Elham Etemadi
Biographic Data
| ID | 5824424 |
|---|---|
| NAME | Elham Etemadi |
| GIVEN NAMES | Elham |
| FAMILY NAME | Etemadi |
| SIGNATURE | ETEMADI E |
| AFFILIATIONS | Arkin |
| ORCID | 0000-0001-9449-562X |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Rethinking the Chronology of Saniʿ al-Molk’s European Journey
Saniʿ al-Molk ( c . 1813–66) was a prominent painter of the Qajar era (1785–1925) who played a significant role in the development of Iranian art and painting. He is known as one of the first Iranian painters to travel to Europe; however, the exact date of his departure is unknown. This paper proposes a new chronology for his visit to Europe as a first step towards reassessing his significance in Qajar art history. This study suggests that Saniʿ …
The Changing Landscapes of Iranian Art
Tehran Auction, established in 2012, rose to prominence during a period of severe international sanctions, economic instability, and institutional fragility in Iran. The auction represents a turning point in the evolution of Iranian art, in which its value increasingly aligns with luxury goods, a change that reflects a broader semi-neoliberal transformation in Iranian cultural policy. To analyze this shift, this article draws on concepts such as …
Šahrzâd and Šahrbâz
The Thousand and One Nights was illustrated under Sani’ ol-Molk’s supervision in 1854–1859 in Iran. In this article, I analyse an illustration of the story of Ŝahrzâd and Šahrbâz, which is the only image in the manuscript that displays the two characters in sexual relation. In analysing the illustration, I address three factors: the handwriting on the top left corner of the illustrated page, the difference between the illustration and the narrati…
Šahrzâd and Šahrbâz
The Thousand and One Nights was illustrated under Sani’ ol-Molk’s supervision in 1854–1859 in Iran. In this article, I analyse an illustration of the story of Ŝahrzâd and Šahrbâz, which is the only image in the manuscript that displays the two characters in sexual relation. In analysing the illustration, I address three factors: the handwriting on the top left corner of the illustrated page, the difference between the illustration and the narrati…
No prominent works on this page.
Šahrzâd and Šahrbâz
The Thousand and One Nights was illustrated under Sani’ ol-Molk’s supervision in 1854–1859 in Iran. In this article, I analyse an illustration of the story of Ŝahrzâd and Šahrbâz, which is the only image in the manuscript that displays the two characters in sexual relation. In analysing the illustration, I address three factors: the handwriting on the top left corner of the illustrated page, the difference between the illustration and the narrati…
Šahrzâd and Šahrbâz
The Thousand and One Nights was illustrated under Sani’ ol-Molk’s supervision in 1854–1859 in Iran. In this article, I analyse an illustration of the story of Ŝahrzâd and Šahrbâz, which is the only image in the manuscript that displays the two characters in sexual relation. In analysing the illustration, I address three factors: the handwriting on the top left corner of the illustrated page, the difference between the illustration and the narrati…
Rethinking the Chronology of Saniʿ al-Molk’s European Journey
Saniʿ al-Molk ( c . 1813–66) was a prominent painter of the Qajar era (1785–1925) who played a significant role in the development of Iranian art and painting. He is known as one of the first Iranian painters to travel to Europe; however, the exact date of his departure is unknown. This paper proposes a new chronology for his visit to Europe as a first step towards reassessing his significance in Qajar art history. This study suggests that Saniʿ …
The Changing Landscapes of Iranian Art
Tehran Auction, established in 2012, rose to prominence during a period of severe international sanctions, economic instability, and institutional fragility in Iran. The auction represents a turning point in the evolution of Iranian art, in which its value increasingly aligns with luxury goods, a change that reflects a broader semi-neoliberal transformation in Iranian cultural policy. To analyze this shift, this article draws on concepts such as …
Painting (3 works) · Byzantine Studies and History (2 works) · Historical, Religious, and Philosophical Studies (2 works) · Islamic Studies and History (2 works) · Sociology (2 works) · Visual Culture and Art Theory (2 works) · Adaptation (eye (1 work) · Architecture and Cultural Influences (1 work) · Art (1 work) · Art History and Market Analysis (1 work)