Chapter 2: Dr. Mohammad Taqi Hashemian
Factors in the Flourishing and Endurance of Iranian Culture and Art
Four distinct regional and climatic zones can be identified within the aforementioned boundaries: the temperate northern regions, the mountainous areas in the north and west, the hot and arid regions of the east and center, and the plains of Khuzestan and Fars. Numerous ancient sites have been discovered in each of these regions, confirming the existence of earlier civilizations. The region where ancient artists and craftsmen resided had a direct impact on their produced works. For instance, in areas with rich mineral deposits, metalwork flourished, while in central regions with high-quality clay, pottery was more prevalent. However, two other elements have also had a significant influence on the creation of artworks: the patron and the creator. Examining the mindset of these two groups can shed light on many of the obscure points in the history of art.
Professor Pope has divided the factors contributing to the flourishing and endurance of Iranian art into four categories:
1. The diverse and contrasting cultures and civilizations with which Iran has been in constant contact
2. Religion
3. Dense traditions and reliance on the art of the past
4. The patronage of kings. (Pope, 1985, 40)”
To study the culture of any people, three types of sources can be used: a) historical artifacts and archaeological discoveries, b) written historical documents, and c) the examination of mythologies. However, this examination should go beyond individuals and dynasties, as history, from another perspective, is the investigation of the state of an active society, not merely the wars of kings. The biographies of powerful individuals do not constitute the pages of history, but rather the accounts of great inventions and new ideas form the foundation of history, as Will Durant stated in 1948. History, in the specific modern sense, is valuable and credible insofar as it contributes to the understanding of culture and civilization. Otherwise, knowing the biographies of individuals and groups is only of governmental or personal value.
Religion, beyond its role as an artist’s conscious or subconscious belief in shaping an artwork, plays a more significant role as a patron. In Iran, religion has always been intertwined with, and sometimes synonymous with, the prevailing political power. Thus, examining these two concepts separately is not feasible. From Sargon of Akkad to Khosrow Anushirvān, both have had strong ties to religion, or at least have projected such an image.
According to ancient traditions, as evident in Achaemenid inscriptions, the unity of religion and state could grant immense power to a ruler. The Achaemenid kings essentially attributed divine sanctity to themselves and their actions. In Iranian epics, Kay Khosrow serves as the ideal model of a king, as he possessed a spiritual nature and ultimately ascended to heaven to join the gods. (Bahar 54, 1375)
Islamic art possesses a religious and spiritual essence that is manifested not only in its most prominent form, mosque architecture, but also in calligraphy, decorative arts, and visual arts. However, Islamic art, rather than depicting religious figures or subjects, is an abstract expression of the monotheistic faith of Muslims. (Pakbaz, 1381, 725)
It’s important to note in any historical examination that Islamic art didn’t emerge instantaneously with the advent of Islam. The inhabitants of the Arabian Peninsula, particularly the nomadic tribes, had no established artistic traditions. The fundamental characteristics of Islamic art solidified approximately a century after the Prophet Muhammad’s passing, towards the end of the first century.
Following the Arab Muslim conquest of Persia, Iranian artists entered a new phase of their artistic journey. They transitioned from the Sassanian era, characterized by opulent visual adornments, gold and silver vessels, and lavish courtly luxuries, into a period governed by leaders who resided in simple mud-brick chambers. The use of gold and silk was forbidden for men. Depictions of humans and animals on objects or fabrics were prohibited. It took nearly two centuries for decorative motifs to gradually and cautiously reclaim their place alongside written texts. Arts such as sculpture and figurative painting remained marginalized for centuries and never fully recovered their former prominence.
These were the limitations imposed by Islam’s new worldview on the Sassanian mindset. However, in contrast, a growing emphasis on abstract artistic expression—closer to the intangible, spiritual, and celestial concepts of Islam—gradually emerged. This shift played a pivotal role in the enduring flourishing of Iranian culture and art.
Furthermore, while the introduction and dominance of a new culture in a society can sometimes lead to the extinction of its existing arts and crafts, the presence of Islamic culture in Iran not only preserved these arts but also fostered their growth in certain areas
