Mar 23, 2020 · Qajar Dynasty: Photography and Self-Orientalizing in 19th Century Iran Orientalist photographs portraying exoticism proliferated throughout 19th-century Iran. Under leader Nasir Al Din Shah’s guidance, the country became first to adapt the term “self-orientalization.”

They range in subject from formal and informal images of the Qajar royal family to expansive views of Persepolis to glimpses of everyday life on the streets of Tehran. Largely contributed by generous donors, these images form the core of the museums’ rapidly growing collection of …

As a “dynastic image,“ the painting focuses on the grandeur of the shah's power, symbolically represented by his opulent dress, royal pose, and attendant technology—he is the subject of the newest form of representation, i.e. photography.

The medium of photography is critical in understanding the authentic Qajar Iran. Photography was introduced into Iran in the early 1840’s during the reign of Muhammad Shah. However, it was mostly viewed as scientific, meant for ethnographic purposes.

The paper explores the influence of Qajar photography on Iranian art, specifically how it served both political purposes and artistic aspirations for realism.

Jun 12, 2024 · The collection, which includes 74 albums with over three thousand images, offers a unique glimpse into the lives of people from various regions of Iran during the Qajar period. It features notable buildings, historical figures, and numerous photos of Naser al-Din Shah.

To take a virtual tour of the old Photo Gallery of the Qajar (Kadjar) era of Tehran, click here. For pictorials of a philatelic nature, also linked to Nasser-ed-Din Shah, see Kadjar Stamps pages.

Qajar photography, as a Western mode of representation, borrowed its images from the large body of Orientalist discourses and artistic practices. Neither Sevruguin nor Nasir al-Din Shah could have captured "the complexities and contradictions of …

Using photography the Iranian court was able to innovate applications of existing forms of Iranian portraiture, while reappropriating Western technologies. The controversies of Orientalism and the East vs. West dichotomies emerge in the burgeoning modernity’s of both regions.

From the period of early photography in Iran, eighty-three years fell within the Qajar era, the years 1842 to 1925. Photographs, books, writings, and various events all attest that this was indeed a flourishing period within history of photography in Iran.