766:
1408:
226:
790:, helped to significantly change the perception of women in Iranian society. New cultural appropriations changed the depiction of women in the arts as well. For instance, such a genre as family photography emerged, whereas before, only fathers with their children were depicted in photos, excluding mothers. At the end of the 19th and the beginning of the 20th century, women activated to demand more rights. As a rule, education was a privilege of elites. As such educated women with upper-class backgrounds were the ones who started to publish their own newspapers, aiming at combating female illiteracy, and being the mobilizers of women's social movements. With the increase in female opportunities, schools for girls started to be established. And in 1909, Teheran's Naseri Girlsâ School adopted photography as one of the subjects taught in the school, rising women's interest in accusing the skill professionally.
20:
425:
1452:
1438:
1380:
774:
opportunity to develop in photography, since such a hobby required high expenses, inaccessible to all layers of society. Dust
Mohammed Khan Moâayyer-ol-Mamalek (1856â1912), husband of one of the shah's daughters, together with his brother Mirza, established a photo studio in their house. Possessing fully equipped cameras, they soon became professional photographers, being the first among noblemen, to photograph women. With the spread of female photography, the cultural and religious taboo was gradually declining. Coupled with innovations introduced by western-educated photographers, both Iranian and foreign, court women started to be photographed more often and with time, in a less modest dress. Whereas previously, they were required to be fully veiled in the photos.
380:
361:
395:
352:
1338:
410:
1306:
1366:
738:. The shah's mother Mahd-i Ulya, is the first Iranian woman to be depicted. Starting in 1858, shah started taking photographs of his harem's residents. Art historian Pamela Karimi also notes that some women from shah's harem were depicted unveiled and âin erotic posesâ. In addition to photographing himself, he taught and encouraged his servants to acquire this skill. While cultural and religious restrictions limited women from being depicted in photos, the shah ignored these limitations. Likewise, with the spread of photography as a profession, female rather than male foreign photographers had easier access to photograph Iranian women due to gender restrictions.
459:
41:
1394:
158:
252:. These princes, with the wealth and position of their families, had very little else to do but contribute to the arts, so their patronage was certainly less than detrimental to the arts of the time. Often, portraits of this class would be commissioned as depictions of family groups, depicting the male, an idealized, nubile wife, and their perfectly formed child. Other times, they would be in the form of a royal portrait, depicting solely the male commissioner, but with subtle variations making it clear that the sitter is not a Royal. One way that this was accomplished was through a
333:
1264:
293:
century when females were depicted as more individualized with distinct feminine facial and body features which ultimately led to the disappearance of the mukhanna, the male object of desire. 19th century Qajar art also brought the emergence of the bare-breasted woman. Examples of the bare breast would be seen through a dress for fetishistic pleasure and become a major theme in Qajar paintings. These bare-breasted women were portrayed as angels, European women, or women of pleasure such as acrobats or musicians. Some paintings include a portrayal of
440:
1285:
1320:
931:
573:
1243:
1195:
1352:
49:
762:, she writes about female daily life and culture in Iran. Gertrude Bell, traveling through Iran in 1911, motivated by archaeological research, was rather concentrated on depicting Iranian landscapes and nature sites, rather than women. However, while photos of men are included in her artistic heritage, there is only one woman among all the photographs done by Bell, and only as a part of a family portrait.
711:
313:, and Shaykh San'an. In contrast to traditional postures and positions of women in 19th-century Qajar art, was a common female representation of women gracefully upside down on their hands on a knife. This was interpreted as a rejection to a social order which is represented in folk narratives in both pictorial and literary representations to dismiss the stereotype of passive Iranian women.
322:
upper-class families, led creatively and culturally rich lives. Many of them were ambitious writers, poets, artists, calligraphers, religious leaders, and also, activists by the end of the century. âWomenâs Worlds in Qajar Iranâ is a 21st-century-established digital archive dedicated to recording 19th-century
Iranian women's lives and their input into cultural heritage.
778:
1407:
277:
prescribed by ancient traditions and the
Islamization of society in Iran. Likewise, Mongol women, due to their nomad lifestyle, were conditioned to lead a physically active life, making heavy veiling unpractical. Tribal women were also more politically active, where specifically the lineage of women empowered
818:
of the Qajar era is of high historical importance since the era itself reflects a transitional time between tradition and modernity. Moreover, the Qajar era represents a period when printing emerged, enabling the development of new literate genres. It also marked a transition from oral propagation to
773:
In 1858, male French photographer
Frances Carhlian was appointed by the court to teach photography, propagating the collodion method in the state. Carhlian is the first male foreign photographer to depict Iranian women. As for the Iranian photographers except for shah, only members of nobility had an
201:
As the
Shangri La Center for Islamic Arts and Culture notes, "Later Iranian art of the Afsharid (1736â96), Zand (1750â94) and Qajar (1779â1924) periods is distinguished by the depiction of life-size figures, whether in stone relief, tilework or painting on canvas. In the latter category, Qajar rulers
718:
in 1840s daguerreotype were introduced to Persia and paved the way for more photographic instruments to be introduced to Persia. Unlike the
Ottoman Empire, where photography was seen as sinful, in Persia it was accepted and largely used. The only surviving daguerreotype photograph is a self-portrait
325:
Shahsâ harems, in turn, were of considerable importance in regard to women's opportunity to create and promote their art. Harem represented a femicentric space, where women were able to freely exchange and share ideas, not influenced by hierarchal submission to men in 19th-century Iran, experiencing
216:
became much more important in the art of the period, and portraiture, while still used for official purposes, fell gradually out of favor. In addition, as
Nassirudin Shah was the first Persian ruler to visit Europe, the official sending of portraits was left by the wayside, a relic of times gone by.
563:
above). This is not to say, however, that the traditional textile arts of Persia had fallen into disuse. While the Shah wished to appear advanced and western to
European monarchs and diplomats, it was still his duty to exude the pride and ancient glory of the Persian Empire, so court dress retained
276:
time. Portraiture of women started to be considered as a dishonorable practice toward a woman, based on the
Islamic traditions of womanhood and modesty. The trend has changed with the arrival of Mongol invasions in Iran. Traditionally, female veiling was not as strict among Turko-Mongol tribes, as
193:
in which the distinctive features of the ruler are emphasized. Portraits exist of Fath Ali Shah in a very wide assortment of situations, from the armor-clad warrior king to the flower smelling gentleman, but all are similar in their depiction of the Shah, differing only slightly, usually due to the
798:
As in any other field, women had limited opportunities in developing professionally, rather being tied to the domestic sphere. Moreover, in the majority of cases, history is depicted by men, who tend to bypass female inputs into society. Consequently, information on female
Iranian photographers is
706:
Many new technologies were adopted under the rule of Nasir al-Din Shah (ruled 1848 to 1896). Photography became popular in Iran during the late Qajar period and was embraced enthusiastically by Nasir al-Din Shah, who famously photographed many of the women of the Qajar palace. During the period of
292:
paintings, displaying similarities in body and facial features between men and women who were illustrated to be beautiful in many paintings. Young males and females were often linked to the object of desire. The appearance of young beardless men was called "Mukhannas". It was not until the 19th
321:
Though not well-documented, women have contributed to the 19th-century art heritage of Iran. Due to social, cultural, and religious constraints, art samples created by women were rarely preserved, since society, in general, didn't encourage female self-expression. Qajar women, especially from
247:
The depiction of nonroyal persons also has a very important place in the explanation and understanding of Qajar art. While naturally not commoners, the subjects of these portraits were often minor princes (of which there were many!), the grandsons, nephews, and great-nephews of the ruling or
893:
While female literacy used to be a privilege of elites, many women were enthusiastic admirers and compositors of poetry. Under the patronage of Iranian royalty, female poets were promoted, even though society saw women's writing as a transgressive act. It is also considered that
806:
Ozra Khanom, wife of the court photographer Aqa Yusef Akkasbashi, together with her sister Soltan Khanom, worked as a family photographers. Ashraf-os-Saltane, the wife of one of the Naser al-Din Shah's minister and translator, also was active in photography.
194:
specific artist of the portrait. It is only appropriate that this particular Shah be so immortalized in this style, as it was under his rule as the second Qajar shah that the style truly flourished. One reason for this were the stronger and stronger
1437:
826:
Eminent scholar and researcher of Iranian folklore Mohammad Jaâfar Mahjub contributed to the study of the Qajar literature by outlining and classifying the main topics that were present in the literature of that period. These included:
785:
With the increasing mobility of Iranian men at the end of the 19th century (their ability to travel to Europe and get an education), their awareness of the female âpresenceâ in the European societies, coupled with the
173:. Each ruler, and many of their sons and other relatives, commissioned official portraits of themselves either for private use or public display. The most famous of these are the myriad portraits which were painted of
799:
significantly limited as well. From the only accessible sources, it is assumed that women from upper-class families and wives of photographers had the greatest opportunity to acquire the skill professionally. As
300:
The posture and positions women were placed in these paintings help tell a story. Women often held objects such as mirrors, fruit, or wine to represent beauty and pleasure. These representations go in hand with
1451:
305:. With Persian literature in mind, occasional paintings featured women with an "outward gaze" which represents "directly addressing the reader" and is seen in many narrative paintings from
1995:
Moscheen und Madrasabauten in Iran 1785-1848: Architektur zwischen RĂźckgriff und Neuerung (Mosque and Madrasa Buildings in Iran 1785-1848: Architecture between re-adaptation and innovation)
285:
was at its peak, Iranian artists rethought their attitude towards the painting of women. Whereas with time, female nudity and eroticism in painting became a part of Iranian visual culture.
819:
printed literature as a main medium of story-telling. While printing greatly changed the perspective of story distribution, it was not comparable to 21st-century printing capabilities.
881:, in reality, women facilitated reformist ideas in their writings no less than men and were responsible for the establishment of girlsâ schools in Iran in the late Qajar empire, early
256:
that was displayed next to the head of each portrait's subject, clarifying who was being depicted, and any relevant titles (such as SoltÄn, shÄhzÄdeh, &c.). For the ruling head of
89:
and his descendants. With his ascension, the bloody turmoil that had been the 18th century in Persia came to a close and made it possible for peacetime arts to again flourish.
1379:
149:. This is especially evident in the portrayal of Qajar royalty, where the subjects of the paintings are very formulaically placed and situated to achieve a desired effect.
756:, Dieulafoy photographed shah's family members, specifically his wife and daughters. Bird, in her turn, was less interested in depicting women, whereas, in her travelogue
360:
1393:
752:(1869-1926) are three western female travelers in Iran during the Qajar era, who were active in photographing both men, women, and social groups. Under the patronage of
547:
inclinations of the Qajar period were not so very different from those of earlier period until the latter half of the era. As is evidenced by the early portraiture of
117:
and this can be seen in the depiction of objects especially by Qajar artists. The European influence is very well evidenced in the preeminent position and prestige of
823:
is a printing technic that was used in Qajar times; it was invented at the end of the 18th century but has reached Iran only in the second half of the 19th century.
1365:
424:
765:
555:, the traditional styles of dress in Persia were preserved, but as Western influences became more and more prevalent, the royal portraits began to depict the
209:
himself never visited Europe, many portraits of him were sent with envoys in the effort to convey the imperial majesty of the Persian court. With the rise of
1827:
Mohammadi Nameghi, Khadijeh; PĂŠrez GonzĂĄlez, Carmen (January 2013). "From Sitters to Photographers: Women in Photography from the Qajar Era to the 1930s".
1909:
Brookshaw, Dominic Parviz (October 1, 2014). "Qajar Confection: The Production and Dissemination of Women's Poetry in Early Nineteenth-century Iran".
873:. It served as a basis for significant changes in the perception of literature, and the role of women in producing it. Muhammad Shah(1834â1848) and
225:
85:
The boom in artistic expression that occurred during the Qajar era was a side effect of the period of relative peace that accompanied the rule of
1337:
803:
concluded, after helping the husband in the photo business, a wife herself would frequently continue with it, after her spouse would pass away.
202:
like Fath âAli Shah (r. 1797â1834) perpetuated a widespread interest in large-scale portraiture (even sending portraits to political rivals)."
1319:
379:
121:. While oil paintings had been par for the course during previous periods of Persian art, it was the influence of the European masters, like
458:
485:, and as such, calligraphy and its associated art forms became a very important part of Islamic expression. Upon the introduction of the
409:
19:
1444:
Pottery scene from 19th century Qajar, Iran, showing two seated princely figures, surrounded by courtiers, musicians and dancing girls.
877:
were essential figures in âliberatingâ female creativity and promoting it. While there is a belief that women didn't contribute to the
394:
1223:
1510:
1263:
1242:
1480:
1305:
1798:
970:
2014:
1094:
714:
Prince Malek Qasem Mirza's daguerreotype self-portrait. He is seen with a watch in his hand to measure the exposure time.
332:
272:
After the spread of Islam in the 600s, the depiction of women in the arts decreased compared to the art movements of the
527:, lit. "Book of the King of Kings"). The Shahnameh chronicles the quasi-mythical founding of the Persian Empire and the
439:
898:
is the first female poet whose poetry has been published under Qajar rule. Her poetic inputs date back to the reign of
857:
heritage are mainly held in Iran, but also Russian, English, German and French libraries; and in personal collections.
129:, the true masters of oil portraiture, that raised it to the highest level. Heavy application of paint and dark, rich,
1571:
1543:
870:
787:
1284:
2044:
853:
Many samples of Qajar-era popular literature have been lost or poorly preserved. Comparatively major holdings of
351:
105:
The roots of traditional Qajar painting can be found in the style of painting that arose during the preceding
2039:
2002:"Qajar Portrait Art In The Second Half Of The 19th Century: The Portraits Of Nasir Al-Din Shah", Ph.D. Thesis
1475:
1216:
584:
177:, who, with his narrow waist, long black bifurcated beard and deepest dark eyes, has come to exemplify the
707:
his rule, the interaction between photography and painting grew, both in terms of style and composition.
690:
532:
264:
ShÄh QÄjÄr"), while for anyone else, it may include a longer name, a lesser title or a short genealogy.
1427:
965:
1209:
960:
113:, especially in the arts of the royalty and noble classes. European art was undergoing a period of
40:
1485:
1327:
899:
874:
753:
735:
625:
157:
133:
colors are elements of Qajar painting that owe their influences directly to the European style.
1536:
Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography. Desirous Bodies
1470:
294:
1685:
Najmabadi, Afsaneh (July 2016). "Women's Worlds in Qajar Iran Digital Archive and Website".
2034:
1274:
1050:
593:
528:
482:
145:
is seen to be very realistic in Qajar painting, the depiction of human beings is decidedly
1653:
Women with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iran Modernity
1619:
Women with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iran Modernity
1604:
Women with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iran Modernity
1589:
Women with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iran Modernity
169:
Most famous of the Qajar artworks are the portraits that were made of the various Persian
8:
2029:
1944:
1770:
1415:
1130:
1112:
946:
895:
552:
548:
498:
474:
282:
174:
29:
531:
who punctuated its inception. An exemplar of the Sahanshahnameh are now situated in the
1926:
1888:
1844:
1752:
1744:
1702:
1422:, second quarter of the nineteenth century, Ink, opaque watercolor and gold on paper,
1125:
1055:
1024:
1001:
854:
645:
560:
478:
310:
306:
302:
281:. Consequently, due to the influences of Mongols and expanding ties with Europe, where
210:
86:
1784:
1930:
1848:
1756:
1706:
1567:
1539:
1098:
1006:
983:
951:
122:
815:
758:
1918:
1880:
1836:
1736:
1694:
1419:
1019:
988:
130:
1668:"The Popularization of Art in Late Qajar Iran: The Importance of Class and Gender"
1634:"The Popularization of Art in Late Qajar Iran: The Importance of Class and Gender"
1351:
97:
Most notably, Qajar art is recognizable for its distinctive style of portraiture.
1922:
1840:
1740:
1458:
Qajar prince, holding a parasol watches a musician and two dancers. 19th century.
1182:
1177:
1172:
1159:
1140:
1085:
1075:
941:
922:
882:
878:
800:
777:
603:
278:
273:
239:
185:. While the portraits were executed at various points throughout the life of the
110:
34:
1490:
1146:
1135:
1080:
741:
680:
670:
501:, a work of literature and art was commissioned that was intended to rival the
297:
and baby Jesus. Eventually, the bare breast led to an indication of womanhood.
162:
114:
56:
1564:
Liminalities of Gender and Sexuality in Nineteenth-Century Iranian Photography
181:
image of the great Oriental Ruler. Many of these paintings were by the artist
2023:
1698:
1070:
1060:
914:
866:
749:
745:
617:
The Shams-ol-Emareh Palace (1860s) â first iron (steel) building in the city.
486:
206:
186:
71:
60:
52:
190:
1037:
182:
118:
79:
23:
1400:
Painted tiles with design of birds, hunting and flowers from Qajar dynasty
109:
empire. During this time, there was a great deal of European influence on
1980:
1969:
1725:"Women in Praise of Women: Female Poets and Female Patrons in Qajar Iran"
1291:
1250:
1199:
1090:
930:
820:
769:
Portrait of Female Member of Shah's Family, late 19th-early 20th century.
662:
401:
213:
178:
1748:
1724:
869:
inherent of conservative Islamic society to reformist aesthetics of pre-
70:
was the architecture, paintings, and other art forms produced under the
2004:- Department of Art History- Hacettepe University, Ankara, Turkey 2005.
1892:
1868:
572:
326:
levels of autonomy. It was a place from where female creativity arose.
289:
229:
142:
75:
1977:
Qajar Portraits : Figure Paintings from Nineteenth Century Persia
1997:. German, English summary. Brill Publishers: Leiden and Boston, 2005.
503:
489:
to Persia, the people therein set themselves to making it their own.
446:
431:
253:
195:
126:
1884:
1667:
1633:
710:
514:
238:, From Pictorial Cycle of Eight Poetic Subjects, mid 18th century.
146:
1945:"Portrait of Muhammad Shah Qajar and his Vizier Haj Mirza Aghasi"
1270:
1064:
694:
580:
Examples of Qajar era architecture and landscape design Include:
544:
371:
106:
734:
The first photographer to depict women in photos presumably was
559:
in a more Western, military style garb (such as the portrait of
477:
is and has been the definitive Persian art form. There exists a
48:
1826:
607:
597:
588:
416:
257:
233:
1988:
Lost Treasures of Persia: Persian Art in the Hermitage Museum
479:
prohibition in Islam against the depiction of sentient beings
343:
339:
249:
170:
2015:
Shangri La Center for Islamic Arts and Cultures, "Qajar Art"
1423:
840:
stories about the historical importance of religious actors
556:
450:
198:
that the Qajar rulers were nurturing with European powers.
1799:"Iranian portrait photography developed during Qajar era"
722:
In 1889, the first essay on photography in Iran entitled
386:
1372:
Tiles painted with polychrome glazes over a white glaze.
865:
A period of Qajar rule was characterized by a move from
719:
by Prince Malek Qasem Mirza, Naser al-din Shah's uncle.
759:
Journeys in Persian and Kurdistan on Horseback in 1890
860:
781:
An Iranian woman photographed during the Qajar period
1966:Royal Persian Painting: The Qajar Epoch, 1785â1925
260:, this cartouche is fairly regulated, ("al-soltÄn
726:was written by Mohammad ibn-Ali Meshkat al-Molk.
2021:
1869:"Persian popular literature in the Qajar Period"
136:
810:
793:
729:
469:
1655:. University of California Press. p. 30.
1621:. University of California Press. p. 39.
1606:. University of California Press. p. 26.
1591:. University of California Press. p. 16.
1217:
522:
513:, lit. "Book of Kings") which was written by
508:
141:While the depiction of inanimate objects and
1968:. Brooklyn, NY: Brooklyn Museum of Art with
1386:Beglyar Afshar. Portrait of Jamshid Ed-Dovle
517:in the year 1000 . This book was called the
165:surrounded by ministers, painting circa 1835
1561:
1533:
564:very strong elements of traditional dress.
1723:Brookshaw, Dominic Parviz (January 2013).
1224:
1210:
1908:
1722:
1684:
1650:
1616:
1601:
1586:
100:
44:Young mukhanna and girl, early Qajar Iran
1866:
776:
764:
709:
571:
224:
156:
47:
39:
18:
2022:
1687:Journal of Middle East Women's Studies
1665:
1631:
1481:Cultural Heritage Organization of Iran
837:stories inclusive of religious motives
492:
1904:
1902:
1862:
1860:
1858:
1822:
1820:
1818:
1816:
1814:
1812:
1810:
1808:
1718:
1716:
567:
538:
267:
16:Artforms of the Qajar dynasty of Iran
1557:
1555:
1511:"Doris Duke's Shangri La | Painting"
701:
316:
220:
152:
74:, which lasted from 1781 to 1925 in
1538:. New York: Routladge. p. 33.
1471:Royal Persian Painting in Qajar era
1344:Boy Holding a Falcon, Qajar Dynasty
523:
509:
464:Woman holding a bottle and a glass.
13:
1955:
1899:
1855:
1805:
1785:"Welcome to Encyclopaedia Iranica"
1713:
861:Female input into Qajar literature
834:stories with historical background
288:Gender was often blurred in early
14:
2056:
2008:
1964:, Layla S., with Maryam Ekhtiar.
1552:
483:Jewish rule against graven images
92:
26:(Iranian, active ca. 1800â1830).
1450:
1436:
1406:
1392:
1378:
1364:
1350:
1336:
1318:
1304:
1283:
1262:
1241:
1193:
929:
638:The Kushk of Ahmad Shah pavilion
457:
438:
423:
408:
393:
378:
359:
350:
331:
1937:
1791:
1777:
1763:
1678:
1562:Scheiwiller, Staci Gem (2017).
1534:Scheiwiller, Staci Gem (2017).
750:Gertrude Margaret Lowthian Bell
1659:
1644:
1625:
1610:
1595:
1580:
1527:
1503:
161:Fath Ali Shah depicted on the
1:
1496:
1476:Malik National Museum of Iran
1326:"Kushk of Ahmad Shah" at the
867:neoclassic literary tradition
137:Development of painting style
1923:10.1080/1475262X.2014.928040
1841:10.1080/03087298.2012.718142
1741:10.1080/00210862.2012.740902
811:Qajar era popular literature
794:Iranian female photographers
730:Women in Iranian photography
697:(largely destroyed nowadays)
470:Calligraphy in the Qajar era
7:
1771:"Photography in Qajar Iran"
1651:Najmabadi, Afsaneh (2005).
1617:Najmabadi, Afsaneh (2005).
1602:Najmabadi, Afsaneh (2005).
1587:Najmabadi, Afsaneh (2005).
1464:
533:National Library of Austria
10:
2061:
1911:Middle Eastern Literatures
1428:Metropolitan Museum of Art
905:
846:stories with animal actors
1867:Marzolph, Ulrich (2001).
888:
871:constitutional revolution
788:Constitutional Revolution
746:Isabella Lucy Bishop-Bird
1990:. Mage Publishers. 1996.
1699:10.1215/15525864-3507661
1249:Qajari wall painting at
849:classical Persian poetry
635:The Sahebqraniyeh Palace
366:18th-century Qajar art.
1566:. New York: Routladge.
1515:www.shangrilahawaii.org
1486:Shangri La (Doris Duke)
1328:Niavaran Palace Complex
626:Niavaran Palace Complex
2045:Islamic art by country
1873:Asian Folklore Studies
1829:History of Photography
782:
770:
715:
577:
244:
166:
101:Origins and influences
64:
45:
37:
1986:Loukonine, Vladimir.
1666:Vanzan, Anna (2014).
1632:Vanzan, Anna (2014).
780:
768:
713:
575:
561:Nassirudin Shah Qajar
228:
160:
51:
43:
22:
2040:Architecture in Iran
1801:. 14 September 2004.
1426:, collection of the
1275:Nasir al-Mulk Mosque
971:World Heritage Sites
594:Nasir al-Mulk Mosque
497:During the reign of
1416:Muhammad Shah Qajar
1298:facade and balcony.
1253:Narenjestan e Qavam
896:Hajji Gawhar Khanum
576:Nasr ol Molk mosque
553:Mohammad Shah Qajar
549:Fath Ali Shah Qajar
529:heroes and villains
499:Fath Ali Shah Qajar
493:The ShÄhanshÄhnÄmeh
283:Italian renaissance
189:, they adhere to a
175:Fath Ali Shah Qajar
30:Fath Ali Shah Qajar
1099:Miniature painting
1091:Visual art history
855:Iranian literature
816:Popular literature
783:
771:
724:Aksiyeh Hashariyeh
716:
691:Abbas Mirza Mosque
683:(1890s) â Kerman.
585:Constitution House
578:
568:Qajar architecture
539:Qajar textile arts
311:Yusuf and Zulaykha
307:Shirin and Khusraw
268:Depiction of women
248:previously ruling
245:
167:
87:Agha Muhammad Khan
65:
46:
38:
1672:Quaderni Asiatici
1638:Quaderni Asiatici
1234:
1233:
900:Naser al-Dln ShĂĄh
875:Naser al-Din Shah
843:adventure stories
754:Naser al-din Shah
748:(1868-1926), and
736:Naser al-Din Shah
702:Qajar photography
648:Complex â Tehran.
481:, similar to the
372:Museum of Georgia
317:Female creativity
221:Other portraiture
153:Royal portraiture
2052:
1993:Ritter, Markus.
1979:. Brooklyn, NY:
1949:
1948:
1941:
1935:
1934:
1906:
1897:
1896:
1864:
1853:
1852:
1824:
1803:
1802:
1795:
1789:
1788:
1781:
1775:
1774:
1767:
1761:
1760:
1720:
1711:
1710:
1682:
1676:
1675:
1663:
1657:
1656:
1648:
1642:
1641:
1629:
1623:
1622:
1614:
1608:
1607:
1599:
1593:
1592:
1584:
1578:
1577:
1559:
1550:
1549:
1531:
1525:
1524:
1522:
1521:
1507:
1454:
1440:
1420:Haj Mirza Aghasi
1410:
1396:
1382:
1368:
1354:
1340:
1322:
1308:
1287:
1266:
1245:
1226:
1219:
1212:
1198:
1197:
1196:
933:
910:
909:
831:imagined stories
655:The Green Palace
526:
525:
512:
511:
461:
442:
427:
415:Woman playing a
412:
400:Woman playing a
397:
385:Woman playing a
382:
368:Girl with mirror
363:
354:
335:
2060:
2059:
2055:
2054:
2053:
2051:
2050:
2049:
2020:
2019:
2011:
1958:
1956:Further reading
1953:
1952:
1943:
1942:
1938:
1907:
1900:
1885:10.2307/1179055
1865:
1856:
1825:
1806:
1797:
1796:
1792:
1783:
1782:
1778:
1769:
1768:
1764:
1729:Iranian Studies
1721:
1714:
1683:
1679:
1664:
1660:
1649:
1645:
1630:
1626:
1615:
1611:
1600:
1596:
1585:
1581:
1574:
1560:
1553:
1546:
1532:
1528:
1519:
1517:
1509:
1508:
1504:
1499:
1467:
1460:
1459:
1455:
1446:
1445:
1441:
1432:
1431:
1418:and his Vizier
1411:
1402:
1401:
1397:
1388:
1387:
1383:
1374:
1373:
1369:
1360:
1359:
1355:
1346:
1345:
1341:
1332:
1331:
1323:
1314:
1313:
1309:
1300:
1299:
1288:
1279:
1278:
1267:
1258:
1257:
1246:
1230:
1200:Iran portal
1194:
1192:
1187:
1183:Kurdish cuisine
1178:Caspian cuisine
1173:Balochi cuisine
1164:
1151:
1117:
1104:
1042:
1029:
1011:
993:
975:
956:
923:Culture of Iran
908:
891:
879:Iranian culture
863:
813:
801:Naomi Rosenblum
796:
732:
704:
671:Persian gardens
646:Sa'dabad Palace
604:Golestan Palace
570:
541:
519:ShÄhanshÄhnÄmeh
495:
472:
465:
462:
453:
443:
434:
428:
419:
413:
404:
398:
389:
383:
374:
364:
355:
346:
336:
319:
279:Timurid Dynasty
270:
240:Brooklyn Museum
223:
211:Naseraddin Shah
196:diplomatic ties
155:
139:
111:Persian culture
103:
95:
35:Brooklyn Museum
17:
12:
11:
5:
2058:
2048:
2047:
2042:
2037:
2032:
2018:
2017:
2010:
2009:External links
2007:
2006:
2005:
1998:
1991:
1984:
1975:Raby, Julian.
1973:
1957:
1954:
1951:
1950:
1936:
1917:(2): 113â146.
1898:
1879:(2): 215â236.
1854:
1804:
1790:
1776:
1762:
1712:
1693:(2): 246â249.
1677:
1658:
1643:
1624:
1609:
1594:
1579:
1572:
1551:
1544:
1526:
1501:
1500:
1498:
1495:
1494:
1493:
1491:Esmail Jalayer
1488:
1483:
1478:
1473:
1466:
1463:
1462:
1461:
1457:
1456:
1449:
1447:
1443:
1442:
1435:
1433:
1413:
1412:
1405:
1403:
1399:
1398:
1391:
1389:
1385:
1384:
1377:
1375:
1371:
1370:
1363:
1361:
1357:
1356:
1349:
1347:
1343:
1342:
1335:
1333:
1325:
1324:
1317:
1315:
1311:
1310:
1303:
1301:
1290:
1289:
1282:
1280:
1269:
1268:
1261:
1259:
1248:
1247:
1240:
1238:
1232:
1231:
1229:
1228:
1221:
1214:
1206:
1203:
1202:
1189:
1188:
1186:
1185:
1180:
1175:
1169:
1166:
1165:
1163:
1162:
1156:
1153:
1152:
1150:
1149:
1144:
1138:
1133:
1128:
1122:
1119:
1118:
1116:
1115:
1109:
1106:
1105:
1103:
1102:
1088:
1083:
1078:
1073:
1068:
1058:
1053:
1047:
1044:
1043:
1041:
1040:
1034:
1031:
1030:
1028:
1027:
1022:
1016:
1013:
1012:
1010:
1009:
1004:
998:
995:
994:
992:
991:
986:
980:
977:
976:
974:
973:
968:
963:
957:
955:
954:
949:
944:
938:
935:
934:
926:
925:
919:
918:
907:
904:
890:
887:
862:
859:
851:
850:
847:
844:
841:
838:
835:
832:
812:
809:
795:
792:
742:Jane Dieulafoy
731:
728:
703:
700:
699:
698:
687:
686:
685:
684:
681:Shazdeh Garden
675:
674:
659:
658:
657:
656:
650:
649:
642:
641:
640:
639:
636:
630:
629:
621:
620:
619:
618:
612:
611:
601:
591:
569:
566:
540:
537:
494:
491:
471:
468:
467:
466:
463:
456:
454:
444:
437:
435:
429:
422:
420:
414:
407:
405:
399:
392:
390:
384:
377:
375:
365:
358:
356:
349:
347:
337:
330:
318:
315:
303:Persian poetry
269:
266:
222:
219:
163:Peacock Throne
154:
151:
138:
135:
102:
99:
94:
93:Qajar painting
91:
57:Tangeh Savashi
15:
9:
6:
4:
3:
2:
2057:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2027:
2025:
2016:
2013:
2012:
2003:
2000:Uzun, Tolga.
1999:
1996:
1992:
1989:
1985:
1982:
1978:
1974:
1971:
1967:
1963:
1960:
1959:
1946:
1940:
1932:
1928:
1924:
1920:
1916:
1912:
1905:
1903:
1894:
1890:
1886:
1882:
1878:
1874:
1870:
1863:
1861:
1859:
1850:
1846:
1842:
1838:
1834:
1830:
1823:
1821:
1819:
1817:
1815:
1813:
1811:
1809:
1800:
1794:
1786:
1780:
1772:
1766:
1758:
1754:
1750:
1746:
1742:
1738:
1734:
1730:
1726:
1719:
1717:
1708:
1704:
1700:
1696:
1692:
1688:
1681:
1673:
1669:
1662:
1654:
1647:
1639:
1635:
1628:
1620:
1613:
1605:
1598:
1590:
1583:
1575:
1573:9781138201293
1569:
1565:
1558:
1556:
1547:
1545:9781138201293
1541:
1537:
1530:
1516:
1512:
1506:
1502:
1492:
1489:
1487:
1484:
1482:
1479:
1477:
1474:
1472:
1469:
1468:
1453:
1448:
1439:
1434:
1429:
1425:
1421:
1417:
1409:
1404:
1395:
1390:
1381:
1376:
1367:
1362:
1353:
1348:
1339:
1334:
1329:
1321:
1316:
1307:
1302:
1297:
1295:
1286:
1281:
1276:
1272:
1265:
1260:
1255:
1254:
1244:
1239:
1236:
1235:
1227:
1222:
1220:
1215:
1213:
1208:
1207:
1205:
1204:
1201:
1191:
1190:
1184:
1181:
1179:
1176:
1174:
1171:
1170:
1168:
1167:
1161:
1158:
1157:
1155:
1154:
1148:
1145:
1142:
1139:
1137:
1134:
1132:
1129:
1127:
1124:
1123:
1121:
1120:
1114:
1111:
1110:
1108:
1107:
1100:
1096:
1092:
1089:
1087:
1084:
1082:
1079:
1077:
1074:
1072:
1069:
1066:
1062:
1059:
1057:
1054:
1052:
1049:
1048:
1046:
1045:
1039:
1036:
1035:
1033:
1032:
1026:
1023:
1021:
1018:
1017:
1015:
1014:
1008:
1005:
1003:
1000:
999:
997:
996:
990:
987:
985:
982:
981:
979:
978:
972:
969:
967:
964:
962:
959:
958:
953:
950:
948:
945:
943:
940:
939:
937:
936:
932:
928:
927:
924:
921:
920:
916:
912:
911:
903:
901:
897:
886:
885:rule period.
884:
880:
876:
872:
868:
858:
856:
848:
845:
842:
839:
836:
833:
830:
829:
828:
824:
822:
817:
808:
804:
802:
791:
789:
779:
775:
767:
763:
761:
760:
755:
751:
747:
744:(1851-1916),
743:
739:
737:
727:
725:
720:
712:
708:
696:
692:
689:
688:
682:
679:
678:
677:
676:
672:
668:
664:
661:
660:
654:
653:
652:
651:
647:
644:
643:
637:
634:
633:
632:
631:
627:
623:
622:
616:
615:
614:
613:
609:
605:
602:
599:
595:
592:
590:
586:
583:
582:
581:
574:
565:
562:
558:
554:
550:
546:
536:
534:
530:
520:
516:
506:
505:
500:
490:
488:
487:Arabic script
484:
480:
476:
460:
455:
452:
448:
445:Dancing with
441:
436:
433:
426:
421:
418:
411:
406:
403:
396:
391:
388:
381:
376:
373:
369:
362:
357:
353:
348:
345:
341:
334:
329:
328:
327:
323:
314:
312:
308:
304:
298:
296:
291:
286:
284:
280:
275:
265:
263:
262:Official name
259:
255:
251:
243:
241:
235:
231:
227:
218:
215:
212:
208:
207:Fath Ali Shah
203:
199:
197:
192:
188:
184:
180:
176:
172:
164:
159:
150:
148:
144:
134:
132:
128:
124:
120:
116:
112:
108:
98:
90:
88:
83:
81:
77:
73:
72:Qajar dynasty
69:
62:
61:Fath Ali Shah
58:
54:
53:Qajar dynasty
50:
42:
36:
32:
31:
25:
21:
2001:
1994:
1987:
1976:
1965:
1961:
1939:
1914:
1910:
1876:
1872:
1835:(1): 48â73.
1832:
1828:
1793:
1779:
1765:
1735:(1): 17â48.
1732:
1728:
1690:
1686:
1680:
1671:
1661:
1652:
1646:
1637:
1627:
1618:
1612:
1603:
1597:
1588:
1582:
1563:
1535:
1529:
1518:. Retrieved
1514:
1505:
1414:Portrait of
1293:
1252:
1251:Qavam Houseâ
1051:Architecture
892:
864:
852:
825:
814:
805:
797:
784:
772:
757:
740:
733:
723:
721:
717:
705:
666:
579:
542:
518:
502:
496:
473:
367:
324:
320:
299:
287:
271:
261:
246:
237:
204:
200:
168:
140:
119:oil painting
104:
96:
84:
67:
66:
28:Portrait of
27:
2035:Persian art
1981:I.B. Tauris
1970:I.B. Tauris
1358:Eram garden
1312:Qavam House
1131:Calligraphy
1113:Handicrafts
821:Lithography
667:BÄgh-e Eram
663:Eram Garden
606:Complex â
524:شاŮŮشاŮŮاŮ
Ů
475:Calligraphy
338:Woman with
214:photography
143:still lifes
55:reliefs in
2030:Qajar Iran
2024:Categories
1520:2016-12-18
1497:References
1126:Embroidery
1095:Modern art
1056:Literature
1025:Irreligion
1002:Philosophy
430:Playing a
290:Qajar Iran
232:Discovers
1931:162258041
1849:216590349
1757:162261598
1707:148411419
1237:Qajar art
1007:Astronomy
984:Mythology
966:Festivals
952:Languages
673:â Shiraz.
628:â Tehran.
545:sartorial
504:ShÄhnÄmeh
447:castanets
432:kamancheh
254:cartouche
183:Mihr 'Ali
147:idealised
131:saturated
127:Rembrandt
68:Qajar art
59:, of the
24:Mihr 'Ali
1749:24482799
1465:See also
1020:Religion
989:Folklore
915:a series
913:Part of
515:Ferdowsi
274:Sasanian
179:Romantic
33:, 1815.
1983:, 1999.
1972:, 1998.
1893:1179055
1273:at the
1271:Muqarna
1160:Cuisine
1147:Jewelry
1141:Pottery
1086:Gardens
1076:Theater
1065:Dastgah
961:Symbols
942:History
906:Gallery
883:Pahlavi
695:Yerevan
510:شاŮŮاŮ
Ů
236:Bathing
230:Khusraw
115:realism
107:Safavid
1929:
1891:
1847:
1755:
1747:
1705:
1674:: 150.
1640:: 146.
1570:
1542:
1294:Ghavam
1292:Qavamâ
1136:Carpet
1081:Cinema
947:People
917:on the
889:Poetry
608:Tehran
598:Shiraz
589:Tabriz
417:santur
258:Persia
234:Shirin
205:While
123:Rubens
80:Persia
1927:S2CID
1889:JSTOR
1845:S2CID
1753:S2CID
1745:JSTOR
1703:S2CID
1296:House
1071:Dance
1061:Music
344:dutar
340:setar
250:Shahs
191:canon
171:Shahs
1962:Diba
1568:ISBN
1540:ISBN
1424:Iran
1038:Arts
624:The
557:Shah
551:and
543:The
451:zill
402:zarb
295:Mary
187:Shah
125:and
76:Iran
1919:doi
1881:doi
1837:doi
1737:doi
1695:doi
449:or
387:daf
342:or
82:).
63:era
2026::
1925:.
1915:17
1913:.
1901:^
1887:.
1877:60
1875:.
1871:.
1857:^
1843:.
1833:37
1831:.
1807:^
1751:.
1743:.
1733:46
1731:.
1727:.
1715:^
1701:.
1691:12
1689:.
1670:.
1636:.
1554:^
1513:.
1097:,
902:.
693:â
669:)
596:â
587:â
535:.
370:,
309:,
1947:.
1933:.
1921::
1895:.
1883::
1851:.
1839::
1787:.
1773:.
1759:.
1739::
1709:.
1697::
1576:.
1548:.
1523:.
1430:.
1330:.
1277:.
1256:.
1225:e
1218:t
1211:v
1143:,
1101:)
1093:(
1067:)
1063:(
665:(
610:.
600:.
521:(
507:(
242:.
78:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
._Portrait_of_Fath_%27Ali_Shah_Qajar,_1815.jpg)
