the british 18—year—old, emma raducanu, has won the us open, in one of the most dramatic victories in modern tennis. she beat19—year—old leylah fernandez of canada in two sets, six—four, six—three. raducanu only made it into the tournament as a qualifier. sombre ceremonies have been taking place in the united states to mark 20 years since the september 11 attacks, when al-qaeda hijackers used airliners to kill almost 3,000 people. in new york, president biden urged people never to forget the deadliest attack on us soil. a film about illegal abortions in 1960s france has won the main golden lion prize at the venice film festival. audrey diwan, who directed happening, said she'd made the movie with both anger and desire. spain's penelope cruz won best actress for her part in �*parallel mothers�*.

the man thought to have planned the 9/11 attacks, khalid sheikh mohammed — and his key associates — are yet to stand trial. they're still being held at guantanamo bay, the us detention centre in cuba. nearly 800 men and boys have been detained there. five of those men have appeared before a judge in guantanamo bayjust this week, with the families of some 9/11 victims present in the court. the bbc�*s aleem maqbool met some of them. yes, it's notjust khalid sheikh mohammed who is here, but four others who were implicated in that plot to attack new york and those other sites 20 years ago. khalid sheikh mohammed is believed to have conceived of the idea of the attacks, taking it to 0sama bin laden and then subsequently planned the attacks. but also, walid bin attash is alleged to have trained two of the hijackers. you've got ramzi bin al—shibh, who is thought to have run the hamburg cell of the operation, then two others —

ammar al—baluchi and mustafa al—hawsawi, who are thought to have provided financial and logistical support to the attackers. so all those stories of loss we've been hearing all day, well, these are five of the men who it's alleged played a big role in a lot of that loss. and they are here and itjust so happens that over the last few days they have made their first appearances in a courtroom for more than 18 months — the legal proceedings were stalled because of the coronavirus pandemic. but alongside us in the gallery were family members of victims of 9/11 who were observing events — including one. i spoke to, dr elizabeth berry, who talked in a memorial event earlier this day about her brother, billy, who had been a firefighter who died when the north tower collapsed. and she said there was nowhere she'd rather be for this 20th anniversary than guantanamo bay, watching the legal proceedings and seeing the search forjustice. it doesn't get any better than being in guantanamo bay on the 20th anniversary, being part of the first group of people back into the courtroom to see

the proceedings start over again, see a newjudge post—pandemic and get to talk to your brother to a whole naval station, you know, of military heroes. and it's pretty cool. and it doesn't get better because you're optimistic about where things are going and the fact that things have restarted? i feel... yeah, i'm very honoured to that people are interested in listening to my brother's story. i'm very proud of him. and...i'm optimistic because we're starting again. for a while there, i thought i might die of old age before we ever came to the conclusion of this trial. now i'm beginning to think i have a chance — i might actually see the end of it. so, dr berry there talking about her optimism about things moving forward, but this was the 42nd pre—trial hearing of these men over a period of nine years.

we still, though, don't even have a court date set for the trial itself. now on bbc news, epic iran. in the biggest exhibition of iranian arts and culture in the uk, london's v&a museum has brought together hundreds of artefacts showcasing one of the world's great civilisations. it's the biggest exhibition of iranian art and culture in the uk in nearly a century. hundreds of artefacts showcasing one of the world's great civilisations, from 5,000 years ago to the present day. 0ne absolutely spectacular piece is a little gold chariot. and you'll see it consists of a lot of tiny parts which have been soldered together. it's a technological masterpiece. it's hosted by london's victoria and albert museum

- the v&a. i'm maryam erfan, and i cover arts for bbc persia. the epic iran exhibit has been hugely popular, and i've come to share some of the highlights of this wonderful exhibition with you, and to introduce you to some of the experts behind the making of it. it was quite a task, with objects coming from art collections all over the world. i know there are some real treasures here from my homeland — some of them have never been on public display before. and i feel privileged to see them up close. the exhibition covers the ancient, islamic, and modern periods. when you come to this contemporary period, they are unafraid to address issues such as gender or politics. and very often, the works test the boundaries of censorship and control. video art and installation sit alongside carpets, ceramics, and metalworks.

we will hear from the top experts behind the exhibition to bring 5,000 years of artistic mastery. this is epic iran. this exhibition is very unusual, in that it traces the history and cultural development of iran from the beginning of history, which we reckon to be about 3200 bc — that's when the first rudimentary writing appears in iran — right up until now. so that's a 5,000—year continuum. the first section starts at 3200 bc, with the introduction of writing, and it goes on until the start of the achaemenid empire in 550. so that in itself covers a very long period. we call that "emerging iran".

there are some very interesting pieces in the first part of the exhibition showing the advanced and prosperous civilisations in some of those centres. particularly, for example, in ilam, in southwestern iran, i draw your attention to a very fine little bronze group which shows a man and a woman, possibly a king and a queen. they are worshiping figures, and it was undoubtedly something that was put into a shrine in order to represent the supplicants in perpetuity. also some very interesting gold vessels from the malik area, just to the south of the caspian sea. the area was controlled by robber barons who made themselves very wealthy

by exacting tolls on people using the east—west trade route that went just to the south of the caspian sea. the second section is devoted to the achaemenid iran — so, the persian empire — which begins in 550 when cyrus the great seized power and united the medes and the persians. one of the most famous artefacts dating from that period is the very famous cyrus cylinder — sometimes known as the first bill of human rights. in this cylinder, after he captured babylon, he describes how he sent statues of gods back to shrines from which they had been removed and seized by the babylonian kings.

in other words, allowing the people in those shrines to continue worshiping the gods they were worshiping before. what i would like to draw your attention to is a series of plaster casts of these reliefs at persepolis. and what we've done here is project onto them the original colours. and this is how these reliefs would've looked in antiquity. all the reliefs that one knows from this period were originally coloured. so what we've done is project colour lights onto that relief to show the public exactly how these reliefs would've appeared in antiquity. just next to me here is a series of plaster casts of glazed brick panels from

susa that are in the louvre. and these were commissioned by the victoria and albert museum in the 19th century when it was collecting casts for its very famous cast forum, and so on. and they've never actually been on display before. the third section for which i was responsible is dealing with the parthian and sasanian empires. and what i draw your attention to there is some of the magnificently—decorated silver dishes. many of them show the king hunting — but all of them show some elements of zoroastrian iconography symbolism, because by this time, of course, zoroastrian had become the state

religion of iran. there's a variety of materials, of course, ranging from ceramics to metal—work, to gold. and objects are engraved or carved out of stone and glass, as well, of course. we have very complicated bronze castings — and those testify to the skill of the craftsmen at that very, very early date. and that's apparent, i think, all the way through the exhibition. you'll see three axes, for example, dating from around 2500 bc.

even to do such a casting today requires a high level of skill. and then, coming on a bit later, of course, we've got these magnificent silk textiles with very colourful and wonderful designs on them. and one absolutely spectacular piece is a little gold chariot. and you'll see that it consists of lots of tiny parts which have been soldered together. again, it's a technological masterpiece. the ancient world ended with the arab conquest of persia in the seventh century. islam gradually became the dominant religion. the second section of the exhibition is about the islamic period.

it begins with a section on the shahnameh. this is a very important part of the exhibition, which links antiquity with the islamic period in a very forceful way. you can call it the first great work of persian literature after the islamic conquest, when persian had begun to be written in the arabic alphabet. it preserved much of the vocabulary and grammar of middle persian, which was the language used by the sasanians. the rulers of islamic iran, from the 14th century onwards, became very interested in the shahnameh. it almost became a necessary part of the equipment of a future ruler, to be given a shahnameh, which provided as a model for the kings of the present based on what had happened in the past.

and of course, at the same time, it preserved of the ideas of iran as a country with an enormously long history. in the 19th century, the v&a began to collect evidence for world architecture through photography. but of course, the tile work monuments of isfahan presented a problem — because photography is in black and white, and their patterns are based on colour. so it was the idea to get paintings made of the tile work in isfahan. this exhibition has given us the opportunity to show some of these larger paintings for the first time in a very long time — where you have three of the samples of the interior domes of isfahan have been raised on huge mounts. they are only triangular shapes, because the design

was repeated around the dome. and so, in order to communicate it, you just needed one thin slice of it which lets you see the relationship between these thin triangles and a complete dome. the eighth part of the exhibition is devoted to royal patronage. what you see first is the section on robes of honour. they've been a huge motor for the production of luxury textiles in iran. in order to be a proper ruler, the ruler had to have very large stocks of luxury textiles. because it was the custom that, when people came to court — such as an ambassador or a vizier who's done a very, good job for the ruler —

the ruler would present them with a special robe which would be placed over their shoulder. robes of honour were either sold off because they were so valuable, or they were recycled into other objects. we've isolated two in the v&a collection — one of them with a very beautiful 17th—century pattern of flowering plants. but it doesn't survive as a robe of honour, it survives as a type of orthodox textile that was used by orthodox bishops in the mass. and the other example is a robe which was sent to the v&a by naser al—din shah qajar in 1876. so the ninth section of the exhibition is about the 19th century.

we call it "the old and the new" because the 19th century is the tension between the kings who wanted to present themselves as glorious in the style of the iranian monarchs of the past. but they also had to deal with a very changed world. the section on the 19th century includes two large oil paintings. one of them comes from the reign of fath ali shah and it's a portrait of the monarch by his court painter, and it shows the shah wearing the extensive jewellry on his equipment and clothes that was available to him because of their conquests in india.

oil painting had come to iran probably in the 17th century for portraiture and decorative painting. so it came there as an inheritance from the past. during the 19th century, there were a number of really interesting painters who emerged in iran — and one of them was isma'iljalayir. the painting that we have in the exhibition shows the harem of an important person. they are having tea on a balcony overlooking a park with very large trees. the portraits of the women — their faces have an incredible stillness. i think what's happened is that isma'iljalayir wouldn't have had access, and so he's been given photographs of them in order to create the painting. that sort of leads us through to the 20th century — and there, we show examples of the art of iran after

the introduction of art school training in the western—style in the 19405, and how iran in the 19605 and '705 developed a form of modernism that was in tune with international movements, but also had artists who were creating specifically iranian works of art. and now, it's time to see some masterpieces of the modern period. there's two really great and important stories to tell. one, of course, is how dynamic modernity was in iran in the mid—20th century. between the second world war and the iranian revolution, there was an incredible scene of arts within iran. you had many different art schools and academies, you had private galleries, you had, by the early �*50s, 700 newspapers, public television — which was a very

radical public television programme — and you had art biennales and art fairs and the shiraz persepolis festival. within that period, there were lots of different voices, lots of different political voices. clearly not everyone was monarchist, there were anti—monarchists, marxists, socialists, islamicists, republicans, all working within this field and giving their own voice. so we wanted to represent that dynamic period of modernism, when iranian artists were really exploring different ways of expressing their own modernity. we have oil paintings, sculpture, and photography. we have film, installation work, and animation. and over half our artists are women, so really creating a very dynamic voice.

within the era of modernism, it's interesting to look at some of those key artists, all of whom are iconic today. so we can look at someone like sirak melkonian — his work, "veiled woman", won the first prize of the very first tehran biennal in 1958. he has explored local idioms and nuances, and his portrayal on these flat washes of colour of a woman emerging from a bathhouse in downtown tehran, looking at you sideways, really exemplifies the kind of exploration that artists were interested in doing then. the incredible thing is that there is this misnomer in western art history that

modernism was something that was invented in the west, and then exported like a good around the world. whereas, in fact, in the kind of transnational modernisms that are being explored now, we re—understand the story differently. and it's great to have this moment to establish the huge variety of modernism within iran in the 20th century. iran positioned itself firmly on the global stage — so we had artists that moved westward and looked, and reinvented, but we also look had artists who looked eastward. and who more beautiful and more moving than sohrab sepehri, who's known as a poet, as well as a painter? sohrab studied for two years injapan in the early �*60s, and also in china. and he came back to iran via india, where he studied there, as well — both in its painterly arts, but also in its spiritual meditation. and in this early work, we see that wonderful eastern brushstroke in one of these early renditions of the trees

that he became so well known for later on in his career. we can also look at the work of bahman mohasses. he was interested not in the hero, but in the antihero. and his figures often have a demonic feel and resonate with different power. this painting is really great — it's from the mid �*60s, and it shows a couple on a beach. of course, we all know this had become very fashionable in the period, in the �*505 and �*60s where people would go up to the caspian sea for picnics and weekend stays. and there's something very beautiful about this scene with two men, on that leisurely lying in the sunshine. it's really startling that when you come to the modern and contemporary, you see something that we see throughout the decades — which is that even though you have regime change, for want of a better word, you have a new

political reality. what you still have is incredibly tenacious sense of iranian identity. and artists keep on exploring, reinventing, and have a critical eye. and so when you come to this contemporary period, they are unafraid to do, you know, address issues such as gender or politics. and very often, the works test the boundaries of censorship and control. it's very clear here from, for example, rokni haerizadeh�*s work, how he does that. the work itself is called "the anniversary of the islamic republic". but when you look at this amazing painting, what are you seeing? you have azadi tower — which was formerly shahyad. and there you have people milling around, supposedly a day of feasting. but then there is a tightrope with a very precarious person walking across the scene. and there is a kind of carnal unpleasantness about the scene, with people eating ice creams and snacks. and somehow, you feel like everything's a little bit

not as it seems. and then, we end with the beautiful animation by awish khebrehzadeh — "the white horses". she uses this ancient animal that we see from the earliest times represented in iranian art, the horse. here we see them galloping, you hear the clopping of their feet. and then, the gong signing off — and they race towards freedom. the land we know as iran has faced major challenges and change over the centuries. but the epic iran exhibition shows there is a cultural history stretching back 5,000 years, contributing to a national identity that connects iranians through the millennia.

hello. saturday brought a return to drier, brighter weather across much of the uk with skies like this. with the exception of the heavy rain in northern scotland, similar day to come on sunday for much of the uk. minus the heavy rain in northern scotland with the addition of rain moving into wales from this weather system approaching from the southwest.

it will be turning wetter here as the day goes on. as the day begins, it will be a cooler start, it has been turning fresher from the north and there will be a lot of cloud around in scotland, hill fog and that cloud will slip south into northern england and with it, there will be a few light showers and at the same time northern and western scotland brighten up during the day. a few sunny spells in northern ireland as there will be across east anglia in southeast england. cloud increasing in the midlands and especially in southwest england and wales. still a bit of uncertainty about the progression of this rain and it will impact parts and especially cornwall and devon and looks like it will cover much of wales by the time we get into the evening and temperatures for the most part into the teens to low 20s are some in east anglia and southeast england. during the evening, rain may push into parts of the midlands especially the west midlands, may fringe into merseyside, and perhaps affecting some in southwest england overnight and into monday morning. the clearest skies will be in scotland, northern ireland and northern counties in northern england with a much cooler night to come with temperatures quite down

into single figures with some sunshine as monday starts. some uncertainty on monday about how far north this rain might get and might slip a little bit further on the western side of the uk, may be reaching towards the southern parts of scotland later in the day but the driest weather will be further east with a good deal of bright or sunny spells. with uncertainty about how far north rain will get, it will gradually clear away from eastern parts on tuesday. brighter, sunnier conditions following on behind with the few showers and spots of rain in parts of northern ireland and scotland. and then after that, looks as if we'll get up a couple of drier dates, many drier days before we see another atlantic weather system bearing down on us bringing some rain on thursday night into friday on the current timing. so, the main story about this week's weather then, we are going to see a chance of rain depending on where you are, earlier in the week and then largely dry in midweek before the chance of rain coming back again later in the week.

good morning. welcome to breakfast with rogerjohnson and sally nugent. 0ur headlines today: emma raducanu, the unseeded teenagerfrom bromley, storms to victory in the us open, rewriting the history books and winning the hearts of tennis fans everywhere. i'v e i've got no idea what's going on, not at all. i've got no clue. but anything that comes my way, i'm ready to deal with it and i got great people around me to take me through these moments, and they got me here, and, yeah, i'm very excited to celebrate with them later, and also go home and see everyone back home. a plan to deal with a winter covid

crisis in the nhs will be set out on tuesday.