The Qajar period in Iranian art, spanning the years from the late eighteenth to the early twentieth century, was unique in its fusion of tradition and progress and the exquisite level of its material culture. This slim yet sumptuous exhibition catalogue examines the period through the prism of one of the era’s central and most beloved motifs: the image of the rose and the nightingale, symbolizing the eternal longing of the faithful for God and the passion of the lover for his unattainable beloved. The relationship between the “male” and “female” components of the image, embodied in many other symbols as well, also expressed the complex connection between Iran and Western European powers – then as now.

The publication combines a series of illuminating articles about different facets of Qajar culture with a rich selection of stunning reproductions. Covering subjects such as the Persian Revival Movement and its connection to the consolidation of the Shah’s power, it elucidates the striking and nuanced interactions between art and politics in nineteenth-century Iran. Several chapters are dedicated to unique aspects of Qajar culture, such as photography, which flourished in Qajar Iran as a courtly occupation, and the connections between the ashkdan – Iranian swan-necked glass bottles – and Victorian-era lachrymatories, or “tear catchers.” The last section features highlighted works from the exhibition, emphasizing how body culture – in objects such as harem-style skirts and adornment practices such as tattooing – contributed to the rich enmeshment of the physical and the spiritual under the Qajar dynasty.