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Unburied Memories: The Politics of Bodies of Sacred Defense Martyrs in Iran
Today, almost a generation has passed since the Iran–Iraq war and the memory of it is set to diminish with each passing generation. The following questions emerge. Can we say that the gradual disappearance of war’s memory means that, increasingly, Iranians will see the Iran–Iraq war solely as an historical event? How can we defend or reject this idea? Today, with which elements and values should we look at the Iran–Iraq war memorials and ceremonies? To what extent will war museums and materials culture be influenced by these new values? In the period during and immediately after the Iran–Iraq war (1980-88), national bereavement and commemoration of martyrs was neither apparent in c...
Unveiling the Veiled
Unveiling the Veiled: Royal Consorts, Slaves and Prostitutes in Qajar Photographs is the first public visual venue in the field of Middle Eastern and Iranian Studies bringing together photographs of Naser al-Din Shah's (b. 1831-d. 1896) consorts and their African female slaves (kaniz) inside the royal harem, accompanied by images of women, probably prostitutes of the Naseri period (1848-1896), inside the studio of Amir Doust Mohammad Khan Moayer al-Mamalek (b. 1857-d. 1913), one of the influential members of the royal court and the king's son-in-law. Indeed, properly analysing these three innovative and provocative topics -royal consorts, slaves and prostitutes- together requires a deep unde...
The Royal Lens
Khosronejad's unique collection provides us with a treasure trove of images focusing on the daily life of Naser al-Din Shah, his wives, concubines, and slaves of both sexes. Janet Afary Mellichamp Professor of Religious Studies UC Santa Barbara Pedram Khosronejad has provided invaluable new information about the history of photography in Iran during the 19th-century Qajar period. In particular he has carefully researched the photographs taken by Naser al-Din Shah, perhaps the Qajar monarch most fascinated by Western technology. These intimate photographs of his own harem are unique and highly informative, not just for their intrinsic value in a period in which human images were disapproved of, but also for what they reveal about Naser al-Din Shah, his self-image, his household and his court. William O. Beeman Professor, Department of Anthropology University of Minnesota
Qajar Shiite Material Culture
This study is one of the first interdisciplinary examinations of the material religion and art objects of Naser al-Din Shah's court, vis à vis popular Shiite beliefs during the Naseri period (1848-1896). The primary focus of this book remains the intercession of Shiite religion and the occurrence of depictions of the Prophet Mohammad and Imam Ali inside the royal court during the reign of Naser al-Din Shah. In this work, Pedram Khosronejad has paid special attention to the role of Naser al-Din Shah's popular Shiite values in shaping attitudes toward the depiction in portraiture of the Prophet Mohammad and Imam Ali. Khosronejad's observations further confirm Naser al-Din Shah's deep-rooted connections to popular Shiite beliefs and related superstitions. The king's devotional practices and his sacred rites regarding the objects on/in which may be seen visual representations of the Prophet Mohammad and Imam Ali, especially their portraiture, explain "deep-seated beliefs" that Shiite visual pieties were invested in his life.
The Art and Material Culture of Iranian Shi’ism
Shi'i Islam has been the official religion of Iran from the Safavids (1501-1732) to the present day. The Shi'i world experience has provided a rich artistic tradition, encompassing painting, sculpture and the production of artefacts and performance, which has helped to embed Shi'i identity in Iran as part of its national narrative. In what areas of material culture has Iranian Shi'ism manifested itself through objects or buildings that are unique within the overall culture of Islam? To what extent is the art and architecture of Iran from the Safavid period onwards identifiably Shi'i? What does this say about the relationship of nation, state and faith in Iran? Here, leading experts trace the material heritage of Iranian Shi'ism within each of its political, religious and cultural dimensions.
Qajar African Nannies
Chiefly portraits of aristocratic Iranian children with their enslaved African caretakers, mostly made in the 19th century.
Untold Stories
In Iran, the history of photography and cinematography is mired with doubts and ambiguities. While academic debates have focused on the photography and cinematography of the Qajar era from the viewpoint of historical analyses and technical aspects, there does not appear to be any anthropological research, and particularly, visual anthropological research on these two important visual mediums. This book is the first of its kind to use visual anthropology, ethnographical film studies, as well as media/visual studies as a methodological framework for examining the socio-cultural life during the Qajar era in Persia (Iran). (Series: Iranian Studies - Vol. 2) [Subject: History, Iranian Studies, Anthropology, Ethnography, Cultural Studies, Middle East Studies, Film Studies, Photography, Media Studies]
Women's Rituals and Ceremonies in Shiite Iran and Muslim Communities
In this volume the authors present and discuss different aspects of their field researches and experiences in regard to the women's rituals and devotional practices. One of the main aims of this book is to broaden our understanding of women's devotional life, as well as calling attention to its relation to general social change. Most of the contributions are based on field researches, direct observations and rituals participations. This gives the reader a unique opportunity for better understanding of methodological challenges related to gender issues and field research among Muslim communities. --
Iranian Sacred Defence Cinema
While the cinema of post-revolutionary Iran is internationally acknowledged, the world outside Iran has been ignorant of the Iranian war films that are the subject of this pioneering book. Over 200 Iranian feature films concentrating primarily on fighting and military operations have appeared since the 1980s and the beginning of the war between Iran and Iraq. This book presents a detailed exploration of the 'Sacred Defence cinema' established by Seyed Morteza Avini, a cinema that directly connects this war to the faith and religious belief of volunteer guardians of the revolution. These films remain the primary vehicles of the Islamic state in Iran for the preservation and memorization of th...
