This book traces how medicine in modern Iran was both theoretically and institutionally transformed in the 19th and 20th centuries. It explores the process by which local physicians, in a non-colonial context, assimilated the emerging "modern medicine" and the institutional devices that accommodated this transition.

Offers new and cutting-edge research on the role of drugs in Iranian society and government. This title is also available as Open Access on Cambridge Core.

Although in the last few years the study of painting in 19th century Iran has made considerable progress it still remains somewhat tradition bound. It would seem that art historians find it difficult to go beyond oil paintings, lacquer, and enamel. In 1998, Robinson, the doyen of Qajar art history, wrote: "Qajar painting found its most prestigious outlets in oil painting, lacquer, and enamel." In this study it is shown that paintings were probably the most important form of expression for painters for many centuries and as prestigious as the other forms of painting. Mural paintings were very popular and were to be found on various types of buildings ranging from the royal palaces, private homes, bath-houses to a religious shrine. Painting was a craft and a business that was actively pursued by artisans in most major towns in response to a general demand for-figurative art. As to the themes depicted these remained basically limited to (i) dynastic and epic (Qajar 'family portraits'; battles, hunts; Shahnameh scenes), (ii) sensual (flora, fauna, erotic), and (iii) religious (prophets, lmams, 'olama) subjects. These subjects occurred in any type of building irrespective of its function. The wide use of figurative representation in religious buildings and practice is of great interest. People almost invariably assume that Moslems until recent times did not tolerate paintings and the like of humans and animals adorning public and private buildings and publications. This study shows otherwise. There is even evidence of the use of paintings as religious icons, which is a totally neglected subject. Rock reliefs and other forms of sculptured works in and on buildings and its accessories such as doors show a similar development as mural paintings. Although information is even less copious than for wall paintings, it is clear that the depiction of living beings in the forms of sculptures was very widespread and pre-dates the Qajar period. The nature and form of murals were influenced by the increased contacts between Persia/Iran and the outside world, in particular Europe and India. This holds in particular for the use of prints and the occurrence of European scenes in frescos and other forms of paintings. Willem Floor has written extensively on many aspects of social, economic, and art history of Iran.

Essays on the plague and cholera in Iran. As well as quarantine, influenza, medical infrastructure, geophagy, and early steps toward veterinary medicine in Iran.

Aplace for the sick (bimarestan) had existed in Iran since the mid-sixth century, but such institutions never developed into real hospitals, except for a few instances during the tenth and eleventh centuries. Thereafter, until the twentieth century, their number was small and declining, and merely served as alms houses (dar al-shafa) for sick and poor pilgrims, which was why they were attached to mosques and religious schools (madrasehs). There was no major change in this situation until the mid-1880s. It was then that changes began to occur through the establishment of dispensaries, and later, hospitals. Four main groups were involved: the government of Iran, the government of (British) India and its affiliates, and American and British missionary organizations. Each had their own disparate policy objectives. Although the first Iranian government hospitals preceded the ones established by American and British missionaries, the services they offered were limited. They did not include surgery, which was the comparative advantage of the foreign hospitals. In addition, the latter offered better trained physicians, nurses, modern medical methods of treatment, and the use of medical instruments and devices. As a result, these Western hospitals had an important impact on the training of Iranian physicians and nurses. They also introduced modern methods of medical treatment, surgery techniques and medicines. Furthermore, they made it more acceptable for Iranian patients to seek treatment in a hospital, an institution not traditionally viewed as a place to heal but rather as a place to die. Despite their increasing role in providing medical care, the urban-based hospitals were too few in number, and not geared to address Irans public health issues. In particular, they could not meet the medical needs of the countrys mainly rural population. Nevertheless, the hard work and sacrifice of the staff of these modern hospitals laid the groundwork for Irans much needed and comprehensive public health infrastructure and health policies. These were further developed in the 1930s and grew in speed and size during the 1950s. This book, together with Willem Floors companion volume, The Beginnings of Modern Medicine in Iran, are essential histories for anyone interested in the inceptions of Irans modern health care system.