Gleave brings together studies by experts in the area of religion in nineteenth-century Iran in order to present new insights into Qajar religion, political and cultural history. Key topics covered include the relationship between religion and the state, the importance of archival materials for the study of religion, the developments of Qajar religious thought, the position of religious minorities in Qajar Iran, the relationship between religion and Qajar culture, and the centrality of Shi'ite hierarchy and the state.

Uses political practices and a socially-oriented approach to explain imperial formation under the Qajars in early nineteenth-century Iran.

The Takkiyya Mu'avin al-Mulk is a building complex in the city of Kermanshah in western Iran, dedicated to the annual commemoration of the martyrdom of Husayn ibn 'Ali at the Battle of Karbala in 680, an event of seminal significance to Shi'i Islam. Private takkiyyas built by social elites were a phenomenon of the Qajar period, with their construction motivated by a political quest for legitimacy. This book examines the intersection of art and architecture, popular piety, and the politics of legitimation. Through an examination of the building and its decorative programme, it addresses issues of patronage, Shi'i iconography and popular religious practices during the early 20th century in Iran. It further argues for the role of takkiyyas in creation of a sense of community and group identity; the formative stage of the emergent idea of nationhood at the time, amongst those who frequented them.

Using a 'Historical Institutionalist' approach, this book sheds light on a relatively understudied dimension of state-building in early twentieth century Iran, namely the quest for judicial reform and the rule of law from the 1906 Constitutional Revolution to the end of Reza Shah's rule in 1941.

The Qajar Pact explores new perspectives on the nineteenth-century Iranian state and society, and is the first broad study of lower social groups in this period. Vanessa Martin argues that Qajar government was certainly despotic, but was also founded on a consensus based on the Islamic principles of consultation and negotiation. The author focuses on the role of the non-elite groups in urban society up to the years before the Constitutional Revolution.

One of the most heated scholarly controversies of the early twentieth century, the Orient-or-Rome debate turned on whether art historians should trace the origin of all Western—and especially Gothic—architecture to Roman ingenuity or to the Indo-Germanic Geist. Focusing on the discourses around this debate, Talinn Grigor considers the Persian Revival movement in light of imperial strategies of power and identity in British India and in Qajar-Pahlavi Iran. The Persian Revival examines Europe’s discovery of ancient Iran, first in literature and then in art history. Tracing Western visual discourse about ancient Iran from 1699 on, Grigor parses the invention and use of a revivalist architectural style from the Afsharid and Zand successors to the Safavid throne and the rise of the Parsi industrialists as cosmopolitan subjects of British India. Drawing on a wide range of Persian revival narratives bound to architectural history, Grigor foregrounds the complexities and magnitude of artistic appropriations of Western art history in order to grapple with colonial ambivalence and imperial aspirations. She argues that while Western imperialism was instrumental in shaping high art as mercantile-bourgeois ethos, it was also a project that destabilized the hegemony of a Eurocentric historiography of taste. An important reconsideration of the Persian Revival, this book will be of vital interest to art and architectural historians and intellectual historians, particularly those working in the areas of international modernism, Iranian studies, and historiography.

This book offers a new interpretation to the social history of religion in Iran from the 1870s to the 1970s. It aims to situate the 'revolutionary' upheavals of 1977-82 in an extensive narrative context of historical developments over the preceding century, and to relate the 'religious' elements in that history to other social and cultural issues. In the author's analysis, Iran's revolution was complex, and contingent on a range of factors rather than a simple or inevitable outcome of the nature of the Iranian state or the nature of religion in Iran. The focus of the argument is on the human responses of Iranians to their experiences and problems in all their diversity and on the rich variety and complexity of relationships between religion and other aspects of life, thought and culture in the daily life of Iranians.

Disziplinäre Grenzen überschreitend zielt der Band darauf ab, die Visualisierung Mohammeds in der westlichen Welt vis-à-vis mit dessen Darstellung im Islam zu untersuchen. Dabei wird das Material weder geographischen oder sprachlichen Sphären zugeordnet noch werden Textquellen isoliert von bildlichen Darstellungen betrachtet. Die Beiträge eröffnen vielmehr einen thematischen und theoretischen Dialog über die Frage, wie der Prophet in verschiedenen kulturellen Traditionen, in Europa und Amerika und in der Welt des Islam, vom Mittelalter bis in die Gegenwart, vergegenwärtigt wurde.

A masterfully researched and compelling history of Iran from 1501 to 2009 This history of modern Iran is not a survey in the conventional sense but an ambitious exploration of the story of a nation. It offers a revealing look at how events, people, and institutions are shaped by currents that sometimes reach back hundreds of years. The book covers the complex history of the diverse societies and economies of Iran against the background of dynastic changes, revolutions, civil wars, foreign occupation, and the rise of the Islamic Republic. Abbas Amanat combines chronological and thematic approaches, exploring events with lasting implications for modern Iran and the world. Drawing on diverse historical scholarship and emphasizing the twentieth century, he addresses debates about Iran’s culture and politics. Political history is the driving narrative force, given impetus by Amanat's decades of research and study. He layers the book with discussions of literature, music, and the arts; ideology and religion; economy and society; and cultural identity and heritage.