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An introduction to the history of Iran since 1800, covering key events up to the current Islamic Republic.
With new and existing evidence being reconsidered, this edited collection takes a multidisciplinary approach to discussing the Qajar system within the context of the wars that engulfed it and the periods of peace that ensued. It throws new light on the decision-making processes, the restraints on action, and the political exigencies at play during the Qajar years.
The Qajar Pact explores new perspectives on the nineteenth-century Iranian state and society, and is the first broad study of lower social groups in this period. Vanessa Martin argues that Qajar government was certainly despotic, but was also founded on a consensus based on the Islamic principles of consultation and negotiation. The author focuses on the role of the non-elite groups in urban society up to the years before the Constitutional Revolution.
This history examines the complex origins of religious dissent in 19th-century Qajar Iran (known to Westerners as Persia), and how it provided a mood and attitude which led to far-reaching political dissent, culminating in the establishment of a new government in 1906.
Although in the last few years the study of painting in 19th century Iran has made considerable progress it still remains somewhat tradition bound. It would seem that art historians find it difficult to go beyond oil paintings, lacquer, and enamel. In 1998, Robinson, the doyen of Qajar art history, wrote: "Qajar painting found its most prestigious outlets in oil painting, lacquer, and enamel." In this study it is shown that paintings were probably the most important form of expression for painters for many centuries and as prestigious as the other forms of painting. Mural paintings were very popular and were to be found on various types of buildings ranging from the royal palaces, private homes, bath-houses to a religious shrine. Painting was a craft and a business that was actively pursued by artisans in most major towns in response to a general demand for-figurative art. As to the themes depicted these remained basically limited to (i) dynastic and epic (Qajar 'family portraits'; battles, hunts; Shahnameh scenes), (ii) sensual (flora, fauna, erotic), and (iii) religious (prophets, lmams, 'olama) subjects. These subjects occurred in any type of building irrespective of its function. The wide use of figurative representation in religious buildings and practice is of great interest. People almost invariably assume that Moslems until recent times did not tolerate paintings and the like of humans and animals adorning public and private buildings and publications. This study shows otherwise. There is even evidence of the use of paintings as religious icons, which is a totally neglected subject. Rock reliefs and other forms of sculptured works in and on buildings and its accessories such as doors show a similar development as mural paintings. Although information is even less copious than for wall paintings, it is clear that the depiction of living beings in the forms of sculptures was very widespread and pre-dates the Qajar period. The nature and form of murals were influenced by the increased contacts between Persia/Iran and the outside world, in particular Europe and India. This holds in particular for the use of prints and the occurrence of European scenes in frescos and other forms of paintings. Willem Floor has written extensively on many aspects of social, economic, and art history of Iran.
This book gathers for the first time Professor Lambton's essays, the fruits of more than thirty years of scholarship, into one volume. Together they provide an unparalleled introduction to Pesia's crucial early confrontation with the modern age.
Qajar Portraits is a beautifully-illustrated, comprehensive overview of Qajar imperial portraiture. The items, which include several of the most important works of early Qajar art, clearly depict the political role of portraiture under the Qajars and the influence of Napoleonic portraits on the development of Persia’s early-20th century imperial iconography under Fath ‘Ali Shah, and the use of portraiture in Qajar civil and military Orders of Merit. No other Muslim dynasty, except the Mughals, used portraiture as intensively to further dynastic and political ends.
Tribes and Empire on the Margins of Nineteenth-Century Iran traces the history of the Bakhtiyari tribal confederacy of the Zagros Mountains through momentous times that saw the opening of their territory to the outside world. As the Qajar dynasty sought to integrate the peoples on its margins into the state, the British Empire made commercial inroads into the once inaccessible mountains on the frontier between Iran and Iraq. The distance between the state and the tribes was narrowed through imperial projects that included the building of a road through the mountains, the gathering of geographical and ethnographic information, and the exploration for oil, which culminated during the Iranian Constitutional Revolution. These modern projects assimilated autonomous pastoral nomadic tribes on the peripheries of Qajar Iran into a wider imperial territory and the world economy. Tribal subjects did not remain passive amidst these changes in environment and society, however, and projects of empire in the hinterlands of Iran were always mediated through encounters, accommodation, and engagement with the tribes. In contrast to the range of literature on the urban classes and political center in Qajar Iran, Arash Khazeni adopts a view from the Bakhtiyari tents on the periphery. Drawing upon Persian chronicles, tribal histories, and archival sources from London, Tehran, and Isfahan, this book opens new ground by approaching nineteenth-century Iran from its edge and placing the tribal periphery at the heart of a tale about empire and assimilation in the modern Middle East.