Early Photography of the Holy Sites of Islam in the Arabian Peninsula

Chapters in this book

1. Frontmatter 1
2. Contents 5
3. FOREWORD 7
4. NOTE ON TRANSLITERATION 9
5. Introduction: Early Photography in the Near and Middle East and the Notion of an “Indigenous Lens” 11
6. Histories
7. The Search for an Ottoman Vernacular Photography 29
8. Photography during the Qajar Era, 1842–1925 57
9. Biographies
10. Geographies Traced and Histories Told: Photographic Documentation of Land and People by ʿAbdollah Mirza Qajar, 1880s–1890s 79
11. Early Photography of the Holy Sites of Islam in the Arabian Peninsula 111
12. Relocating Sevruguin: Contextualizing the Political Climate of the Iranian Photographer Antoin Sevruguin (c. 1851–1933) 145
13. Practices
14. The Ottoman in Ottoman Photography: Producing Identity through its Negation 173
15. Written Images: Poems On Early Iranian Portrait Studio Photography (1864–1930) and Constitutional Revolution Postcards (1905–1911) 193
16. The Gate of the Bosporus: Early Photographs of Istanbul and the Dolmabahçe Palace 221
17. The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans—Types and Uses 237
18. lass Plates and Kodak Cameras: Arab Amateur Photography in the “Era of Film” 257
19. Archives
20. The Photography Studio of the Naseri Harem in Nineteenth-Century Iran 277
21. The Photograph Alb ums of the Royal Golestan Palace: A Window into the Soci al Hi story of Iran during the Qajar Era 291
22. How a Former Museum of Modern Art Curator Assembled an International History of Photography Collection for Iran in the 1970s 325
23. Works Cited 347
24. LIST OF CONTRIBUTORS 367