In 1901 Prince Malek Mansur Mirza Shao es-Saltaneh ordered Ali-Akbar Mozayyen-al-Dawla Naghash-bashi to make a decorative iron transenna for the Tomb of Hafez. The current Mausoleum was designed by André Godard, French archeologist and architect, in the late 1930s.
Mirza Mohammad Seifi Qazwini, also known as Emadolkottab (1861-1936), was a master calligrapher of Nasta’liq in the late Qajar period. Because of his membership in a terrorist group “Komiteye Mojazat – punishment committee” and writing the group’s unsigned leaflets, he was arrested and spent five years of his life in prison.
Twelve Engravings from the book PERSIA by Frederic Shoberl (1775–1853). Published in Philadelphia, 1828.
Sale document of an Abyssinian male eunuch slave, Haji Bashir Khan, between Malik Mansur Mirza Shoaosaltaneh and Faraj Allah Khan Ata o-Dowleh, the head of artillery in Fars. Issued in 25 August 1901. Slavery was formally abolished in Iran in 1929.
This pen case is decorated with scenes from the Haft paykar (or Seven Images), one of five compositions that make up the Khamsa (Quintet) by the medieval poet Nizami of Ganja (ca. 1141–1209). This work narrates the life of the pre-Islamic Sassanian king Bahram V Gur, who is transformed from a pleasure-seeking prince into a wise and just king guided by law.
Six maps of the Tehran and Suburbs in Qajar period (1848 to 1925).
(Source: Nimrooz) – To see the details in the maps click on the images, hold down your mouse button, and move the pointer over the image.
Ganjifa and Aas-Naas are traditional Iranian card games whose history goes back to the 15th century Safavid period. Apparently Ganjifa was similar to Hokm and Aas-Naas to Poker. These hand-painted playing cards are all from the late Qajar period and are made of lacquered papier-mâché.
Located on a rocky hillside north of Shiraz at ‘Baba Koohi’, the Baghe Takht was a garden that existed as early as the eleventh century. A formal garden with a central water channel, it was laid out on multiple terraces with a palace at the uppermost terrace.
Dervishes were a common subject for foreign photographers of the late Qajar period. These photographs helped to create and fed the stereotypes of exotic Easterners, but nevertheless they are useful historical records of the period.
The stereoscopic pictures here are European postcard published in early 20th century. Stereoscopy refers to a technique for creating the illusion of depth in an image by presenting two offset images separately to the left and right eye of the viewer.
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