Of martyrdom and vengeance:
Revisiting Iranian "Revolutionary" art
Revisiting Iranian "Revolutionary" art
Young Girl Carrying Rifle, 1979
Middle Eastern Posters Collection
Box 3, Poster 60
Special Collections Research Center
The University of Chicago Library
In seeing its posters that bore faces of martyrs, blood, vengeance with its warriors marching under the flag of Ali and the Islamic crescent, this writer somehow sought how Iranians during those times bear the culture of martyrdom that, according to their faith lies paradise and victory.
Once, according to an article from Time magazine regarding Islamic warriors and its action in Afghanistan, said that a person who had joined the Mujahidin and lived victorious hence called a Ghazi, but to die in a battlefield for its own faith becomes a Shahid; Ghazis tend to be known for its exploits as it gains respects from the adherents of its faith and even the enemies because of its gallantry, but for a Shahid lies paradise with its door open for them, that they fought for their faith and home, all despite being killed violently such as wiling to charge in a field full of mines or captured and executed as an enemy combatant.
This writer happens to be not into their belief, but in its history lies how Iran's "Islamic Revolutionary" past also tends to show something significant through art not just the protest marches and their stubborn defense against Iraq, or even the paranoia against the United States whom they described thoroughly as the great satan that represses the entire world. Thinking how people rarely looked at their art, such its posters, murals, and other stuff while looking at Iran's very rich historical artifact such as silverware, calligraphy, sculpture, everything Persian in particular that the land really known for.
Quite strange for others to think of how Iran chose to think of martyrdom than steering for a stereotypical progress, that they cling into their faith than to build a stereotypical modern future in accordance to the standards brought by the west especially the United States, not noticing how the former also tends to show modern yet deeply rooted in its heritage the way Pahlavis tried to present decades before as evidenced by its Azadi monument that highlights heritage by presenting modern architecture as an embodiment of the ideas presented before.
Giving faith, life, freedom, and struggle to the world
During the 20th century, everything ideological encompassed everything from the use of speeches, papers, to the use of visual art especially those of graffiti and posters. Vast mass-produced images were created to understand, educate, organize and mobilize the people against the system. Obviously, artists had to innovate according to their preference in conveying a "Revolutionary" message depending on which ideology they cling on. Posters produced and disseminated before and during the Islamic Revolution in Iran were no exception. Engaged artists, depending on their preferences had created posters or any visual art whose iconography opposed and inverted ideas and images that supported the status quo like those of the Pahlavi regime and its iron-fisted rule. Not just a secondary reflection of the revolutionary movement, these posters played a vital role in the struggles for change and in the articulation of collective ideologies.
According to the writeup made by New York University regarding the history and significance of the posters, it stated that:
"As social discontent increased throughout the 1970s, some of Iran's leading contemporary artists assumed an active role in the production of political posters. Inspired by the French student movement of 1968, a group of Iranian artists opened a workshop at the University of Tehran in 1978. The workshop provided the materials and equipment for printing posters to members of various political groups. Professional artists worked alongside amateurs. Their results were displayed throughout Tehran—in schools, in factories, and on the walls of other buildings, often defacing public monuments built by the Pahlavi regime as symbols of its authority and grandeur. As government agents tore them down or covered them with paint, protesters would replace them with replenished supplies."
Moreover, they were also influenced by the posters found in Cuba, China, even in the Soviet Union with the latter, as its neighbor had been inspiration for the left with some of its refugees providing material, if not moral support for the struggle.
However, posters and other visual art produced by the government and its supporters after 1979 re-imagined the Revolution rather as an ideologically Islamic one, even though that it had been comprised of a mixed political constituency such as the Communists or Islamic Marxists like those of the People's Mojahedin. Obviously, regime-sponsored graphic media stressed the Shi'ite aspects of the Revolution, especially with those of Islamic iconography, the virtue of Martyrdom, above all others like social reality or advancing popular interest in order to forward the newly formed government’s claims to religious authority and political legitimacy.
Struggle through the use of traditional and contemporary icons
Most of the visuals made during the Iranian Revolution reflected the fusion of Iranian and modern culture all making direct appeals to action by defying power, subverting authority, and inverting icons as a means to authorize oppositional ways of thinking and behavior. One which example is the use of Tulips.
Tulips, c. 1978–79
Artist: Morteza Momayez
Silkscreen
Inscribed (at top): "Tulips have bloomed from the blood of the
nation's youth."
Collection of Nicky Nodjoumi
Tulips had been a part of ancient belief in Iran, that dating back to ancient times that if a young soldier dies fighting for its own homeland and freedom, a red tulip will grow on his grave. That said idea was revived by that visual from and it has considered as symbol of martyrdom; the Emblem of Iran for instance, being a stylized form of "Allah" is also based from the Tulip.
Emblem of Iran
by Hamid Nadimi,
by Hamid Nadimi,
and approved by Ayatollah Ruhollah Khomeini
founder of the Islamic Republic of Iran on 9 May 1980.
Moreover, it also featured certain symbols somewhat related to Persian culture and hence applied to posters deemed as subversive. According to the same article from NYU, stated that:
"In one poster, the Shah's oil regime becomes a weapon of its own destruction. An oil derrick stands in for the hilt of a dagger plunging through the United States–supported Pahlavi crown. In another poster, the Revolution is visualized as a red arrow that is aimed at a blissful future, exemplified by a red sun. First, however, the revolutionaries must overcome three forces, represented by columns. The revolutionary arrow has already broken through the first column, on which the Pahlavi crown teeters precariously. The second column is marked "internal reaction" and upholds a silhouette of the Shah's profile. Uncle Sam's top hat sits atop the third column, which is labeled "imperialism.""
Muharram: Victory of Blood Over the Sword, ca. 1970–1980s
Middle Eastern Posters Collection,
Box 2, Poster 56
Special Collections Research Center
The University of Chicago Library
This poster, in reference to the battle against the Iraqis and perhaps repression, it reflects martyrdom as evidenced by the blood that broke the sword signifying victory over persecution. Blood somehow meant the struggling people as they do direct and indirect action against the enemies of faith and home.
Such symbols had tried to instill Revolutionary consciousness to the people as it correlates with Persian setting like oil derricks, red sun, tulips, as well as reactionary symbols like the Pahlavi crown alongside the top hat of Uncle Sam that corresponds to Imperialism.
Using scenes as evidences of struggle
Other than symbols, Iranian revolutionary posters had to show scenes that speaks of Revolutionary consciousness against the Shah's regime as well as outside enemies such as the United States and the Soviet Union. However, the former was highly regarded as the main adversary and being branded as "Great Satan" being the exploiter of people and resources throughout Iran for decades.
A Great Day, 1984
Kazim Chalipa
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 117
Special Collections Research Center
The University of Chicago Library
This painting, made in 1984 by Kazim Chalipa reflected the actions taken during the Iranian Revolution. As evidenced by the toppling of the statue of the Shah in Tehran, it showed the people's clamor despite violent reprisals from the military and from the dreaded SAVAK (Secret Police). Chalipa commemorates the event through an oil painting that presents the scene in warm, lush colors typical of the French Romantic style (also prevalent in posters reflecting Revoutionary sentiment such as those of David).
According to the painting, the crowd of protesters are carrying a wounded fellow protester reflecting the violent reprisals especially those from the streets of Tehran while the lower part of the Shah's statue is in midair as it falls off its large pedestal. Fires still burn in the background, illustrating the extreme force the Pahlavi regime used to try to repress the protests and armed action taken by the Revolutionaries.
Photograph of Crowd Around a Toppled Statue of the Shah, 1980
'Abbas ‘Attar
Iranian, b. 1944
Middle Eastern Posters Collection
Box 2, Poster 20
Special Collections Research Center
The University of Chicago Library
In contrast, this poster reflected the victorious action taken by the Revolutionaries as 'Abbas ‘Attar, a famous Iranian photographer, took shots of the events leading to the major uprising of 1978. Street shots of demonstrations had paved way to direct action as the dreaded SAVAK and the military provoked peaceful actions violently leading to similar reprisals such as those of students and protesters carrying guns grabbed from the enemy. The buildup was so slow but chaotic as evidenced by the poster given.
Black Friday Massacre, ca. 1980
Middle Eastern Posters Collection
Box 1, Poster 8
Special Collections Research Center
The University of Chicago Library
However, this poster, although simple, speaks of commemoration especially those of the martyrs of the Revolution. Iranian Revolution speaks of martyrs same as its heroes trying to advance people's interest other those from the Mullahs like Khomeini. The poster, at first is in fact a highly charged tribute to the Black Friday massacre, an event often seen as the point of no return in the momentum as security forces opened fire on protestors in Zhaleh Square in Tehran, killing an estimated 84 demonstrators in 1978. With the map as its evidence, as well as the bilingual Persian-English text instills the fact how the regime that tries to speak "Change" through the so-called "White Revolution" had failed to reach the hearts of the vast majority because of its repressive policies as well as makes use of martyrial rhetoric (encouraged thoroughly by the Islamic regime), which lauds the importance of Shiite mourning rituals as vehicles for revolutionary fervor against the Pahlavi regime.
Using Islamic Iconography and tradition,
(alongside pop art and realism) as inspiration
As the Iranian Revolution been end controlled by the Mullahs, lies the use of Islamic icons and martyrial rhetoric in invoking Revolutionary sentiment and its consolidation especially during the war against Iraq. Western media somehow described the Iranian Revolution as "Islamic" despite its supposed left-wing and nationalist roots; hence called as "Islamic Revolution" with Imam Ayatollah Khomeini as its supreme leader.
Graffiti Wall with Ayatollah Khomeini and ‘Ali Shariati, 1981
Middle Eastern Posters Collection
Box 4, Poster 175
Special Collections Research Center
The University of Chicago Library
This painting, featuring personalities from Islamic left (as evidenced by Ali Shariati) and right (with Khomeini) showed the prevalence of Islam as a contributory force in the Revolution. People had even used blood attained from injuries or even before their demise to write every wall such as "down with the Shah" or leaving a handprint as an evidence of their struggle. Khomeini's portrait somehow meant the dominant force such as those led by the militant right over those of the militant left including those of Ali Shariati and its successors like the Peoples Mojahedin. White smears smacks of earlier posts being painted, washed off in pursuit of erasing earlier slogans people shouted up to 1978 or 79. But Icons like Khomeini meant the prevalence of Islam as both faith and force of the Iranian Revolution.
Cry Out: The First Night of Muharram, 1979
Khusrawjirdi
Middle Eastern Posters Collection
Box 3, Poster 95
Special Collections Research Center
The University of Chicago Library
Made by Khusrawjirdi, it was based from an Islamic event known as Muharram, and it carried martyrdom as one basic feature of the Revolution. The art of course depicted angry people as Shiite public mourning ceremonies honoring the deceased for forty days became the platform from which protests against the government spread. At the forefront of the group, a man rips at his shirt, expressing the emotional anguish over the loss of Imam Husayn after a battlefield at Karbala against the Umayyad Caliphate. These acts of self-mortification replicate the suffering of the seventy-two martyrs of Karbala especially those of Ali who had been venerated by the Shiites as one of important holy persons in Islam. The energy of the crowds during the month of Muharram in 1978 and 1979 had spilled over into protests that eventually turned into a popular uprising that toppled the Pahlavi monarchy.
Every Day is 'Ashura and Every Soil is Karbala,
By Kazim Chalipa ca. 1981
Middle Eastern Posters Collection
Box 3, Poster 96
Special Collections Research Center
The University of Chicago Library
Kazim Chalipa depicted Imam Huseyn and his mean as an inspiration during the war effort against the Ummayad Caliphate. His role at Karbala somehow inspired people to organize and fight against the Iraqis during the battle over the Persian gulf, the words "Everyday is Ashura and every soil is Karbala" emphasise self sacrifice, martyrdom as the people willingly take their lives at the service of the "Islamic Republic." Like Soviet Russia during the Civil War as well as North Korea it may meant a call to unite for the war effort and martyrdom also meant heroism for a struggling state.
Khomeini as "Guide"
The Shah’s Exile and Khomeini’s Return, 1979
Hasan Isma’ilzadah
Iranian, b. 1922
Middle Eastern Posters Collection
Box 1, Poster 11
Special Collections Research Center
The University of Chicago Library
As it follows traditional Persian "coffee-house" paintings in Tehran, the said art showed Imam Ayatollah Khomeini as a leader of the struggle against the Shah. It also acts as a "stroytelling" tool with the Shah exiling from Iran while the Imam, coming from Iraq (with the Najaf shrine), then France (with the Eiffel tower) made an eventual and victorious return to his homeland with people protesting against repression as evidenced by executions against dissidents violent reprisals against protesters.
Of course, as evidenced by the Qur'an Imam Khomeini carried, the Islamic flag, and even the devil, showed religious iconography as part of the art encouraged by the regime.
Wounded Protester under Khomeini Breaking Through US Flag, ca. 1980
Middle Eastern Posters Collection
Box 2, Poster 59
Special Collections Research Center
The University of Chicago Library
Reminiscent of art used in Cuba and Latin America, the poster shows the dramatic representation of the protests happened in 1978. There, a wounded protestor lies bleeding on the ground holding up a green banner that bears the slogan: “Independence, Freedom, Islamic Republic.” Above the revolutionary fray, Khomeini’s face bursts through a tattered U.S. flag, symbolizing Islamic Iran breaking free from American tutelage for decades. Obviously, the art showed as Khomeini, being known much by the Iranians as one of the leading personalities during the Revolution and of the young Republic present himself as a face, guide, head of the "Revolution" countering the "Great Satan" (United States) by means of mass action while critics described it as fanaticism over "Political Islam" through the "Islamic Republic".
Iranian Oil Facilities Under Khomeini
ca. 1980s
Middle Eastern Posters Collection
Box 4, Poster 198
Special Collections Research Center
The University of Chicago Library
In this poster, made during the war against Iraq used Khomeini as a leader trying to avert exploitation of natural resources, especially those of oil by the faith of the people. As evidenced by the Soviet Union, depicted as a serpent impaled by a spear and the United States, as a hand chopped by an axe, the will of the people and its faith can counter US and Soviet Union's eagerness to exploit Iran's resources. It also showed the words "God is Great" as well as the message stating: "If the Muslim world is united, the influence of big powers on all Islamic resources will be eliminated."
Obviously, this is somehow partly based from Soviet or Chinese posters depicting a leader as a great helmsman trying to lead its people against the "enemy" especially those of Imperialists and domestic exploiters.
Battlefield as Pilgrimage, and the Dead as Immortal
As Iran trying to consolidate its rule against the "Great Satan" as well as Iraq during the first "Gulf War", its art depicted defense as sacred, battlefield as pilgrimage and the dead as immortal trying to seek paradise and to absolve their sins.
Blindfolded Soldier Shot at Gunpoint, ca. 1981
Middle Eastern Posters Collection
Box 4, Poster 197
Special Collections Research Center
The University of Chicago Library
As evidenced by this poster below, this art reflects both faith and martyrdom with a captured member of the Basiji corps being executed while Imam Huseyn awaits him to escort towards paradise. The poster capitalizes much on the rituals such as those of the Ashura the way they describe the battle as Karbala and its fallen as martyrs. It also utilizes colours signifant to the Islamic faith such as Green and Red with the former corresponds to Muhammad and Red for Ali and Huseyn.
Headless Imam Husayn with Dove, ca. 1981
Middle Eastern Posters Collection
Box 4, Poster 200
Special Collections Research Center
The University of Chicago Library
Contrary to the typical posters of the period, this poster somehow lies contemporary, but it bear significance as it depict the headless Imam Huseyn as the martyr of Karbala. This poster corresponds to the people who had died fighting during the "Gulf War" especially in defending towns and cities near the Iraqi border. As the white cloak eerily disappears into the sea of blood resembles the deep mourning of the people for their loved ones fighting in the battlefield. Imam Huseyn's white robe symbolizes purity, martyrdom, and paradise; while the dove corresponds to the peace yearned by the people, especially by the families of the martyrs trying to defend the "Islamic Republic".
Certitude of Belief (Yaqin), ca. 1981
Kazim Chalipa
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 67
Special Collections Research Center
The University of Chicago Library
Reminiscent of Pieta, the said poster reflects the belief in Martyrdom as a salvific power according to Shiite and Persian beliefs. There the dead body transforms into a tulip as his mother cradles him. On the left side lies the tulips that meant martyrs while at the right side represent those of warriors marching into their holy battle. Imam Huseyn, alongside the martyrs of Karbala serves as attendants and represents the religious fervor that made Iranians tirelessly making effort for the battle.
Women, Children, Religious against the misfits
The Revolution and its Sacred Defence encompasses everyone especially those of Women, Children, as well as the Religious trying to make effort in pursuit of defending the Homeland, Faith, and the Revolution being attained. Most of them had became Martyrs to the struggle itself in facing the enemy and Heroes in steadfastly contributing in the war effort.
Stoning of the Devils, ca. 1980s
Habib Sadeqi
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 122
Special Collections Research Center
The University of Chicago Library
This poster lies the Iranian religious ceaselessly defying the odds of evil as a pilgrim towards Mecca. With the Kaaba in his heart symbolizing faith and purity, he casts stones against the devils surrounding especially those of temptation, repression and hatred as evidenced by the money and armed men sponsored by the Imperialists and its domestic cohorts. It also shows the people of the "Islamic Republic", all united under the banner of Islam trying to reclaim the faith from its corruptors.
Boy Going to War with Crying Girl, 1980
Muhammad Taraqijah
Iranian, b. 1943
Middle Eastern Posters Collection
Box 4, Poster 209
Special Collections Research Center
The University of Chicago Library
Made during the first "Gulf War", Iranian troops also include children who even voluntarily joined the Basiji corps. Accoirding to the poster, the boy's look of determination and steadfast resolution is contrasted by his sister's mournful cries at his impending departure. The sacred battle also lies innocence lost by the struggle as people, including those of children are trying to consolidate all for the war effort and to strengthen the Revolution against the enemies both domestic and foreign. The walls bear their closeness to the Islamic faith such as "Allahu Akbar" that meant "God is most Great."
White Silhouette of Fatimah, 1979
Middle Eastern Posters Collection
Box 2, Poster 30
Special Collections Research Center
The University of Chicago Library
Released in celebration of "Women's day" in Iran, the said poster depicts Fatimah al-Zahra, the daughter of the Prophet Muhammad. Above, the text stated: "Fatimah's rising, celebrating the true leader of women." The said celebration also corresponds to the birthday of one of Islam's important personalities being the mother of Imam Huseyn and symbolizes the purity of the Muslim woman imbued with the virtues of Patience, Piety and Obedience.
A Woman Holding a Rifle, ca. 1980
Nasser Palangi
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 65
Special Collections Research Center
The University of Chicago Library
In contrast with the poster depicting Fatimah al-Zahra, this poster made by Nasser Palangi depict an Iranian woman as Militant all after witnessing the frontlines during the "Gulf War." There, Palangi depicts one of these women, determined as she carries the rifle and heading toward the front line.
Heirs of Zaynab, 1980
Nasser Palangi
Iranian, b. 1957
Middle Eastern Posters Collection
Box 3, Poster 85
Special Collections Research Center
The University of Chicago Library
Also made by Palangi during the war, shows the defiance of an Islamic woman as she carries the ammunition for the troops being "heirs of Zaynab" as they follow the footsteps of Muhammad's granddaughter and sister of Imam Huseyn. Despite being captured by the Ummayads, Zaynab didn't submit to the wishes of the latter as they killed her brother alongside others in the battle of Karbala.
Conclusion
These posters depicted lies how Iranians tend to preserve their Home, as well as their Faith against their enemies especially those of the United States. Artists like Chalipa and Palangi also served as those who record every scene of their efforts in making Iran what is known today as different from the typical Iran as "Persia" of the past.
There may be no posters shown nowadays, but these examples meant something for the people that somehow this writer tirelessly making research about these and hence posted in this site. His views as well as theirs be deemed as different and contradictory, but there are some that somehow lies compatibility such as defying the odds especially those who exploit the people and its resources, everything that made a nation great in the eyes of the almighty.
Obviously, it also shows how Iran trying to bridge the past and present with virtues of Martyrdom side by side with those of innovation and modernity. People had tirelessly making efforts in doing things possible simply because of their love for homeland and the faith that guides them, especially that there are demons near and far trying to create a face of threat that is, ought to be destroyed.
Sources:
http://www.lib.uchicago.edu/e/webexhibits/iranianposters/index.html
http://www.nyu.edu/greyart/exhibits/iran/imageposters/
http://shahrefarang.com/en/martyrdom-cityscapes/