سال نو بر همه شما عزیزان

 مبارک باد

برای دیدن عکسهای دیگر لطفا اینجا کلیک کنید.

http://www.bbc.co.uk/persian/arts/2009/03/090315_pm_1387_arts_deaths.shtml

گزارش‌های رسیده از اسرائیل حکایت از کشف کوزه یا سبویی دارد که مصرعی از یکی از رباعیات معروف منسوب به عمر خیام، دانشمند و شاعر نامدار ایرانی، بر آن نقش بسته است.

کاوشگران اسرائیلی می‌گویند که این کوزه، به احتمال بسیار زیاد، در زمان خود حکیم عمر خیام ساخته شده است.

سرپرستی گروه ويژه کندوکاو باستانی در شهر قديم اورشليم (بيت المقدس) را دکتر رينا آونر، به نمايندگی اداره عتيقه‌جات اسرائيل در دست داشت.

اين کندوکاو در قطعه زمينی انجام گرفت که بخش خصوصی آن را برای احداث ساختمان آماده کرده بود.

کوزه يا سبوی کشف شده در اين قطعه زمين، دربخش قديم قدس، لعابی از فيروزه دارد و با گل و بوته و خطی سياه رنگ آراسته شده است.

ريفکا کوهنامين، از اداره عتيقه‌جات اسرائيل، پيش از انتشار گزارش اين کاوش باستانی بی درنگ دريافت که نوشته های نقش بسته بر گردن اين سبو به زبان فارسی است.

اين نوشته، مصرعی از يک رباعی معروف خيام نيشابوری است: «دستی است که در گردن ياری بوده است»

مصرعی برگرفته از اين رباعی:

اين کوزه چو من عاشق زاری بوده است
در بند سر زلف نگاری بوده است
اين دسته که در گردن او می‌بينی
دستی است که بر گردن ياری بوده است

باستان‌شناسان کاشف اين کوزه معتقد هستند که سبوی ياد شده در يکی یا بین دو قرن دوازدهم و سيزدهم ميلادی، تقريباً هم زمان با دوران خيام نيشابوری، ساخته شده است.

درعين حال اين راز برجای مانده که سبوی ياد شده، چگونه سر از اسرائيل درآورده است.

باستان‌شناسان همچنان از خود می‌پرسند که آيا اين سبو احتمالاً پيشکش دلداده ای به دلبری در اورشليم بوده، يا ره‌آورد بازرگانی از فرسنگ‌ها فرسنگ دورتر، از قلب ايران زمين.

http://www.radiofarda.com/content/f35_Iran_Israel_Antique_Khayyam/1508892.html

Man-Woman Relationship:

a reading between the lines of the selected poems by Kamala Das

Farahnaz Yousefi

PhD student in English Literature , University of Pune

Kamala Das was born in an erudite family in Kerela in 1934. She was married at the age of fifteen to a man who was much older and employed in a city. He came to be a father to his wife and his children. Young Kamala, who harbored many romantic illusions, was not able to relate them to a husband, who seemed paternal, and school masterish. This dissatisfaction is a dominant feature of her poems. However Kamala Das is the first Indian woman who openly talks about the sexual desires and experiences of Indian women. Her poems are known for their honest explorations of Women's social unrest in respect of education and career, sexual desire and frustration, suffocation of a loveless marriage, and such other things are powerfully dealt for the first time in her poems.

The prime concern of Kamala’s poems has been the age old relationship between man and woman. One is aware that right from Adam and Eve, man and woman have come together and lived together agreeing to disagree. This relationship has always been fraught with troubles. The cosmic cause of procreation is fulfilled by the tug-of-war and the attraction between opposites. This relationship has always been held up as one ordained by Gods and therefore not to be questioned. However, Kamala Das questions this blind acceptance of matrimony and its inherent quality of subjugation of women. Often in her poems, she shows up the unfairness of this union. She couches her dissatisfaction in plain words. Her language is controlled honest and free. But, very expressive of the angst felt by a woman trying to build a name in a man’s world. So by analyzing the following poems we can see and understand the deep agony of a woman forced to succumb to an insensitive man.

In "An Introduction" which is one of her poems we see protest against domination of the world by men; it is one of the recurring themes in this poem. Kamala Das’ feminism or her advocacy of the rights of women clearly appears here. She expresses that when she asked for love, she got a husband, who could not give her the true love, which she expects. He approached sexual union crudely without any sensitivity. Though there was no physical violence, the sexual act itself made her feel miserable. The poetess says that she could not get any love from her husband so she went to other lovers and tried to get a real love from them. She did not like the men who did not give her true love which she desired to have. She concludes that all men are similar, they don’t pay any attention to the woman’s heart, her longings and her aspirations. She says “I am sinner, I am saint. I am the beloved and the betrayed.”Here with device of antithesis she conveys to us a sense of loneliness and of being trapped inevitably in the hand of a lover who gives her love and yet makes her feel that she is betraying herself.

Kamala Das’ poems voice not only her own resentment against her husband but, by implication, the resentment of other women who find themselves in a similar predicament.

In the poem “The Freaks” she experiences certain degree of disgust about her sexual relationship. One can see a strange relationship between man and woman. The hands of man are on the knee of his beloved. They are ready in an attempt to make love, but their minds are away from love. There are little hurdles in the way of the fulfillment of the sexual desire. There is no emotional contact at all. This poem paints a rather helpless situation when the man is passive and the woman is burning with desire, but she is helpless. It is about lack of human communication and failure of man-woman relationship. The phraseology employed in this poem is noteworthy as being very effective in convening the poetess’ reaction of disgust to her lover or, maybe, her husband. The poetess realizes that her marriage had failed and they have not really been able to achieve any conjugal happiness. Her empty heart is therefore filled only with a stinging silence comparable to coiled snakes which could sting a person at the least provocation. She calls herself a freak or an abnormal person who makes a show of being lustful to be regarded as a normal person.

Kamala Das wants her husband to regard for her individuality. She rebels against man’s technique to convert his wife into slavish miniature of himself in personality. “The old playhouse” tell us that love is perhaps no more than a way of learning about one’s self or the completion of one’s own personality. It is about the fever of domesticity, the routine of lust, artificial comfort, and male domination. She compares herself to a swallow and her husband to a captor who wanted to tame her and keep her fully under his control. He wanted to make her forget all those comforts which she might have enjoyed in her home before being married, but in addition to that, he wanted also to make her forget her very nature and her inner love of freedom by keeping her in a state of subjugation to him. The poem indicates that her husband had not made it possible for her to learn anything because he was a self-centered man and his egoism prevented him from letting her learn anything except his own nature and disposition.

 Again the poetess explains her continuous search for love and for understanding of herself. To her, the drab drawing room is prison and she is fed up with the daily routine of a housewife. Ultimately she got the impression that her personality, instead of developing, had been reduced in stature, almost to nothingness and her mind was like forsaken theatre-hall which was no longer in uses.

For Kamala Das, ideal love is fulfillment on the levels of body and mind. We can see the extra-marital relationship in the next poem “In Love”. In this poem Kamala Das gives us a brief account of asexual experience which created a kind of dilemma for her. She expresses her difficulty in relating to a man who had made love to her in a rough manner. She describes that in his relationship with her, there had been no room, no excuse, and even no need for love, and that every embrace between them had been like a finished jigsaw which is a complicated situation. At the end of the poem she talks about a lover to whom she went to learn about love. Since she is already committed, she dare not call her games with him ‘love,’ she calls it the ‘skin-communicated’ thing or purely a physical desire, as if, it is a communicable disease. Kamala Das here, suspects not only her lover of wanting merely to satisfy his lust without any feelings of love for her, but she suspects herself also of being lustful at the time and having no love in her heart.

In the poem “Sunset, Blue Bird”, she talks about the poetess hatred for her husband and her relation with him after one year from their marriage. She says that he loved her in the beginning of their life, they were happy but soon their love came to an end. The poetess says that her husband doesn’t care for her, is not waiting for her and does not call her out any more. She tells that when she is with her friends, her face becomes pale as soon as she remembers her husband’s cruelty. These confessions show that it is the husband who is responsible for her unhappiness; it is he who after one year changes his mind and does not have any love for her. Her husband is like any other man and does not care for her happiness or unhappiness.

Next poem, “The Stone Age” deals with the reality of love being offered to the poetess by another man rather than by her husband. This poem portrays the husband of the poetess as “old fat spider” who weaves webs of bewilderment around her and erects the dead, dull stony wall of domesticity, and thus the callous indifference of her husband turns her into “a bird of stone". His touch and strokes have no warmth in them. He does not even allow her to dream. With loud talk, he bruises her pre-morning sleep and “sticks a finger into her dreaming eye". She calls her husband primitive man who lived in the Stone Age. The husband is the eternal irritant, an unwelcome intruder into the privacy of the wife’s mind, and her life with him is so difficult for her that she can not tolerate it any more. She wants to be free from the prison which he has made. The poem shows that she does not bother about her roundabouts and just wishes for more freedom.       

Kamala Das analyses man-woman relationship from an anti-romantic angle and protest against womanhood suppressed by ethics and taboos. As she has mentioned in almost all poems her husband’s contact with her was usually cruel and brutal. She grew revengeful towards him and reacted in a non-traditional fashion in love-making. We can say that Kamala Das has an inner language that not only fascinates, but also reveals that she is a bold and daring poetess. She gives very bold pen-pictures of the interaction between man and woman without compromising her femininity. Every time you read a Kamala Das’ poem, you realize that it has many hidden depths. They give candor and honesty to her poems. In reading between the lines, one finds many treasure troves of meaning. It is always an interesting exercise to engage in reading a Kamala Das’ poem. It has many layers to uncover.

A Socio-Political Approach to Azadi:

A Novel by Chaman Nahal

National Seminar on Indian Writing in English & in English Translation,

Department of English, University of Pune

25 - 27 of Feb, 2009

Presented By Amir Taheri

Introduction

Chaman Nahal is one of the outstanding novelists of the seventies (1970's). He worked as a professor of English at Delhi University. He wrote eight novels. Four of them constitute the Gandhi Quartet.  Azadi (1975) is one of these four novels, and is added the Epilogue (1993) which serves as the Epilogue to the whole Quartet.  Nahal's other novels are, Crown and the Loincloth (1981), the Salt of Life (1993), and the Triumph of the Tricolour (1993). Chaman Nahal received Sahitya Akademi Award for Azadi in 1977.

The navel Azadi deals with the theme of partition of Indian subcontinent into India and Pakistan. As Chaman Nahal h

imself was a refugee, he writes with remarkable penetration and realism. The novel is historical, political, and above all, a great work of art.

Nahal has presented life-like picture of the period of the Partition. However, the remarkable feature of the narration is the tragic effects of the Partition. We certainly feel horrified when we read about the murders, massacre, rapes burning, looting and the condition of uprooted refugees caused by the partition.

In this regard, K R. Srinivasa Iyengar says:"Azadi is about the partition of India that held the subcontinent in a nightmare of horror for months and left a trial of phenomenal bitterness and misery. Even at this distance of time, the wounds bleed afresh at the prod of memory".  

The division of the novel into three parts 'Lull', "Storm" and "Aftermath" makes it clear that the novel is about the silent atmosphere before the announcement of Partition, the horrible incidents caused by the partition and the Pitiable conditions of the uprooted refugees after the partition. Nahal has used the seven families of a Muslim-dominated city Sialkot to represent thousands of sufferers like them.

Reasons of Partition & Role of the British

By the end of the 19th century several nationalistic movements had started in India. Indian nationalism had grown largely since British policies of education and the advances made by the British in India in the fields of transportation and communication. However, their complete insensitivity to and distance from the peoples of India and their customs created such disillusionment with them in their subjects that the end of British rule became necessary and inevitable.

While the Indian National Congress was calling for Britain to Quit India, the Muslim League, in 1943, passed a resolution for them to Divide and Quit. There were several reasons for the birth of a separate Muslim homeland in the subcontinent, and that all three parties --- the British, the Congress, and the Muslim League, were responsible.

The British had followed a divide-and-rule policy in India. Even in the census they categorized people according to religion and viewed and treated them as separate from each other. They had based their knowledge of the peoples of India on the basic religious texts and the intrinsic differences they found in them instead of on the way they coexisted in the present. The British were also still fearful of the potential threat from the Muslims, who were the former rulers of the subcontinent, ruling India for over 300 years under the Mughal Empire. In order to win them over to their side, the British helped establish the M.A.O. College (or Muhammedan Anglo-Oriental College) at Aligarh and supported the All-India Muslim Conference, both of which were institutions from which leaders of the Muslim League and the ideology of Pakistan emerged. As soon as the League was formed, they were placed on a separate electorate. Thus, the idea of the separateness of Muslims in India was built into the electoral process of India.

There was also an ideological divide between the Muslims and the Hindus of India. While there were strong feelings of nationalism in India, by the late 19th century there were also communal conflicts and movements in the country that were based on religious communities rather than class or regional ones. Some people felt that the very nature of Islam called for a communal Muslim society. Added to this were the memories of power over the Indian subcontinent that the Muslims held on to, especially those in the old centers of Mughal rule. These memories might have made it exceptionally difficult for Muslims to accept the imposition of colonial power and culture. They refused to learn English and to associate with the British. This was a severe drawback for them as they found that the Hindus were now in better positions in government than they were and thus felt that the British favored Hindus. The social reformer and educator, Sir Syed Ahmed Khan, who founded M.A.O. College (or Muhammedan Anglo-Oriental College), taught the Muslims that education and cooperation with the British was vital for their survival in the society. Tied to all the movements of Muslim revival was the opposition to assimilation and submergence in Hindu society. Sir Syed Ahmed Khan was also the first to conceive of a separate Muslim homeland.

Hindu revivalists also deepened the chasm between the two nations. They resented the Muslims for their former rule over India. Hindu revivalists rallied for a ban on the slaughter of cows, a cheap source of meat for the Muslims. They also wanted to change the official script form the Persian to the Hindu Devanagri script, effectively making Hindi rather than Urdu the main candidate for the national language.

Congress made several mistakes in their policies which further convinced the League that it was impossible to live in an undivided India after freedom from colonial rule because their interests would be completely suppressed. One such policy was the institution of the "Bande Matram," a national anthem which expressed anti-Muslim sentiments, in the schools of India where Muslim children were forced to sing it.

The Muslim League gained power also due to the Congress. The Congress banned any support for the British during the Second World War. However the Muslim League pledged its full support, which found favour from the British, who also needed the help of the largely Muslim army. The Civil Disobedience Movement and the consequent withdrawal of the Congress party from politics also helped the league gain power, as they formed strong ministries in the provinces that had large Muslim populations. At the same time, the League actively campaigned to gain more support from the Muslims in India, especially under the guidance of dynamic leaders like Jinnah.

There had been some hope of an undivided India, with a government consisting of three tiers along basically the same lines as the borders of India and Pakistan at the time of Partition. However, Congress' rejection of the interim government set up under this Cabinet Mission Plan in 1942 convinced the leaders of the Muslim League that compromise was impossible and partition was the only course to take.

In Azadi Chaman Nahal through his protagonist (Lala Kanshi Ram) also expresses his idea of partition and the British role. He (Lala Kanshi Ram) has dual attitudes towards the British. He admires them for their qualities but criticizes them for their faults. For example, he praises the British Rule for bringing safety and peace to his country but deeper down he also admired the British in any case he enjoyed the safety of British Raj and hugged it lovingly. The British had brought some kind of peace to his torn land, Lala Kanshi Ram praises the power of the British, he says:

"They are a nation which cannot be easily beaten, he thought. A handful of them have kept us under their feet for over two hundred years And now that Hitler too has met the same fate at their hands. An absolutely invincible race Lala Kanshi Ram also praised the controlling power of the British rule and police officers. For example, he had great faith in General Ress But just before leaving his house Lala Kanshi Ram blames the British for not protecting the refugee. He also blames the faults of the British. If the British were going to loose India, it was not because of Gandhi or the awakening amongst the masses, it was because of the tactical error they made in sending out an ugly Viceroy in the crucial days of their Raj." 

Chaman Nahal expresses one of his memories which was about his meeting with Gaundhi, related to the partition, he wrote:

"I had been personally exposed to Gandhiji during the last few months of his life. After 1947, he made Birla House in New Delhi his home. Our family by then had migrated from Pakistan to Delhi. And it was possible for me to attend Gandhi's prayer meetings on most evenings. And what caught my eyes was the immense humility of the man. Many of us amongst his listeners were angry young men who had lost everything in Pakistan including the dear ones who were assassinated in the riots. And, we asked Gandhi angry questions, to which he never gave an answer without making us feel that our pain was his pain too. I also saw how plain and ordinary Gandhi was to look at short-statured, thin, with rather common features."

This shows that the novelist was not happy with partition of India and he poignantly expressed the feelings of anguish and anger about it in Azadi which is predominantly a political novel, for example Lala Kanshi Ram, the protagonist, is against the partition. He like many others does not wish the subcontinent to be divided into two nations. He has great faith in Gandhi who would oppose partition. But the partition is announced, Lala Kanshi Ram becomes both angry and sad. He blames the English, as saying:

"Yes, they (the British) are the real villains, they had let the country down, they had let him down, he who put such faith in them".

Muslims & Hindus before Partition

Everyone knows that India is known for its democracy, different communities and religions are living together without conflict. This has been shaped in the root of the society of India that no religion attacks another. Muslims are free to live according to their own rules and regulation and Hindus and Sikhs… are as well.

According to Chaman Nahal, in his Novel 'Azadi' there was a Hindu - Muslim unity and peaceful life before the Partition. Sialkot was a Muslim dominated city. Yet, there was unity among people of all castes. There was seldom any rivalry between Hindus and Muslims. This fact is presented through the friend­ship of Lala Kanshi Ram and Chaudhari Barkat Ali and the love of Arun and Nur. Lala Kanshi Ram and Chaudhari Barkat Ali were not only friends but just like brothers. Both the families heard each other's happiness and sorrow. Influenced by Gandhi's speech, Chaudhari Barkat Ali says to Lala Kanshi Ram:

"You are my brother from today'. The author adds:

"Lala Kanshi Ram chuckled. He had always regarded Chaudhari Barkat Ali as a brother; he did not need Gandhi to make him aware of that". 'Then, Arun, the son of Lala Kanshi Ram, loves Nural-Nissar, the daughter of Chaudhri Barkat Ali. He is ready to become a Muslim for her sake. Munir advised him to show harmony between Hindus and Muslims.

 The two friends' converse:

"I'll become a Muslim, if your father insists". (Arun) "You don't have to.

Why can't you keep your separate religions?" (Munir) "How do we solemnize the marriage?"  "A ceremony in a civil court".

The atmosphere in Sialkot was peaceful. All people did their jobs calmly. There was really 'lull' all over the city. The only excitement and even that of happiness was experienced on the New Year Celebration called "Hurrah Parade". On other occasions, men worked, children went to schools and women gossiped after household works.

Muslims & Hindus after Partition

The peaceful life of residents of Sialkot and their Hindu-Mus­lim unity was disturbed by the announcement of Partition by Mountbatten. The Muslims started celebrating the creation of Pakistan with drum-beating and firecrackers. When they passed nearby the two buildings of Bibi Amar Vati the owner of the house where Lala kanshi Ram and other tenants were lived, they threw some stones which broke the window panes of the houses. The efficient police officers could keep peace. But soon the Muslims started looting shops even Lala Kanshi Ram's shop was looted. Then the Mus­lims started burning one Hindu 'mohalla' every night. Meanwhile, a train came from Amritsar which was full of murdered and wounded Muslims. This excited the Muslims who killed and wounded the Hindus in Trunk Bazaar. Soon the Hindus were forced to leave for the Refugee Camp. The scene of the leaving of the tenant families and of the family of Bibi Amar Vati is really very emotional. The scene symbolizes thousands of such scenes.

15 million refugees poured across the borders to regions completely foreign to them, for though they were Hindu or Muslim, their identity had been embedded in the regions where their ancestors were from.

Many years after the partition, the two nations are still trying to heal the wounds left behind by this incision to once-whole body of India. Many are still in search of an identity and a history left behind beyond an impenetrable boundary. The two countries started off with ruined economies and lands and without an established, experienced system of government. They lost many of their most dynamic leaders, such as Gandhi, Jinnah and Allama Iqbal. India and Pakistan have been to war twice since the partition and they are still deadlocked over the issue of possession of Kashmir. The same issues of boundaries and divisions, Hindu and Muslim majorities and differences, still persist in Kashmir.

Overall Chaman Nahal ended his novel with a sadly depleted family trying to begin a new life in Delhi. Azadi has none of the sensationalism of other novels about India's partition, such as Khushwant Singh's Train to Pakistan or Manohar Malgonkar's A Bend in the Ganges. Nahal shows the cruelty as well as the humanity of both sides. The novel also shows the maturing of Arun, Kanshi Ram's only son, but the account of his love, first for Nur, the Muslim girl left behind in Pakistan, and then for Chandni, a low-caste girl who is abducted on the way to India, is not as gripping as the rest of the novel.

Conclusion

As the above discussion shows, this novel mainly deals with the theme of   partition. It is a realistic record of the horrible incidents caused by the partition. It is not less than any tragic novel. It should be also add that, Chaman Nahal in his novel did not try to criticize one religion against other (Muslim against Hindu).

As we mentioned before Nahal himself was one of those refugees who compelled to leave Sialkot for India, so he wrote what he had observed. Almost at the end of the novel this fact had been cleared by him.

He wrote: In Delhi Lala Kanshi Ram and others had to see the Muslim abducted women's parade, they felt bad. Soon they saw that a train of the Muslim refugees was attacked and many Muslim were killed. Nahal through his protagonist gave his idea that he did not hate the Muslims because what they did in Pakistan with the Hindus, the Indians did the same with the Muslim in India. 

نقاشی روی لباس

نمایشگاهی از نقاشی های روی لباس افشین عبداللهی زردین با عنوان "نقاشی را می پوشم" در گالری گلستان تهران برپا شده است.

به گفته این هنرمند 25 ساله، این کار با یک اتفاق ساده آغاز شد: "آمدم آرتیست بازی دارم بنابراین یکی از لباس های خودم را طوری که دوست داشتم نقاشی کردم. حاصل کار خوب بود. شروع کردم به مطالعه و تحقیق در باره نقوش روی لباس ها.

"در موزه ایران باستان لباسی دیدم که قاعدتا باید لباس رزم می بود و روی آن با حروفی که ما نمی شناسیم نوشته و فرم هایی کشیده شده بود. در تحقیقم به این نتیجه رسیدم که احتمالا آن نوشته ها و فرم ها اورادی بودند برای حفظ جان سلحشوران در میدان های جنگ. حتی مثل کفن که روی آن آیات قران درج می شود، لابد برای حفظ در برابر خطری."

تصمیم گرفتم آن اوراد را امروزی کنم تا روی لباس ها نقش بندند. البته ممکن است با زندگی امروزی در تضاد باشد. راستش نمی شود مانتو نقش بته جقه و لباس زیر مارک نایک داشته باشد.

نقاشی زردین انتزاعی است، البته می گوید این روزها پاپ آرت که می شود در آن به نقد اجتماعی پرداخت، توجه اش را جلب کرده است.

او درباره اینکه فرق نقاشی های او بر روی لباس های امروزی چه تفاوتی با جامه هایی با اوراد محافظ در قدیم دارد، می گوید دعا نویسی روی لباس های قدیمی کپه کپه بود، اما نقاشی های من آن نظم را ندارد و مثل زندگی امروزه بی نظم است.

نکته در خور توجهی که زردین به آن اشاره می کند این است که معنی کلمه ها کلیدی است که باید خوانده شود. تا مخاطب کلید واژه را در نیابد ، معنی نقاشی را هم درنیافته است.

او لباس ها را با رنگ های نساجی نقاشی کرده است، بنابراین آنها کاملا قابل شتسشو هستند. قیمت لباس ها از ۱۲۰ هزار تومان تا دویست هزار تومان است.

زردین می گوید ۳۵ قطعه لباس برای تایید به وزارت ارشاد داده شده که آنها به ۱۷ قطعه لباس مجوز نمایش داده اند.

با توجه به اینکه نقاشی در پشت و روی لباس ها نقش بسته، در مواردی ممیز ارشاد یک سوی لباس را مجوز داده و سوی دیگر را رد کرده است.

در پاسخ سئوال زردین درباره دلیل رد لباس ها ، گفته شده است چون نمی توانیم نوشته های روی لباس ها را بخوانیم ، بنابراین اجازه نمایش هم نمی دهیم.

این هنرمند جوان معتقد است انتزاع دری را بر روی مخاطب باز می کند و روایت و کار فرمی ارجاع دارند.

در میان خط نگاره هایی که بر روی لباس ها نقش بسته اشعاری از شاملو و خود هنرمند نقاشی شده است. زردین عمیقا معتقد است شعر را می شود نقاشی کرد.

این هنرمند متولد شده در روزهای جنگ سخت دلبسته ادبیات است و می گوید هستی شناسی دنیا با ادبیات است. ادبیات خیلی جلوتر از سایر هنرها است.

افشین عبدالهی زردین متولد ۱۳۶۲ است و گرافیک خوانده است، اما به گفته خودش سخت دلبسته نقاشی است.

فعالیت هنری خود را از ۱۳۷۸ آغاز کرده، تاکنون پنج نمایشگاه انفرادی برگزار کرده و یک اجرای اینستالیشن و یک ورک شاپ داشته است. چهار فیلم کوتاه ساخته و در ۱۳۸۲ برنده جایزه پوستر جشنواره تئاتر دفاع مقدس شده است. زردین در مهد کودکی در کرج خلاقیت هنری درس می دهد.

این نمایشگاه تا ۷ اسفند در گالری گلستان ادامه خواهد داشت.

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http://www.bbc.co.uk/persian/arts/2009/02/090225_og_lp_clothes_art.shtml