. . . Among the people whose names have always been mentioned in contemporary history of Iran, we can mention the Mu’ayr al-Momaliqs. This family has always tried to advance Iranian culture and art and has had an undeniable impact on the flourishing of Iranian art in the last two centuries. . . ** This article was published in issue 170 of Bukhara Magazine **

We know that photography quickly conquered many areas of human life during the early years of its invention and popularity. But it can be said that sacred places entered the broad field of photography a few decades later, and for many years, in order to preserve the sanctity of religious places, it was not possible to record images of sacred buildings . . .

Photography is a tool for approaching a kind of experience that seems strange and inaccessible without the presence of photography. At the same time, it is a tool that can add an aesthetic dimension to this experience. This article was published in the first issue of the Caravan Mehr journal. In this journal, my name was mistakenly typed as Almasi, but this error has been corrected in the digital file of the journal.

“… There, I encountered a unique and remarkable image of Naser al-Din Shah, which had been embroidered with strands of hair based on a photograph at the order of Queen Victoria. The Queen of England had presented it as a gift to Naser al-Din Shah…” This article was published in Bukhara journal, issue No. 36.

“The collection of photographs by Abdullah Qajar, which includes numerous portraits, documentary images of Iranian landscapes and historical monuments, as well as his reproductions of calligraphic and painted works, represents the largest number of surviving photographs by a single photographer from the Qajar era. This distinction earns him the title of the most prolific photographer of that period…” This article was published in Bukhara journal, issues No. 39 and 40.

“Photography arrived in Iran in the early years of its invention and quickly spread among Iranians. Naser al-Din Shah Qajar’s special interest in photography, which he had become familiar with during his crown prince years, and his support for this ‘industry’…” This article was published in Bukhara journal, issue No. 35.

… The letter is a note from Taj al-Dawlah addressed to her son-in-law, Mu’ir al-Mamalik, written in Shikasta Tahriri script with blue ink and a metal pen on light green European paper with a vertical frame… This article was published in Bukhara journal, issue No. 32.

… The wide range of criticisms was merely interpreted by the festival director as a ‘conflict between the old and the new.’ According to him, the biennial and its organizers were progressive, while the critics were reactionary… This article was published in Aks magazine, issue No. 209.

… Only a small group of critics and artists believed that camera-generated images could be valued as handcrafted works. Undoubtedly, the invention of photography would have an undeniable, beneficial, and comprehensive impact on the art and culture of the era… This article was published in the quarterly journal Honar, issue No. 58.

Wittgenstein claims that language provides us with a picture of the world, and when language is broken down into its most elementary propositions, it consists of images of reality.

Whenever we consciously stand in front of a camera, we portray a fabricated and false “self.” What results is merely a superficial resemblance to us. Perhaps we depict something we wish to be seen as—refined and smiling—without any reflection of our true inner selves.