.

All Things Turn Against Razieh

Both gender and social class are important considerations. In one of the scenes, a group of individuals can be seen lounging about the apartment and having a good time while playing table football. Family and friends are welcome to take part in the activity. But not Razieh. She is seen doing something quite pathetic in the kitchen where she is said to be working.

When Termeh's instructor Miss Ghahraii (Played by Merila Zare'i), stops over, she is shown respect due to a highly esteemed visitor. After all, she is instructing their daughter in the subject. However, what about Razieh? In addition, she is an essential family member since she is responsible for the care of Nader's father. On the other hand, nobody respects her. In addition to this, she is additionally constrained by the convictions of her own religious tradition.

The scenario, as shown by Farhadi, is like a pool of gasoline into which any occurrence falls like a lit match. Everyone is aware of their rights and how outraged they are when injustices or slights are committed, and the women bitterly realize that they must simultaneously discover a workable solution and persuade their male counterparts to accept it. However, the children are one item that cannot be negotiable.

Termeh takes the stage toward the conclusion. She observes everything, coerces her father into making a crucial admission, and is then painfully made to act in his place. Her suffering and rage are well concealed. But she is the one who will bear a dreadful, indescribable load—a moral and juridical burden. This is a pernicious kind of maltreatment that has been imposed upon her by the adults' conceit and greed. Farhadi skillfully and subtly turns this unpleasant argument into a modern tragedy.

A Separation Is Worth Watching Again and Again

In spite of Nader's careful care for his father, we still have a tendency to conceive of him as an authoritative patriarch along the lines of the character that Alfred Molina portrayed in the film Not Without My Daughter. However, after the opening scene, which is a magnificent single shot of the pair speaking to a judge who we only hear, Simin vanishes for a period of time.

When we were left alone with Nader, we quickly began to see how wrong our rapid judgment of his character had been. As we see him try to be a parent and provider for his daughter while also tending to the needs of his aging father, we start to empathize with him and may even find ourselves rooting for him. The remainder of the movie is spent with Farhadi using a maddening succession of mishaps to pull both of them closer to the core of the story. At long last, we recognize them for what they are: humans. They are not perfect, but there is hope for them still. Simply said, they have human characteristics.

[persianhandicrafts]

This long Termeh Runner has a traditional Persian dark Green background and even Silver Paisleys scatterd all over the fabric. The light Green Satin covered the backside.Termeh fabric made of Wool and Silk fibers. This quilted textile gives a great Silky look to your dinner table, couches or bed. 🔼 Follow the link in our story to buy this craft _________________________________ Shop online Great Selection of Iranian Handicrafts & Souvenirs, Gifts & Décor from Persian Bazaar ✔️ Free Shipping & 5⭐ Customer Service . . . . . . . . #persiada #persianhandicrafts #tablesetting #tablerunner #tablecloth #desing #terme #termeh #handmadetablecloth #traditionalcraft #dinnertime #partyideas #partyset (at Miami, Florida) https://www.instagram.com/p/CXHFdtgOpAU/?utm_medium=tumblr

[albiassefi]

#elegantcoat #regal #royal #textile #cherishedmemories #persianempire #mybelovedcountry #handwoven #iran #termeh #instalife #cherishlife #livelifetothefullest #livethelifeyoulove #livethemoment #albertassefi #saintalbertjune (at Golestan Palace) https://www.instagram.com/p/Bn27zEbHTe5/?utm_source=ig_tumblr_share&igshid=yxt90lxwm0pe

[babaksorientalcarpets]

Persian Termeh Tablecloth - Traditional Persian Linen

[chat-dit]

MY HAFT SIN WAS BETTER THAN YOURS

(just kiddin’, everyone made their haft sin so fucking wonderful that I can’t even join the competition T___T)

Hâfez joon told me that my year would be full of shâdi ♥

[termeserme]

[justhappymusics]

رضا یزدانی آهنگ تیغ و ترمه

دانلود آهنگ جدید رضا یزدانی بنام تیغ و ترمه

Download New Music Reza Yazdani – Tighoo Termeh

[notesaboutafarawayland]

Introduction to Iranian/Persian aesthetics part 2

Part 1 is here. There will be other parts as well.

Ornate Dancer

This style of clothing was worn by motreb groups during the Ghajar era (particularly the ones who preformed for the upper classes as opposed to the tea house and street performers who often used less ornamented designs and sometimes used short skirts, they didn’t have so many expensive jewels to use but the basic silhouette was the same). The base for this aesthetic started during the Zand era (we can’t say much about the dance, I’m talking more about the general aesthetic) and continued into the Ghajar era (the dance groups, painters, artists, ... didn’t change much as the Ghajaris simply looted the Zand court). Motrebs weren’t just dancers, it includes musicians, play actors and other entertainers but I used the term dancer for now (maybe ornate court motreb would have been more appropriate but it’s a bit much).

The aesthetic is that of a highly ornate entertainer with some traditional props and things behind them and sometimes some fruit around them. Note that they were not necessarily always women (young boys would also preform this type of dance sometimes) although they all used the same types of performance garments. 

Colour pallet: mostly jewel tones; red, dark blue, gold, green, brown, white, silver and yellow are the most common ones.

Fabrics and embellishments: termeh, silk, velvet, lace and various other types of fabrics. They often colour their hands/nails and feet with henna.

Jewels and clothing: I added a picture of what the jewelry looks like at the bottom of this section. The clothing is also like the pictures below. The shoes have variety and can also just not exist.

Items and places: traditional musical instruments, little scarves to hold, zills, hall or room with fancy curtains and persian carpets, fruits on the ground (if you ever feel like recreating this please don’t waste food), other traditional items like old lamps or vases.

Source for pictures: instagram - apsara_afsanesara, random old Iranian paintings

pictures of jewels from museums  

19th Century Gathering  of Ladies

This is another one of those aesthetics that is just an aesthetic. It’s basically about when women in the late 19th century would gather to eat, talk, advise, complain, groom (with a focus on brow plucking and facial hair removal for some reason), dance and read poetry (either for fortune telling or moshaereh, which is a type of game where a person recites a poem off by heart, and the next person should recite a poem that starts with the sound that the previous poem ended on, if a theme is set then all of the poems should be in accordance to the theme but it can also be done without a theme).

Colour pallet: light pastels, white, silver.

Clothing and stuff: crystal candle holders, flowy curtains, dishes, frame drums, thread for hair removal, traditional makeup, silk embroidery, fruits and flowers, late 19th - early 20th century traditional women’s clothing (specially the ones with the short skirt and baggy pants) and period appropriate hair styles.

Places: Old grand house and gardens.

source for pictures: film - hezardastan, play -  efriteh machin, video - lunch by ali hatami

RangiRangi - Nimsonati

This aesthetic is a sub-category of the rangirangi (colourful) aesthetic. It’s based on various folk things from iran but with the occasional modernish twist.

Colour pallet: red, turquoise, yellow, pink, white, green, wood.

Stuff: korsi (those tables with the coal and blanket that keep you warm in winter), those traditional long pillows with the floral embroidery, old handmade dolls and marionettes (aroosak-e kheymeshab bazi), clay pottery with turquoise or green colouring, chortkeh, traditional wall hangings, spinning electric fans and kabob hand fans, tea stuff (samovar and a kettle), those old traditional boxes and other stuff. 

Places: Old house with stained glasses and traditional doors and windows, old gardens.

Source for pictures: intsagram - sahar___life, mana_hs_, cafegardesh, dehgardi, teman_faez, reyhanee_zaaheedii, khane.arezooha.

Grandma’s House

This is that one type of house that almost everyones grandma (in Iran) seemed to live in at some point, with all the stuff that made it memorable.

Colour pallet: red, light blue, green, cream, brown.

Stuff: korsi, those traditional long pillows, those other traditional pillows like the second from the left picture at the top, poshtis, persian carpet, knitting/sewing stuff, old wall hangings (usually something wooden or a painting or calligraphy of something religious or traditional), plain or floral curtains, spinning electric fans, pot plants, tea stuff (samovar, tea cups and a kettle) old dishes, those old heating things, a bunch of blankets, traditional food, prayer mat and beads.

Places: literal old houses with the gardens and grape vine and wooden doors and sunlight and those little places in the wall where you put stuff.

Source for pictures: instagram - charkhe._.gardoon, khone.ghadimi, khone_ghadiimi, toonelzaman_ir, nazpainting, khoneye_madarbozorg.

Old Tehran

This is the aesthetics of the older parts of the city along with the mid-20th century Tehran aesthetic. Both of them fall into this category so you can find both the aesthetics of mis-20th century Tehran and the current Tehran but the older parts of it being labeled as old Tehran aesthetic.

Colour pallet: earth tones, neutral tones and dirty blue and pink.

Stuff: old cars (peykan and blue nissan junior), traditional brooms, old bronze things, traditional looking wooden decorations, dries flowers, tea.

Places: The old parts of the city. Old shops, calligraphy places, noonvayis (traditional bread baking shops), roads, worn out buildings, traditional and semi-traditional stores in general (usually not newly made ones that are made to look old but actual old ones).

Source for pictures: instagram - charkhe._.gardoon, tappersia, portrehaa. I don’t know the source for some these pictures so if you happen to know please let me know so that I can give proper credit.

[evilbuildingsblog]

it's opening up to accept its next victim. [Termeh Office Commercial Building]

[viraltiger]

Termeh Office Commercial building, Iran - See more viral images on ViralTiger.org

[sh8812501070]

‏‎طراح مد باشید😍استفاده از ترمه های زیبای ابریشمی و پلی استر به عنوان مانتو و کت دامن و لباس مجلسی😊 . با تنوعی بینظیر از ترمه های زیبای ابریشمی و غیر ابریشمی در این پیج 😁 واسه خودتون یه مانتو زیبا طراحی کنید😊 . تمام کارهای پیجمون دارای ضمانت و با مشخصات کامل هستن 😍 . طراحی مانتو با ترمه کاری متفاوت و سنتی 💥💥💥💥💥💥💥💥💥💥 . . #ترمه_ترنج #ترمه_ترنج_ابرکوه #پارچه #ترمه_سرای_ترنج #ترمه_ابریشمی #termeh #ترمه #رومیزی_ترمه #ترمه_ابریشم #پارچه #پارچه_سنتی #پته #ترمه_ابرکوه #ترمه_سرای_ترنج_ابرکوه #مانتو #مانتو_ترمه #ابرکوه #لباس_مجلسی #کت_دامن #لباس_مجلسی_ترمه @sh5030010701 @sh09381285701 @sh970209180 @shahab8812501070 @sh09135164484 ‎‏ (در ‏‎ترمه ترنج ابرکوه‎‏) https://www.instagram.com/p/CV8ovACtpTo/?utm_medium=tumblr

[fiddles-ifs]

What are the RO’s go to formal outfits? (This is purely for research purposes I swear...)

Bautista: Marines dress blues and Nothing Else. Those are legitimately the only fancy clothes they own 

Nazeri: is it business casual? Black tie formal? White tie formal? No matter what they're going to go ham on the patterns and colors. White tie formal will see them in a suit and/or dress (a Nazeri of any gender will wear both) made of actual termeh, which is a super gorgeous type of embroidered wool cloth produced in Isfahan 

Devin: something that makes them look like a fairy monarch 

Trace: on GOD are they going to wear something that goes good with red jewelry

[albiassefi]

#textilelover #textile #termeh #persianlegacy #persianempire #beauty #design #designer #heritage #interiors #designinterior #interiorstyling #interiordecorating #interiordesign #interiordesigner #albertassefi #saintalbertjune https://www.instagram.com/albertassefi/p/BywnybZgKiF/?igshid=1ei7rvq574kyr

[casadelcolore]

Boteh-Jegheh design on Termeh-- Yazd, Iran