Nov2015

Sadegh Tabrizi

Competition Nov2015

Sadegh Hedayat Derrick Fielding

Iran

Sparta Gallri

A m e d e o M o di gl ia ni Urmia-Iran

1.Sadegh Tabrizi 8.Sparta Gallery 10. Clemente Modigliani 15. Competition 16. Sadegh Hedayat 20. Derrick Fielding 21. Urmia 25. Competition

Director: Aziz Anzabi Editor and translator : Asra Yaghoubi Research: Zohreh Nazari

http://www.aziz-anzabi.com

Sadegh Tabrizi Saqqakhaneh semi-school and the is one of the few Iranian work of one of its central figures, contemporary artists who have Sadegh Tabrizi. He offered a series made a great contribution both to of “proposals” a few decades ago the "creation" and the "dissection" which, despite commonalities with of Modern art in Iran. Therefore, it other pioneers of the Saqqakhaneh bears some significance to look at School, surpassed them with a him from the "creation" point of diverse series of experiments. view to be able to understand his Hence, he has played a vital role in pool of creativity, a perspective that dissecting contemporary encompasses both the artist and intermediary art – a style that his art. This necessity has been mixes Western and Iranian spelled out through recent traditional art. Prerequisites of such movements by some artists who, a holistic approach can be traced in in establishing the foundations of Tabrizi's searching soul. Even before their art, imitated and employed examining intermediary art at the the roots of his style. In doing so, Faculty of Decorative Arts, Tabrizi these artists have set off on the had built up a reputation for road to imitating what he had once himself in traditional art and its practiced but no longer practices, vocabulary. Explorations in this or what he had skipped on his way apparently fantastic and to eminence. experimental course assumed more serious aspects later when playing Tabrizi can be considered a holistic a significant role in the artist with a multifaceted vision of development of modern and reality who, in giving dimension to contemporary Iranian art. What has his practice, bestows new angles to been neglected to date is a Iranian contemporary art. complete catalog of Tabrizi’s work.

This is so intensified that one So one has to resort to storytelling cannot to be able to show his real art and ignore a pervasive approach to to fathom the genesis of his artistic indigenizing the Western Modern career.

1 and Post-modern art through the

Upon graduating from three years brown colors on a cream of high school in miniature background, and azure and painting, and after employment in turquoise on a white background. the ceramic workshop of the The significance of this ostensibly Administrative Office of Fine Arts minor incident and its continuation in 1959, Sadegh Tabrizi chose to led to numerous arguments about practice painting on pottery. This the emergence of calligraphy in novel experience gave him an Iranian contemporary art. In fact, it opportunity to work with glaze can be said that the trend known as and fire. “calligraphy-based painting,” which Unpredictable happenings and later emerged in the work of interactions were the most Saqqakhaneh painters and again in enjoyable moments in that work. the work of calligraphers (from a The year 1959 was a very fateful different perspective and through year for Tabrizi's artistic calligraphy-based painting), endeavors. While preparing originated from Tabrizi’s innovative inscriptions for a mosque, a tile practice. This can be substantiated worker by the name of Sanaee by the works and written made Tabrizi realize how beautiful documents of the time that point inscriptions were, and tempted him to the quality of this movement. to make a free composition with Therefore, this incidental stance of letters and words. The result of this the artist toward calligraphy and its temptation was a ceramic panel visual and non-verbal qualities can (70 x 70 cm) that yielded a new be considered the first period of his composition in white and azure, artistic career. The term the colors of inscriptions in “incidental” points to the fact that mosques. The juxtaposition of in the second half of the 20th letters neither expressed a concept century, Western art, which was nor produced an expression. This joined with some delay by Iranian delightful experience encouraged contemporary art, has often the artist to employ the same incorporated incidents rather than technique in painting on jugs, following a school-based approach. bowls, and plates using ochre and

Upon the inauguration in 1960 of former, something Kazemi admits the Faculty of Decorative Arts, to in all modesty. which was established to offer complementary courses for high school graduates in arts from Tehran, Tabriz, and Isfahan, Tabrizi joined the students and found himself in the same course along with Mansour Ghandriz, Faramarz Pilaram, Massoud Arabshahi, and Hossein Zenderoudi. This new environment had an extensive library that provided students with a rare opportunity to conduct research on past and present Iranian and world art, and to avoid repetition of ideas in their practice.

Here, this small group of students devised a sort of intermediary art, which observes principles of modern Western art while employing traditional elements from Iranian art. Tabrizi and Arabshahi held a joint exhibition of their ceramic works in 1961 at the France Club. Hossein Kazemi, who had returned from Europe and was running the Tabriz School of Arts, simultaneously held an exhibition of his Dadaist ceramic work at Farhang Auditorium. The difference between these two exhibitions was the Iranian atmosphere in the

Tabrizi expanded the domain of his University in 1964. Life Workbook explorations and, using traditional can be considered a proposition for Iranian motifs and techniques, "conceptual art," but this was not created numerous works in fresh what Tabrizi intended. forms. These techniques included Tabrizi graduated from university in tile work, engraving, book 1964, and decided to continue for a illustration, plaster work, collage, Master's degree along with painting on old inscriptions, Ghandriz, Pilaram, and Arabshahi. painting on glass, use of mirrors in Top students of the Faculty of Fine painting, and use of padlocks, Arts, including Morteza Momayez, chains, and various objects. These Rouyin Pakbaz, Hadi Hazaveyee, techniques are examples of Sirous Malek, and Mohammad proposals that the artists offered Mahalati, who would be considered to the Iranian contemporary art an opposite camp to the students world. Tabrizi made a of the Faculty of Decorative Arts, juxtaposition of his personal established a gallery along with documents – including school Tabrizi, Pilaram, Arabshahi, and workbooks, identification Ghandriz. This effort had been notebook, school identification previously made by others, but had cards, certificates, bank notebooks, never succeeded. This group of athletic club cards, and university thirteen artists succeeded in entrance exam card – on a panel gathering many avant-garde artists within a composition decorated together at the Iran Auditorium, with sealing wax and the common and in organizing the first wellinscriptions found on documents received exhibition. Activities at the and seals. Entitled Life Workbook, Iran Auditorium reached a point the work was displayed along with where artists that included Sohrab other works inspired by spells and Sepehri, Bijan Safāri, Marcos the illustrated pages of books that Grigorian, Parviz Tanavoli, and were shown along with Massoud Manochehr Sheibani, were invited Arabshahi's relief works at the to hold a group exhibition at the Faculty of Fine Arts of Tehran Saderat Bank building in Jomhouri St.

Tabrizi's work was received spots can be detected in especially warmly in the first exhibition by spectators and collectors. He says, "The gathering at the Iran Auditorium would not have been possible if it had not been for Momayez, and their fourmember group would have never joined the students at Tehran University without Ghandriz."

Although Ghandriz tried hard to save the infant he had given birth to, the group disintegrated after the first exhibition at the Iran Auditorium due to disagreements and disunity. He persistently continued his work there, but his death put an end to this effort.

Upon dispersal of the group, some members quit painting to practice graphic design, architecture, and research in art history. Arabshahi, Pilaram, and Tabrizi, however, continued painting. Tabrizi's paintings in the inauguration of the Iran Auditorium are reminiscent of miniature paintings in old books that have been embellished with abstract expressionist lines in black and presented on tanned hide. Azure, white, gold, orange and turquoise

these compositions, and calligraphic lines can be discovered through meticulous observation.

This second period of Tabrizi’s artistic endeavor is presented in a second group exhibition. The third period of his creativity includes collages that are presented in an exhibition with Massoud Arabshahi at Tehran University. These four artists – Tabrizi, Pilaram, Ghandriz, and Arabshahi – were founders of the first Office of Interior Design in Iran, which was established in 1964 and eventually broke up when Ghandriz died in 1965.

Another one of Tabrizi's experiments, a review of ancient Iranian arts, was made in 1963.

Copper engraving and the incorporation of antique stones and coins on these engravings mark the fourth period of his artistic experimentation.

Tabrizi did not veer far from his original vision during this period, and other periods of his career.

These periods have their roots in a single perspective – the depth and structure of which is a fertile area of investigation. He created plaster relief work on panels in the fifth period of his artistic career.

If we are to assume a sixth period for the artistic endeavors of Tabrizi, it includes works on pages of old books and inscriptions that sometimes take the form of written prayers and lead to collage elements that appear in the background of paintings.

Moving to another period, we see that Tabrizi has only a few works of stained glass using mirror instead of color on a black background. We can find this style – use of mirror in painting – in the

glass arts of the Qajar period. This period of his work can be considered transitory and marked by proposals.

Tabrizi employs miniature painting techniques and incorporates Persian and religious motifs in large-scale paintings which are warmly received by the public.

These paintings feature pure gold, orange, azure, turquoise, green, and other colors along with black complementary lines. Large-scale works of this kind were mounted on the walls of Nour Auditorium at the Hilton Hotel in 1969 to celebrate 2500 years of Persian history. These works can be considered to constitute the eighth period of Tabrizi’s work. They are mostly images of riders on calm horses facing each other, or of lovers found in Persian paintings recast in a fresh form in his work.

Although these works were leisurely produced through different periods, they have paved the way for the most intense period of Tabrizi’s career in terms of innovation and quality beginning in 1970.

Instead of saturating his work with which has unlimited variation, in illumination and page decoration, large-scale works on rawhide, Tabrizi hints at Persian miniature canvas, and paper that are painting by using inscriptions in the exhibited in Australia and East form of broken Nasta'liq to fill the Asian countries. This period of negative space of the paintings.

Tabrizi's work can be considered Here he realizes an important the result of his diverse research innovation that calligraphy can and experimentation into both create abstract forms in free Persian and Western methods and compositions. Looking at the representation. He later suspended calligraphytransformed this exploration into based motifs of previous works, an "Abstract Expressionism" that Tabrizi comes up with the idea of displays a graceful fluidity of mind, an abstract use of them in and possesses the same individual compositions. This is fundamental characteristics that perhaps the most successful are unique to modern Western art. period of his career. Inspired by calligraphy, especially broken Nasta'liq as an abstract form on hide in black ink, Tabrizi produces a large number of works. He adopts this approach to reach at a seemingly easy method in painting, which is inspired by Persian calligraphy but goes beyond that to reveal itself as a completely abstract and expressive form.

Works of this ninth period of Tabrizi’s career were exhibited during a solo exhibition first in 1970 at Burgese Gallery and then at Sirous Gallery in Paris. Interestingly, the artist uses the same style,

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Amedeo Clemente Modigliani Family and early life 12 July 1884 – 24 January 1920 Modigliani's birthplace in Livorno was an Italian painter and sculptor Modigliani was born into a who worked mainly in France.

Sephardic Jewish family in Livorno, He is known for portraits and Italy. A port city, Livorno had long nudes in a modern style served as a refuge for those characterized by elongation persecuted for their religion, and of faces and figures, was home to a large Jewish that were not received well during community. His maternal greathis lifetime, but later found great-grandfather, Solomon Garsin, acceptance. Modigliani spent his had immigrated to Livorno in the youth in Italy, where he studied 18th century as a refugee. the art of antiquity and the Modigliani's mother (Eugénie Renaissance, until he moved to Garsin), who was born and grew up Paris in 1906. There he came into in Marseille, was descended from contact with prominent artists an intellectual, scholarly family of such as Pablo Picasso and Sephardic descent, generations of Constantin Brâncuși. whom had resided along the Modigliani's oeuvre includes Mediterranean coastline. Her mainly paintings and drawings. ancestors were learned people, From 1909 to 1914, however, he fluent in many languages, known devoted himself mainly to authorities on sacred Jewish texts, sculpture. His main subject was and founders of a school of portraits and full figures Talmudic studies. Family legend of humans, both in the images traced the Garsins' lineage to the and in the sculptures. During his 17th-century Dutch philosopher life, Amedeo Modigliani had little Baruch Spinoza. The family business success, but after his death he was believed to be a credit agency achieved greater popularity and his with branches in Livorno, Marseille, works of art achieved high prices. Tunis, and London. Their financial He died at age 35 in Paris of fortunes ebbed and flowed. tubercular meningitis.

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Modigliani’s father, Flaminio, hailed from a family of successful businessmen and entrepreneurs.

While not as culturally sophisticated as the Garsins, they knew how to invest in and develop thriving business endeavors. When the Garsin and Modigliani families announced the engagement of their children, Flaminio was a wealthy young mining engineer. He managed the mine in Sardinia and also managed the almost 30,000 acres of timberland the family owned. A reversal in fortune occurred to this prosperous family in 1883. An economic downturn in the price of metal plunged the Modiglianis into bankruptcy. Ever resourceful, Modigliani’s mother used her social contacts to establish a school and, along with her two sisters, made the school into a successful enterprise.

mother with a newborn child. The bailiffs entered the family's home just as Eugenia went into labour; the family protected their most valuable assets by piling them on top of her.

Modigliani had a close relationship with his mother, who taught him at home until he was 10 years. Beset with health problems after an attack of pleurisy when he was about 11, a few years later he developed a case of typhoid fever.

When he was 16 he was taken ill Modigliani was the fourth child, again and contracted the whose birth coincided with the tuberculosis which would later disastrous financial collapse of his claim his life. After Modigliani father's business interests. recovered from the second bout of Amedeo's birth saved the family pleurisy, his mother took him on a from ruin; according to an ancient tour of southern Italy: Naples, law, creditors could not seize the Capri, Rome and Amalfi, then north bed of a pregnant woman or a to Florence and Venice.

His mother was, in many ways, about the great works held in instrumental in his ability to pursue Florence intrigued him, and it was a art as a vocation. When he was 11 source of considerable despair to years of age, she had noted in her him, in his sickened state, that he diary: "The child's character is still might never get the chance to view so unformed that I cannot say what them in person. His mother I think of it. He behaves like a promised that she would take him spoiled child, but he does not lack to Florence herself, the moment he intelligence. We shall have to wait was recovered. Not only did she and see what is inside this fulfil this promise, but she also chrysalis. Perhaps an artist?" undertook to enroll him with the Art student years best painting master in Livorno, Modigliani is known to have drawn Guglielmo Micheli. and painted from a very early age, and thought himself "already a painter", his mother wrote, even Sculpture before beginning formal studies. In 1909, Modigliani returned home Despite her misgivings that to Livorno, sickly and tired from his launching him on a course of wild lifestyle. Soon he was back in studying art would impinge upon Paris, this time renting a studio in his other studies, his mother Montparnasse. He originally saw indulged the young Modigliani's himself as a sculptor rather than a passion for the subject. painter, and was encouraged to At the age of fourteen, while sick continue after Paul Guillaume, an with typhoid fever, he raved in his ambitious young art dealer, took an delirium that he wanted, above all interest in his work and introduced else, to see the paintings in the him to sculptor Constantin Palazzo Pitti and the Uffizi in Brâncuși. He was Constantin Florence. As Livorno's local Brâncuși's disciple for one year. museum housed only a sparse few paintings by the Italian Renaissance masters, the tales he had heard

Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, by 1914 he abandoned sculpting and focused solely on his painting, a move precipitated by the difficulty in acquiring sculptural materials due to the outbreak of war, and by Modigliani's physical debilitation.

In June 2010 Modigliani's Tête, a limestone carving of a woman's head, became the second most expensive sculpture ever sold.

French word 'maudit', meaning 'cursed') by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention. Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject of several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.[citation needed] When the British painter Nina Hamnett Friends and influences arrived in Montparnasse in 1914, Modigliani painted a series of on her first evening there the portraits of contemporary artists smiling man at the next table in the and friends in Montparnasse: café introduced himself as Chaim Soutine, Moïse Kisling, Pablo "Modigliani, painter and Jew". They Picasso, Diego Rivera, Marie became great friends.

"Marevna" Vorobyev-Stebeslka, In 1916, Modigliani befriended the Juan Gris, Max Jacob, Blaise Polish poet and art dealer Léopold Cendrars, and Jean Cocteau, all sat Zborowski and his wife Anna. for stylized renditions.

Zborowski became Modigliani's primary art dealer and friend The war years during the artist's final years, Modigliani, Pablo Picasso and helping him financially, and also André Salmon, 1916 organizing his show in Paris in 1917 At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.

Known as Modì (which plays on the

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Sadegh Hedayat scholarship and returned home in February 17, 1903, Tehran - April 9, the summer of 1930 without 1951, Paris was an Iranian writer, receiving a degree. In Iran he held translator and intellectual. He is various jobs for short periods. one of the earliest Iranian writers Tomb of Sadegh Hedayat, Père who adopted literary modernism Lachaise Cemetery, Paris. in their career.

Life Hedayat was born to a northern Iranian aristocratic family in Tehran (his great-grandfather Reza-Qoli Khan Hedayat was himself a well respected writer and worked in the government, as did other relatives) and was educated at Collège SaintLouis (French catholic school) and Dar ol-Fonoon (1914–1916). In 1925, he was among a select few students who travelled to Europe to continue their studies. There, he initially went on to study engineering in Belgium, which he abandoned after a year to study architecture in France. There he gave up architecture in turn to pursue dentistry. In this period he became acquainted with Thérèse, a Parisian with whom he had a love affair. In 1927 Hedayat attempted suicide by throwing himself into the Marne, but was rescued by a fishing boat. After four years in 16 France, he finally surrendered his

Hedayat subsequently devoted his political problems of the time, whole life to studying Western Hedayat started attacking the two literature and to learning and major causes of Iran's decimation, investigating Iranian history and the monarchy and the clergy, and folklore. through his stories he tried to The works of Rainer Maria Rilke, impute the deafness and blindness Edgar Allan Poe, Franz Kafka, Anton of the nation to the abuses of these Chekhov and Guy de Maupassant two major powers. Feeling intrigued him the most. During his alienated by everyone around him, short literary life span, Hedayat especially by his peers, Hedayat's published a substantial number of last published work, The Message short stories and novelettes, two of Kafka, bespeaks melancholy, historical dramas, a play, a desperation and a sense of doom travelogue, and a collection of experienced only by those satirical parodies and sketches. His subjected to discrimination and writings also include numerous repression. literary criticisms, studies in Dead body of Hedayat in Paris Persian folklore, and many April 1951 translations from Middle Persian Hedayat traveled and stayed in and French. He is credited with India from 1936 until 1937, the having brought Persian language mansion at Bombay where he was and literature staying during his visit at Bombay into the mainstream of has been recently discovered in international contemporary 2014. Nadeem Akhtar's Hedayat in writing. There is no doubt that India provides us details of Sadegh Hedayat was the most modern of Hedayat's sojourn in India.In all modern writers in Iran. Yet, for Bombay he completed and Hedayat, modernity was not just a published his most enduring work, question of scientific rationality or The Blind Owl, whose writing he a pure imitation of European started as early as 1930 in Paris. values.

The book was praised by many In his later years, feeling the socio- including Henry Miller, AndrĂŠ Breton and others

It has been called "one of the most important literary works in the Persian language.

At the end of 1950, Hedayat left Iran for Paris. There, on 9 April 1951, he committed suicide by gassing himself in a small rented apartment on 37 Rue Championnet. He had plugged all the gaps in the windows and door with cotton and, so it would not burden anyone, he had placed the money (a hundred thousand francs) for his shroud and burial in his side wallet in plain view. He was buried at the division 85 of Père Lachaise Cemetery. His funeral was attended by a number of intimate friends and close acquaintances, both Iranian and French. hedayat handwriting The English poet John Heath-Stubbs published an elegy, 'A Cassida for Sadegh Hedayat', in A Charm Against the Toothache in 1954.

Current censorship His work is coming under increasing attack in Europe from political Islamists, and many of his novels (Haji Aqa in particular) are

no longer stocked in some French bookshops and libraries. The novels The Blind Owl and Haji Aqa were banned from the 18th Tehran International Book Fair in 2005. The Blind Owl contains a great deal of Buddhist and Hindu imagery. In Haji Aqa his characters explore the lack of meritocracy in Iran: In order for the people to be kept in line, they must be kept hungry, needy, illiterate, and superstitious.

If the grocer's child becomes literate, he not only will criticize my speech, but he will also utter words that neither you nor I will understand.... What would happen if the forage-seller's child turns out intelligent and capable—and mine, the son of a Haji, turns out lazy and foolish?

In November 2006, republication of Hedayat's work in uncensored form was banned in Iran, as part of a sweeping purge. However, surveillance of book-stalls is limited and it is apparently still possible to purchase the originals secondhand. The official website is also still online.

Derrick Fielding It has been this way since my early Born in Liverpool in 1965, I childhood in Liverpool when the remember spending much of my night-time scenes were of Beano childhood with my head buried characters like Lord Snooty, Dennis in a comic usually The Beano. I the Menace and Minnie the Minx. would often relish being sent to With my head full of comics, I loved bed early as a punishment for nothing more than to draw and some misdemeanour so I could create games for my friends. Kids read the latest escapade of The from far and wide would come to Bash Street Kids. From an early see my latest creation - and this age I loved to draw and as I grew would eventually lead to an older, I began to use this passion to innovation award in later life. unleash my elaborate imagination Art was my favourite subject at to create games for me and my school and when I left, I spent a neighbourhood friends. number of years as a sign writer Fortunately, my father was a which I am sure influenced my later painter and decorator so my animation and graphic style of earliest canvases were the backs painting. of rolls of wallpaper that were supposedly for his customers.

Living on the edge of the city, I was fascinated by the surrounding countryside and would slowly venture further and further out on my pushbike. I ended up spending most of my teenage years travelling around the country on marathon cycling Encouraged by friends and family I holidays with friends whenever the loved to paint nostalgic watercolour chance arose. It always occurred to scenes of Liverpool and the success me that there was so much to see of these led me to try painting for a on my bike that you would never living which was not the easiest or 20 notice when travelling by car. most lucrative of tasks!

Urmia is the second largest city in Christians (Catholics, Protestants, the north-west of Iran, is a city in Nestorians, and Orthodox), Jews, and the capital of West Azerbaijan BahĂĄ'Ă­s and Sufis. Around 1900, Province, Iran. Urmia is situated at Christians made up more than 40% an altitude of 1,330 m above sea of the city's population, however, level, and is located along the most of the Christians fled in 1918 Shahar Chay river (City River) on as a result of the Persian Campaign the Urmia Plain. Lake Urmia, one of during World War I and the the world's largest salt lakes, lies to Armenian the east of the city and the Name mountainous Turkish border area The name Urmia originated in the lies to the west.

Kingdom of Urartu. Urartian Urmia is the 10th most populated fortresses and artifacts found city in Iran. At the 2012 census, its across Azerbaijan and into the population was 667,499 with Azerbaijan province of Iran denote 197,749 households. an Urartian etymology.The city's The city's inhabitants are Armenian population also predominantly Iranian Azerbaijanis complements the idea of an who speak the Azerbaijani Urartian origin. According to language,.There are also minorities Vladimir Minorsky, there were of Kurds, Assyrians, and Armenians. villages in the Urmia plain as early The city is the trading center for a as 2000 B.C., with their civilization fertile agricultural region where under the influence of the Kingdom fruits (especially apples and grapes) of Van. The excavations of the and tobacco are grown. ancient ruins near Urmia led to the An important town by the 9th discovery of utensils that date to century, Urmia was seized by the 2000 years B.C.. In ancient times, Seljuk Turks (1184), and later the west bank of Urmia Lake was occupied a number of times by the called Gilzan, and in the ninth Ottoman Turks. For centuries the century B.C. an independent city has had a diverse population government ruled there, which which has at times included later joined the Urartu or Mana Muslims (Shias and Sunnis), empire; in the eighth century B.C 21

the area was a vassal of the Asuzh the etymology of the Urartu/Ur government until it joined the Kingdoms and the Aramaic word Median Empire after its formation. "Mia" meaning water, which as T. Richard Nelson Frye also suggested Burrow noted, referenced the city an Urartian origin for the name. that is situated by a lake and T. Burrow connected the origin of surrounded by rivers. the name Urmia to Indo-Iranian urmi- "wave" and urmyaAs of 1921, Urmia was also called, "undulating, wavy",which is due to Urumia and Urmi. During the the local Assyrian folk etymology Pahlavi Dynasty (1925–1979), the for the name which related "Mia" city was called Rezaiyeh after Rezā to Syriac meaning "water." Hence Shāh, the dynasty's founder, whose Urmia simply means 'Watertown" name ultimately derives from the — a befitting name for a city Islamic concept of rida via the situated by a lake and surrounded Eighth Imam in Twelver Shia Islam, by rivers, would be the cradle of Ali al-Ridha. water.This also suggests, that the Assyrians referred to the Urartian influence in Urmia as ancestors of the inhabitants of the Sumerian city state Ur, referenced Biblically as "Ur of the Chaldees". Further association of the Urmia/Urartian/Ur etymology from the Assyrian folk legend is the fact that the Urartian language is also referenced as the Chaldean language, a standardized simplification of Neo-Assyrian cuneiform, which originated from the accreditation to Urartian chief god Ḫaldi or Khaldi. Thus the root of Urmia is an Assyrian reference to

History became the center of a short lived According to historical documents, Assyrian renaissance with many the western part of the Urmia Lake books and newspapers being has been a center of attention of published in Syriac. Urmia was also the prehistoric nations, 6 km (3.7 the seat of a Chaldean diocese. mi) southeast of the lake which At the beginning of the First World competes with the oldest hills of War tens of thousands of Assyrians Mesopotamia, Asia the Minor, and and Armenians from Anatolia found the Iranian Plateau. refuge in Urmia. The city changed The Columbia Encyclopedia hands several times between mentions that Urmia was an Russians and Kurds the following important town in the region two years. The influx of Christian during the 9th century. refugees and their alliance with the The Ottoman Turks made several Russians angered the Muslims who incursions into the city, but the attacked the Christian quarter in Safavids were soon able to regain February 1918, The better armed control over the area. The first Assyrians managed however to monarch of Iran's Qajar dynasty, capture the whole city following a Agha Muhammad Khan, was brief battle. The region descended crowned in Urmia in 1795. into chaos again after the Due to the presence of substantial assassination of the Assyrian Christian minority at the end of the patriarch Shimun XXI Benyamin at 19th century, Urmia was also the hands of Simko Shikak one chosen as a site of the first month later. Turkish armies and American Christian mission in Iran Samko managed to finally take and in 1835. Another mission soon plunder the city in June/July became operational in nearby 1918.[20] Thousands of Assyrians Tabriz as well. During World War I were massacred as part of the the population was estimated as Assyrian Genocide, others found 30,000 by Dr. Caujole, a quarter of refuge under British protection in which (7,500) were Assyrians and Iraq.

1,000 were Jews.

During the 19th century, the region

urmia lake

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