Ghirlandaio suspects he had studied with his rival, Rosselli, but Michaelangelo says he has only learned from copying Giotto and Masaccio in the churches. He tells him to sketch for him, and Michaelangelo quickly sketches the whole studio. Michaelangelo is direct and self-confident, and Ghirlandaio responds to him. The master says he starts boys at the age of ten where has Michaelangelo been for three years? The boy answers that he had to waste time studying Greek and Latin at his father’s order. In the Guild studio, sleepy apprentices sit under the supervision of their master Ghirlandaio, who is forty and one of the most successful and busy artists in Florence. He takes him to the studio of the master on his birthday to apply as an apprentice there. Granacci has secretly been encouraging the young Michaelangelo in his passion for drawing. His four brothers are sleeping in the room, and he waits to hear the whistle of his friend, Francesco Granacci, a nineteen-year-old apprentice of Ghirlandaio. The story opens in the Buonaratti home in Florence, Italy, in March of 1488, where the thirteen-year-old Michaelangelo sits in front of a bedroom mirror sketching his own lean face and finding it ugly and out of proportion. Book One is Michaelangelo’s experience as an apprentice in the studio of fresco painter, Ghirlandaio. He recited some of these poems in such a way that the listeners, for whom these poems were ambiguous, meaningless and far from poetry, they too became enchanted by them even managing to discover in those poems a bit of poetry.Each book illustrates one part of the artist’s life and consists of several short numbered scenes. Then, Famous actor and broadcaster Zia Mohiuddin experimented with reciting Noon Meem Rashid's poems at various events. When new poetry appeared in the form Azad Nazm, it found no takers as no one seemed willing to listen to it. … Anis ne is andaz se paDhi ki mujhe sho’le bhadakte hue dikhai dene lage aur main un ka padhna-sunna mein aisa mahv hua ki tan-badan kaa hosh na rahaa.” Sho’le tirii talaash mein baahar nikalte hain Saato.n Jahannum Atish-e-Furqat mein jalte hain “Ek martaba Ittefaqan Anis Ki Majlis mein shirkat hui. A contemporary of famous Marsiya-reciter Meer Anis, and who didn’t find favor with Anis’s Marsiya composition, wrote: Although Taht-ul Lafz recitation is common in Mushairas, but those who recited Marsiyas (elegies) in this manner in mourning assemblies, turned it into a dramatic artform. However, in Taht-ul-Lafz, one enjoys the full effect of poetry with the grandeur of words and the crescendo of the rise and fall of the reciter’s voice. If read in Tarannum, the reciter’s tone and voice largely draw the attention of the audiences. Poetry that’s recited without a Tarannum (tune) is known as ‘Taht-ul-Lafz’, or differently, ‘Taht Mein Padhna’. Similarly, there are other such constructions like ‘Hairan-Kun’- that which astonishes, ‘Parishan-Kun’- that which disturbs or scatters, and many others. Like the idiom ‘Kan Ankhon se Dekhna’, meaning to look at from the corner of the eye.Īnother Persian construction is ‘Kaar-Kun’, which is created by bringing together Kaar, meaning work in Persian, and Kun, meaning a doer, which together means one who carries out a work. Likewise, the act of carving impressions into stone, wood, and metal is called ‘Kananda Karna’, or to engrave. The word ‘Kan’ means a digger, and thus, a laborer digging in mine (Kaan) is called ‘Kaan-Kan’ or mine-digger. This construction has made its way into Urdu from Persian. Patthar se juu-e-shiir ke laane ne kyaa kiyaa Kaam aa.ii kohkan kii mashaqqat na ishq me.n In the Iranian romantic tale of Shereen and Farhad, Farhad, who digs a mountain with his ax to draw a canal of milk, is called "Koh-Kan", meaning the one who digs a mountain.
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