This study argues that photographs from Qajar Iran (1785-1925) of harem women, royal women, and public women, such as sex workers, musicians, singers, and dancers, make profound statements on the institution of the harem in a time of flux and modernization.
This study argues that photographs from Qajar Iran (1785-1925) of harem women, royal women, and public women, such as sex workers, musicians, singers, and dancers, make profound statements on the institution of the harem in a time of flux and modernization.