Photographing Shiism in Qajar-Era Iran: visual devotion, virtual pilgrimage and the sacred gaze
Shiʿi Photography in Qajar-Era Iran: Visual Devotion Virtual Pilgrimage and the Sacred Gaze
Khosronejad, Pedram. 2022. “Shiʿi Photography in Qajar-Era Iran: Visual Devotion Virtual Pilgrimage and the Sacred Gaze.” In Beyond Karbala: New Approaches to Shi’i Materiality ed. by Fouad Gehad Marei, Yafa Shanneik, and Christian Funke. Leiden: Brill (forthcoming) including 192 photographs.
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The Art and Material Culture of Iranian Shi'ism: Iconography and Religious Devotion in Shi'i Islam
'Even many knowledgeable Islamic scholars are not aware of the richness of visual religious representation in Shi'i Islam. This book provides rare glimpses into this fascinating art, which, unlike in the Sunni world, is rich in the portrayal of human figures. One important focus of the book is the exploration of the enormous store of imagery surrounding the martyrdom of Imam Hoseyn, and rituals commemorating this central religious event. The international scope of the scholarship gives this book enormous richness. It should open many eyes to the complexity, beauty and meaning reflected in Shi'i art.' --Professor William O. Beeman, Department Chairperson, Department of Anthropology, University of Minnesota 'This book provides a window onto the intersection of art and religious practice in Iran. Students of Iranian history of the past thousand years will find interesting explanations of common visual forms within the context of Shi'ism. However, unlike many books on historical subjects, this volume connects the material manifestations of Shi'ism with contemporary practice. Given the centrality of Shi'ism to modern Iranian politics and society, such a multidisciplinary approach will lead to a deeper understanding of the ways in which Shi'ism influences daily life today and the extent to which Shi'i traditions of the past inform those of the present.' --Sheila Canby, Patti Cadby Birch Curator in Charge, Department of Islamic Art, The Metropolitan Museum of Art
Between Self-probation and Self-preservation, the Role and Place of the Iranian Pilgrims' Body in the Arba‘īn Foot Pilgrimage
Materialities of Everyday Religiosity: Historical and Contemporary Dynamics in Turkey and Iran, 2021
In contrast to traditional pilgrimages to Mashhad or Mecca where a certain degree of material comfort is usually sought, the participation of Shia Iranians to the Arba‘īn walk is in part motivated by a quest for a physical challenge. In this context, bodily hardships have various functions, from conveying the sincerity of one’s devotion to accompanying an education of the self. However, the use of various artifacts and techniques aimed at preserving the body highlights a will to keep a distance from dolorism and mortification practices. Through an examination of Iranian pilgrims’ discourses, this paper explores their multiple representations of the body as a mediator of the sacred as well as a vehicle of specific spiritual experiences and forms of knowledge in the frame of the Arba‘īn foot pilgrimage. If intense physical efforts and a form of suffering remain valued as a means of establishing a connection with the sacred, the inclusion in the sociability of the walk, especially through the consumption of votive food and welfare services offered by the Iraqis, also converts the satiated and cared-for body into a central medium to capture the graces of this temporality. Observations of bodily practices of the Iraqi pilgrims also foster reflections on the meaning of exemplarity and sometimes contribute to questioning beliefs. Perceptions of the body and its artifacts thus fully participate in the elaboration of the meaning of pilgrimage and underline the various ways of weaving subtle links between the visible and the invisible.
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Figurations and Sensations of the Unseen in Judaism, Christianity and Islam Contested Desires , 2019
In modern Iran and throughout their entire history, the majority of Persian Shiite visual arts in which one can observe the depiction of the Prophet Muhammad, his Ahl-i Beyt (Imam ‘Ali, Fatimah Zahra, Imam Hassan and Imam Hoseyn) and other saints are deeply connected to the folk narration (rivayat-i ‘amiyanih) and popular literature (adabiyat-i ‘amiyanih) of the history of the Iranian version of Twelver Shiism (Ithna‘ashari).[2] One of the main functions of these illustrations, which appeared for the first time in royal books (Gruber 2008) during the Timurid Dynasty (1370–1506) and were seen up to the Qajar period (1785–1925), in the popular Shiite lithograph books of the period (1785–1925), was to depict visually related religious events and stories. These series of illustrations (tasvirsazi) are mostly decorative (taz’ini) and function as a bridge between the text and the reader and, as far as we know, were never used as devotional devices.
Saints and Their Pilgrims in Iran and Neighbouring Countries (The Anthropology of Persianate Societies)
The importance and ramifications of saints, sainthood and pilgrimage in contemporary Iran and neighbouring countries are great, yet the academic conceptualizations of them and their entailments are sorely lacking. This book places the saints and their pilgrims in sharper focus, and offers important correctives to all-too-common Western misunderstandings, the foremost of which is the erroneous portrayal of Islam as primarily a body of legal doctrine and corresponding practice, and the associated principle that we can 'know' Islam if we 'know' Islamic law. In an effort to challenge such a limited, and limiting, perspective, this volume suggests that both anthropology, insofar as it can focus on experience and practice, and history, insofar as it can encompass more than an institutional/political 'names and dates' discourse, can reveal something of the dynamism of the faith, as more than the sum of its laws. The approaches demonstrated in this book on Shiite Pilgrimage offer windows into the beliefs and lives of 'ordinary' people, past and present, and thereby bring forth agendas akin to those of 'subaltern studies'. Finally, the memorializing documented in these chapters provides evidence, past and present, of widespread desires for a more concrete, even immanent, relationship that is direct, unmediated and, at least partly, involves forms of intercession - even though such desires for immanence in the Islamic world have previously been considered as limited to devotees of the Sufi saints or the Shi'i Imams or their progeny.
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 common state policy nor a social need. Even at the turn of the 21st century, anyone walking through Iranian cities, many of which had been the main scene of the bloody massacre and direct targets of the Iraqi Republican Guard, will have found traces of the terrible, almost unimaginable, human losses. However, today’s Iranians can see modern war memorials and monuments in many parts of the urban and rural landscape. Yet, at the same time, the changing landscape has separated Iranians from such remnants of the violence. It can be argued that many people, in their wish to look forward to a more hopeful future, do not wish to be reminded of this period in Iranian history.
Nazr Necessities: Votive Practices and Objects in Iranian Muharram Ceremonies
Ex Voto: Votive Giving Across Cultures (ed. Ittai Weinryb), 2016
From guests of the Imam to unwanted foreigners: the politics of South Asian pilgrimage to Iran in the twentieth century
Middle Eastern Studies, 2021
Until the 1930s, Mashhad, Iran received thousands of pilgrims from South Asia yearly, a central node in the Shiʿi shrine city network spanning the Persianate world. Within decades, South Asian pilgrims had all but disappeared from Iran. This article examines how Reza Shah’s drive to ‘nationalize’ Iran spelled the end for this transregional network, leading to harassment of South Asians, increasingly seen not as ‘guests of the Imam’ but as foreigners tied to British colonialism. These decrees included dress codes that banned turbans and veiling, requiring South Asians to wear distinct national clothing that visually marked them as foreign. As Reza Shah sought to demonstrate Persia’s development as a power on a par with European states, pilgrimage became a battleground for anti-imperialist sentiments – taken out on colonial subjects themselves. South Asians in Mashhad – primarily British Indian but also British Afghans – bore the brunt, including as victims of the Gauharshad Massacre. Modern Iranian nationalism required disentangling Iranians from pre-existing transregional linkages and subsuming local identities rooted in mobility, as in the shrine cities, to a homogenous national identity defined by borders and territory. Those inassimilable to the project of Iranian national sovereignty, like the long-standing South Asian community from Iran, were expelled.
Keelan Overton and Kimia Maleki, "The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018-20." Journal of Material Cultures in the Muslim World 1, no. 1-2 (2020): 120-149. (online publication: 09 Feb 2021)
2020
The Emamzadeh Yahya at Varamin, a tomb-shrine located south of Tehran, is well known for supplying global museums with iconic examples of Ilkhanid-period luster tilework. After providing a historiography of the site, including its plunder in the late nineteenth century, we explore its current (2018–20) “life” in order to illuminate the many ways that it can be accessed, used, perceived, and packaged by a wide range of local, national, and global stakeholders. Merging past and present history, art history and amateur anthropology, and the academic, personal, and popular voice, this article explores the Emamzadeh Yahya’s delicate and active existence between historical monument, museum object, sacred space, and cultural heritage. https://brill.com/view/journals/mcmw/1/1-2/article-p120_6.xml?rskey=anAVDl&result=2 https://doi.org/10.1163/26666286-12340005 Keywords: Emamzadeh Yahya (Imamzada Yahya) – Varamin (Veramin, Waramin) – Iran – Ilkhanid –shrine – luster – tilework – mihrab – museums – present history – COVID-19
"Prophetic Products: Muhammad in Contemporary Iranian Visual Culture"
Much like religious objects produced and consumed elsewhere in the Islamic world, images of Muhammad often are associated with acts of play and worship, their power to cultivate joy and direct religious feelings in various faith communities strengthened in large part by their remove from the commodity situation. As scholars of visual and material culture have highlighted, a product is never merely an object to be acquired and used, stripped of symbolic import and application. On the contrary, it is a thoroughly socialized commodity central to cultural practices of exchange – of sending and receiving social messages – that take place in regimes of value. Within post-revolutionary Iran in particular, images and objects depicting the Prophet Muhammad have been manufactured en masse over the past three decades, catering to official regime ideology and popular devotional practices alike. This study explores how these types of prophetic products serve to visually reinforce and materially reify narratives about the ascendancy of the Shi‘i faith, the legitimacy of Islamic governance, and the value of martyrdom within the larger religious and political landscape of contemporary Iran.
Khosronejad, Pedram. 2022. “Shiʿi Photography in Qajar-Era Iran:
Visual Devotion Virtual Pilgrimage and the Sacred Gaze. (including
192 photographs)” In Beyond Karbala: New Approaches to Shi’i
Materiality ed. by Fouad Gehad Marei, Yafa Shanneik, and Christian
Funke. Leiden: Brill (forthcoming).
Photographing Shiism in Qajar-Era Iran: visual devotion, virtual pilgrimage and the
sacred gaze
Photographing Islam, Islamic topics (devotion, pilgrimage, sacred sites, and material
religion), and Muslim devotees should be considered a new field of research for the
students of the field. 1 In this regard, rare contributions relate such visual practices to the
early Arab photography under the influence of native Ottoman orientalist photographers
such as Abdullah Frères 2; Pascal Sébah (1823-1886) and Jean Sébah (1872-1947); Jurji
Sabunji (1838-1931); and many others. 3 Practicing photography as their professional
occupation, among many popular topics of their time (courts and their administration,
studio photography, landscape, etc.), one may find random depictions of religious places
and sacred architecture, including those of the world of Islam.
1
For further information on this topic, see: Ali S. Asani and Carney E. S. Gavin, “Through the Lens of Mirza
of Delhi: The Debbas Album of Early-Twentieth-Century Photographs of Pilgrimage Sites in Mecca and
Medina”, in: Muqarnas: An Annual on the Visual Culture of the Islamic World 15 (1998), pp. 178–199;
Garney E. S. Gavin, “Messengers from Mecca: Photography and Social Studies in the Light from Ancient
Lands”, in: Louis T. Ambler and Melissa Banta (eds.) The Invention of Photography and its Impact on
Learning, Cambridge, Mass: Harvard University Press, 1989, pp. 48-61; Garney C. E. S Gavin, “The Hajj in
Early Photo Documents”, in: Francis Edward Peters (ed.), The Hajj: The Muslim Pilgrimage to Mecca and
the Holy Places, Princeton: Princeton University Press, 1994, pp. xiii–x-v; Nissan Perez, Focus East: Early
Photography in the Near East (1839–1885), New York: Abrams, 1988; Angelo Pesce, Makkah a Hundred
Years Ago, or, C. Snouck Hurgronje’s Remarkable Albums, London: Immel, 1986; Elisha Renne,
“Photography, Hajj Things, and Spatial Connections between Mecca and North Nigeria”, in: Photography
and Culture 8: 3 (2015), pp. 269-295; Stephen Sheehi, “A Social History of Early Arab Photography or a
Prolegomenon to an Archaeology of the Lebanese Imago”, in: International Journal of Middle East Studies
39 (2007), pp. 177-208.
2 Three Ottoman brothers of Armenian descent, Viçen Abdullahyan (1820-1902), Hovsep Abdullahyan
(1830-1908), and Kevork Abdullahyan (1839-1918), who were photographers of international fame during
the late Ottoman Empire.
3 For further information on this topic, see: Stephen Sheehi, Early Arab Photography, 2017,
https://www.rem.routledge.com/articles/overview/photography (27/08/2019).
1
However, perhaps the first pioneer photographers who captured the most
important Islamic topics, including sacred sites of the Muslim community -Ummah- were
Mohammad Sadiq Bey (1832-1902), Christiaan Snouck Hurgronje (1857–1936), and alSayyid Abd al-Ghaffar (active during the 1880s). This group of amateur photographers,
for the first time in the history of photography, captured images of cities, mosques, saints’
shrines and pilgrimage sites, including those of Mecca and Medina, from the viewpoint of
what is today known as the Islamic gaze. 4 It was only after some years, during the 1900s,
that one may observe the vast popularity of postcards with the heavy usage of
photographs related to Islamic pilgrimage sites, Muslim pilgrims and devotees from all
over the lands of Islam, with the exception of the Shiʻi world. 5
From the perspective of Shiʻi photography, especially the Persian school of
photography, until today there are no academic contributions. 6 By using the term Persian
Shiʻi photography, I mean photographs which depict sacred sites of pilgrimage and
devotion, ceremonies, rituals and religious performances, sacred objects and material
religion, and of course devotees, pilgrims and mourners, which are made for the purpose
4 For further information on this topic, see: Gavin “Messengers from Mecca: Photography and Social Studies
in the Light from Ancient Lands”, pp. 48-61; Asani and Gavin “Through the lens of Mirza of Delhi: The
Debbas album of early-twentieth-century photographs of pilgrimage sites in Mecca and Medina”, pp. 178199.
5 For further information on this topic, see: William A. Christian Jr and Amira Mittermaier “Muslim Prayer
on Picture Postcards of French Algeria, 1900-1960”, Material Religion 13:1 (2017), pp. 23-51.
6 In recent years some historians of Iranian photography developed the idea of “Akkasiy-e Ziyarati”,
pilgrimage photography, which should be considered as a type of religious tourism photography. For
further information on this topic, see: Nasrin Torabi, “Photography of Pilgrimage, Ziyarat”, in: Mounty Art
Book, No. 125 (2008), pp. 52-56; ibid., 2007. Akāskhānehy-e Ayām (Time Photo Gallery), Tehran: Kalhor.
There has also been a recent popular interest in Iran in organizing photo exhibitions with topics related to
Shiite Islam, such as Moharram, ‘Ashura, and Taziyeh. In this regard, one of the bilingual publications
regarding Iranian Shiite architecture and religious figures, which was published recently with the support
of the Islamic Republic of Iran and under the umbrella of its embassy in Germany, is: Said Adalat Nijad;
Carmen Pérez González; Hans Georg Berger; Boris Von Brauchitsch and Ali Moghani, Einsicht: drei Reisen
in die innerste Welt des schiitischen Islam, Heidelberg; Berlin: Kehrer, 2017.
2
of visual devotion, virtual religious practices and ocular admiration rather than simple
visual representations of places or events.
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6
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