Technologies of the Image: Art in 19th Century Iran

Persian Family, Switzerland, Zurich, late 19th century.  Chromolithograph (Photochrome).  Collection of Azita Bina and Elmar W.  Seibel, TL41579.9.  Photo courtesy of Elmar Seibel.
Persian Family, Switzerland, Zurich, late 19th century. Chromolithograph (Photochrome). Collection of Azita Bina and Elmar W. Seibel, TL41579.9. Photo courtesy of Elmar Seibel.
  • Mirror Case with Flowers, Hazelnuts, Birds, and Butterflies.  Rectangular mirror case with hinged lid.

    Mirror Case with Flowers, Hazelnuts, Birds, and Butterflies. Rectangular mirror case with hinged lid.

    © President and Fellows of Harvard College

Technologies of the Image: Art in 19th Century Iran is on view August 26, 2017–January 7, 2018, at University Research Gallery, Harvard Art Museums.

The 19th century was an era of heightened image-making in Iran. As the century unfolded, the new Qajar dynasty sought to unify a country torn by decades of civil war, even as the outside world increasingly intruded on Iranian affairs. The expansionist ambitions and technological advances of European powers brought Westerners to Iran and, to a later and lesser extent, drew Iranians to the West. Stimulated and challenged by developments both inside and outside their country, Persian artists mastered new image-making technologies and readily assimilated an unprecedented influx of pictorial material from abroad into their traditional art forms.

This exhibition brings together four principal art forms—lacquer, lithography, photography, and painting and drawing on paper—to explore their separate and intertwined histories, contexts of production, and means of dissemination across sectors of society ranging from the courtly elite to the citizenry at large. The almost 80 works in the exhibition, most of which have never before been exhibited, include illustrated books, album folios, pen boxes, mirror cases, single-sheet painted and printed images, and photographs. Several of the objects are on loan from collections within Harvard University and from private and public collections in the United States and abroad. Many of the Qajar era’s most interesting and accomplished artists are represented in the exhibition, including Abu al-Hasan Ghaffari Saniʿ al-Mulk, Antoin Sevruguin, Mubarak Mirza b. Mahmud, Mirza ʿAli Quli Khaw’i, Muhammad Ismaʿil, Muhammad Riza al-Imami, and members of the Najaf ʿAli circle of lacquer artists.

The accompanying exhibition catalogue features essays by co-editors David J. Roxburgh and Mary McWilliams as well as by Farshid Emami and Mira Xenia Schwerda, graduate students at Harvard and collaborators on the project.

An additional publication, An Album of Artists’ Drawings from Qajar Iran, edited by David J. Roxburgh, will also be available. The book is a compendium of the nearly 150 beautiful drawings, paintings, and a print that make up the Harvard Qajar Album. Several works from the album will be displayed in the exhibition.

Curated by Mary McWilliams, the Norma Jean Calderwood Curator of Islamic and Later Indian Art at the Harvard Art Museums; and David J. Roxburgh, the Prince Alwaleed Bin Talal Professor of Islamic Art History and Chair of the Department of History of Art and Architecture at Harvard University.

 

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