Photography has long been a medium through which artists explore identity, beauty, and culture. In recent years, a growing number of photographers have turned their lenses toward historical ideals of beauty, reinterpreting them through a contemporary lens. One such movement involves self-portraits inspired by the beauty ideals of 19th-century Iran. During this period, Iranian society had a distinct sense of aesthetics that was deeply rooted in cultural values, gender norms, and the influences of both local traditions and global trends. By engaging with these ideals today, photographers are not only paying homage to a rich cultural history but also interrogating modern understandings of beauty, identity, and self-expression.
19th-Century Iranian Beauty Ideals: A Historical Overview
To understand how modern self-portraiture draws from 19th-century Iranian beauty ideals, it’s essential to first explore what those ideals were and how they shaped society’s perceptions of beauty. The 19th century was a time of significant transformation in Iran, marked by increased contact with Western powers and a blending of local and foreign influences. Iranian art and culture, which were steeped in the country’s rich history, reflected these changes, with beauty ideals evolving to incorporate both traditional and external elements.
In 19th-century Iran, beauty was closely tied to social status, gender roles, and the idea of refinement. For women, beauty was characterized by a soft, delicate appearance. Features such as a rounded face, arched eyebrows, large, expressive eyes, and long, dark hair were highly prized. The idealized feminine form was slender but curvaceous, with an emphasis on grace and elegance. Paleness was also considered a marker of beauty, as it suggested a life of privilege away from the harsh sun and labor-intensive work.
Men’s beauty, while equally important, had its own set of ideals. Men were often depicted as strong and noble, with well-groomed facial hair being a sign of both masculinity and sophistication. A certain romanticism surrounded male beauty, with emphasis placed on an intellectual and poetic presence as much as physical appearance.
Beauty standards in 19th-century Iran were heavily influenced by Persian poetry and art, where notions of love, beauty, and perfection were often idealized. These artistic representations permeated daily life, influencing everything from fashion to social interactions. As such, beauty was not just about physical appearance; it was also a reflection of one’s inner character and moral standing, as depicted in the literature and visual arts of the time.
Modern Self-Portraiture: Reviving and Reinterpreting the Past
In today’s world, self-portraiture has become a powerful tool for exploring identity and culture. By turning the camera toward themselves, photographers can control how they are represented, often challenging conventional norms and creating a narrative that is deeply personal. For those drawing inspiration from 19th-century Iranian beauty ideals, self-portraiture becomes a bridge between past and present, allowing them to engage with a historical aesthetic while also commenting on modern standards of beauty and self-perception.
One of the reasons these self-portraits resonate so deeply is the way they bring a forgotten or neglected history back into the conversation. While 19th-century Iran had a complex and sophisticated understanding of beauty, much of this aesthetic has been overshadowed by more dominant Western ideals in contemporary times. Photographers revisiting this period are reviving these ideals and demonstrating that beauty is not monolithic but rather a diverse and evolving concept that can be seen through different cultural lenses.
For instance, contemporary photographers who create self-portraits inspired by 19th-century Iranian aesthetics often adopt the visual codes of that era: they style their hair in traditional ways, wear garments reminiscent of Qajar-era fashion, and pose in manners that echo historical portraits. These visual elements serve to evoke a sense of timelessness while also questioning how much our modern standards of beauty have shifted—or stayed the same—since the 19th century.
Challenging Contemporary Beauty Norms
At its core, this form of self-portraiture serves as a critique of the narrow beauty standards that dominate today’s media landscape. The modern world often imposes rigid definitions of beauty that prioritize youth, thinness, and Eurocentric features, leaving little room for alternative aesthetics. By invoking 19th-century Iranian beauty ideals, photographers are challenging these limited views, offering a more expansive and inclusive understanding of what it means to be beautiful.
For women, in particular, these self-portraits can be an empowering form of resistance. The delicate, refined beauty idealized in 19th-century Iran contrasts sharply with the often hypersexualized images of women in today’s fashion and entertainment industries. By embracing this historical aesthetic, photographers can reclaim a sense of beauty that is not defined by modern standards of perfection but rather by a connection to cultural heritage and individuality.
Similarly, for male photographers, drawing inspiration from 19th-century Iranian beauty ideals can offer a way to push back against contemporary notions of masculinity. Today’s ideals often emphasize physical strength and stoicism, but the 19th-century Iranian vision of male beauty also valued intellect, sensitivity, and artistic expression. By channeling these characteristics in their self-portraits, photographers can present a more nuanced and multidimensional view of masculinity.
Identity, Heritage, and the Diaspora Experience
For many photographers of Iranian descent, self-portraits inspired by 19th-century beauty ideals are also a way to connect with their cultural heritage, especially for those living in the diaspora. In a globalized world, where people are often separated from their ancestral roots, reconnecting with historical traditions can provide a sense of grounding and identity.
These self-portraits offer a way to navigate the complexities of being both a part of and apart from a cultural tradition. By embodying the beauty ideals of 19th-century Iran, photographers can honor their heritage while simultaneously creating something new and personal. The images become a dialogue between the past and present, bridging the gap between generations and highlighting the ongoing relevance of cultural aesthetics.
This approach also allows photographers to explore issues of identity that are unique to the diaspora experience. Many find themselves negotiating between two worlds: the culture of their ancestors and the culture of the country they now call home. By incorporating elements of both, these self-portraits can serve as a reflection of the hybrid identities many people in the Iranian diaspora possess.
