Search results
Results From The WOW.Com Content Network
The excavated Mughal garden at Wah (12 km west of Taxila), near Hasan Abdal, associated with Mughal emperors Akbar, Jahangir and Shah Jahan reveals that the pattern and overall design has not been symmetrical on the first and second terraces. As for location, the Mughal emperors were much particular in selecting places of great natural beauty.
The hoopoe, center right, instructs the other birds on the Sufi path. The Conference of the Birds or Speech of the Birds ( Arabic: منطق الطیر, Manṭiq-uṭ-Ṭayr, also known as مقامات الطیور Maqāmāt-uṭ-Ṭuyūr; 1177) [1] is a Persian poem by Sufi poet Farid ud-Din Attar, commonly known as Attar of Nishapur.
Viewing frustum. v. t. e. A bird's-eye view is an elevated view of an object or location from a very steep viewing angle, creating a perspective as if the observer were a bird in flight looking downward. Bird's-eye views can be an aerial photograph, but also a drawing, and are often used in the making of blueprints, floor plans and maps.
The red avadavat ( Amandava amandava ), red munia or strawberry finch, is a sparrow-sized bird of the family Estrildidae. It is found in the open fields and grasslands of tropical Asia and is popular as a cage bird due to the colourful plumage of the males in their breeding season. It breeds in the Indian Subcontinent in the monsoon season.
A hoopoe was a leader of the birds in the Persian book of poems The Conference of the Birds (Mantiq al-Tayr by Attar) and when the birds seek a king, the hoopoe points out that the Simurgh was the king of the birds. Hoopoes were thought of as thieves across much of Europe, and harbingers of war in Scandinavia.
The simurgh ( / sɪˈmɜːrɡ /; Persian: سیمرغ, also spelled senmurv, simorgh, simorg, simurg, simoorg, simorq or simourv) is a benevolent bird in Persian mythology and literature. It bears some similarities with mythological birds from different origins, such as the phoenix (Persian: ققنوس quqnūs) and the humā (Persian: هما ). [2]
Modernist abstraction and the aerial landscape. The artist Kazimir Malevich (1878–1935), who wrote extensively on the aesthetics and philosophy of modern art, identified the aerial landscape (especially the "bird's-eye view", looking straight down, as opposed to an oblique angle) as a genuinely new and radicalizing paradigm in the art of the twentieth century.
The name of the anthology is a play on the phrase "bird's eye view", an elevated view of an object from above. However, 鳥, meaning bird, is replaced with 烏 meaning crow. It is generally accepted that this is meant to further the themes of anxiety and fear that the poetry deals with, as crows are traditionally associated with misfortune.