Inscriptions: “Qur’an, surah al-Fath” and “Surah al-Saff”
The blade of crescent form is carved animal motif and gold overlay vegetal designs. There are also inscriptions within a lobed cartouche that are studded with turquoise stones. The axe has elongated dragon finials and spikes, pattern-welded faceted steel haft incised at base and blade.
Historical Bazaar in Arak City, Iran. Modern Arak is built around the same location of a village called Daskerah, which was destroyed during the Mongol Invasion in the 13th century. The city was reestablished ten years after the rise of the Qajars in 1795. Most of the foundational construction work was completed by 1852.
The crescent-form head is lavishly inlaid with floral and geometrical panels in silver on each side, as is the flared and profiled peen. The haft with elongated topspike and pommel decorated with panels of silver inlay en suite with the head.
This is a rare Persian Qajar Trident Spear or Jarid (throwing spear), from the late 19th century still having its with original shaft. The steel head has serpentine outer blades and a central straight blade. Both sides have chiseled crescent moon and stars on a floral background.
The steel socket has traces of gold decoration. The shaft is mounted with a copper collar and cap, both nicely embossed with repeating floral patterns, the central grip area having a leather/canvas material which has been stabalised with some wire.
These photographs are from a series of thirty-three portraits by Shadi Ghadirian, a contemporary artist who was inspired by the studio portraiture first introduced to Iran in the late nineteenth century under the Qajar dynasty (1794–1925). In order to re-create the earlier setting, Ghadirian employs painted backdrops and dresses her models in vintage clothes to emulate the fashion of the day: headscarves and short skirts worn over baggy trousers, as well as thick, black eyebrows. She adds modern elements to these traditional scenes, such as a Pepsi can, a boom box, a bicycle and an avant-garde Tehran newspaper. She has said of her work, “My pictures became a mirror reflecting how I felt: we are stuck between tradition and modernity.” [x]
Golestān Palace (Persian: کاخ گلستان ) is the former royal Qajar complex in Iran’s capital city.
The oldest of the historic monuments in Tehran, the Golestan Palace (also Gulistan Palace) (Palace of Flowers) belongs to a group of royal buildings that were once enclosed within the mud-thatched walls of Tehran’s Historic Arg (citadel).
The Arg was built during the reign of Tahmasp I (r. 1524-1576) of the Safavid dynasty (1502-1736), and was later renovated by Karim Khan Zand (r. 1750-1779). Agha Mohamd Khan Qajar (1742-1797) chose Tehran as his capital. The Arg became the site of the Qajar (1794-1925). The Court and Golestan Palace became the official residence of the royal Qajar family. The palace was rebuilt to its current form in 1865 by Haji Abol-hasan Mimar Navai.
Maryam Amid-Semnani also known as Mozayan-ol Saltaneh (Death, August 1919) was the founder and editor of Shkoufe newspaper. An influential news paper for women, published in 1913. She is considered to be one of the first female journalists in Iran.
In her articles she discussed the need of education for Iranian women, Child hygiene and family health and the importance of women’s creativity. She believed women ought to be informed about the legal and political topics related to themselves and others, and be warned against superstitions and ignorance.
She also founded the “The Iranian Women’s Society” and promoted and worked for Women’s rights.
Another reason why Qajar Iran is my favorite—beautiful documents like these.
This document is two-page Jewish marriage contract (ketubah) in Arabic and Hebrew. The first page, in Arabic, is indistinguishable from Muslim marriage contracts from Qajar Iran. It starts with “bismillah irrahman irrahim” (In the name of God, Most Merciful, Most Kind). The next line praises God for allowing the marriage—literally thanking God for “halal-ifying” the marriage. The second page is in Hebrew, which I suspect expresses the same beautiful sentiments.
The crescent-form head well-chiseled with figures from the Book of Kings, with topspike and brass peen chiseled in adorned dragonheads and faceted segments. The steel haft with zanjir or chain pattern damascus.