Presenting the solo show "Qajar women in Iran" from Li Lan.
Frater Meus Contemporary gallery. El Alto, Bolivia.
April 30th - July 10th 2024
Curator: Mona Kodashenas Abadi
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The Qajar era is an important period in the history of Iran. The status of women, whether as part of the royal family, powerful non-elite families, elite, marketers, scholars, and peasants, with a brief difference between urban and elite women, courtiers and commoners, was still under the authority especially authority of the family also Without affecting the world outside the house and harem.
According to foreign travel writers during the period of Muzaffar al-Din Shah Qajar, Iranian women had beautiful black hair that shined like a nightshade.
Women usually split their hair in two parts from the middle of the head, one part to the right side and the other part to the left side. They applied aromatic oil to their hair and placed a small part fifteen centimeters long on the sides of the face and called it "Toreh" or "Marghule".
Eugen Flanden, a French travel writer who came to Iran during the period of Mohammad Shah Qajar, narrated that Iranian woman used to make up their eyes with a black substance called "sorme" with the tip of a sharp rod, and to add redness to their make-up. They rub on the face.
Or about the eyes and faces of Iranian women, it is said that they often decorated their faces with artificial moles similar to the mole between the eyebrows that looked like a star.
Women spent most of their time in the bath dyeing their hair, eyebrows, soles and fingertips. And they used henna to make them orange.
Sometimes they painted strange shapes like trees, animals and stars on their bodies with henna. These decorations are not hidden under clothes. Because their shirt was such that it did not cover the chest and part of the stomach.
Describing the history of "Qajar women in Iran" takes a lot of time and is very important in terms of cultural studies.
It is a great joy that the self-taught artist "Leilan" in his unconscious mind created amazing works of face, make-up and clothing of women whom she calls "Qajar women".
She emphasizes that the face and make-up of Qajar women and their clothing have always been remarkable to her, and when she picks up a pen and wants to draw women's faces on paper, she unconsciously draws the image of Qajar women.
Lilan says in describing her paintings:
"I blow in the trumpet of pencils. And what do you know about when thoughts and ideas crawl on the white chest of paper?
How patterns and images shake the bodies of colors, hearts and looks.
Oath to thought Life is still beautiful.
And, I believe that is Love which surrounds me with the eyes of art."

Mona khodashenas Abadi

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