نوع مقاله : مقاله پژوهشی
عنوان مقاله English
نویسندگان English
Purpose: Mural art, as a prominent manifestation of Islamic civilization’s artistic heritage, plays a significant role in embellishing urban architectural spaces, disseminating national and religious culture, and promoting values such as sacrifice and martyrdom. Urban metro murals represent a key medium through which these profound concepts are visually conveyed. Located in the passageways frequented by people in the modern era, these murals contribute to urban placemaking in an Islamic country, reflecting national and religious identities as well as social values from the perspective of Islamic civilization. Beliefs and attitudes, manifested in the artistic expressions of urban spaces—including metro artworks—have been integrated with the demands of contemporary life, thereby shaping a modern Islamic civilization that seeks to cultivate religious identity and strengthen its presence in public consciousness. Given the importance of this subject, the present study aims to: conduct a visual analysis of Tehran Metro murals, identify symbols related to the themes of sacrifice and martyrdom, and examine the representation of women in Lines 1 and 4.
Methodology: This study employs an analytical-descriptive research approach to obtain comprehensive information and insightful findings. Of the approximately 400 murals installed in 2025 across Tehran Metro Lines 1 and 4, about 34, thematically related to sacrifice and martyrdom, were identified and photographed by one of the authors. From this subset, 15 murals underwent preliminary examination; however, due to limitations in descriptive scope, only four cases are presented and analyzed in this paper (two discussed in detail and two summarized in a table).
Findings: Artistic tools are undoubtedly among the most powerful and effective means of conveying and promoting messages. Visual representations, in particular, serve as vital instruments through which the art of revolution and the message of Truth (Haqq) against oppression are more profoundly articulated. This enables Islamic society to serve humanity not only in economic, political, and other domains but also through the realm of art. Metro murals, in relation to the formation of a contemporary Islamic civilization, fulfill several key functions: (a) enabling rapid, direct transmission of concepts through repetition and heightened impact; (b) providing a platform for conveying revolutionary ideas through the medium of revolutionary art; (c) transmitting valuable concepts across generations and embedding them into historical memory within the context of everyday life; and (d) enhancing the visual environment by fostering Iranian cultural sensibilities.
One pathway to realizing a contemporary Islamic civilization involves embracing an Iranian-Islamic lifestyle while distancing oneself from Western cultural paradigms. These murals arise precisely through such visual expressions, drawing inspiration from forms, motifs, and symbols deeply rooted in Iran’s historical legacy and cultural identity.
Conclusion: Sacrifice and martyrdom, as core values of Islamic society, are often expressed through art, particularly via visual symbols. The murals adorning the walls of the Tehran Metro exemplify this form of expression. Recurring symbols in these artworks include tulips and lotus flowers, depictions of combatants, the national flag, and others. These symbols can be categorized into human figures, animals, objects, traditional motifs, architectural elements, and calligraphy. Among these, human figures—typically anonymous combatants—and objects, primarily the flag, are the most frequently used, while the cypress tree and the horse appear least often.
The presence of women as influential and significant figures in the realms of sacrifice and martyrdom is symbolically depicted in 8 of the 34 murals dedicated to these themes across Tehran Metro Lines 1 and 4. However, this representation is limited in number, and many of these depictions suffer from weak design and poor compositional structure.
Women are consistently depicted wearing the chador, primarily in supportive or secondary roles, positioned prominently yet subordinately within the visual narrative. They are typically shown bidding farewell to combatants, holding either a Qur’an or a basket of flowers, fastening headbands, praying, or accompanying male figures. Only in one instance is a woman portrayed as an autonomous, central subject. The female figures are often rendered on a large scale (emphasizing their visual weight), yet their facial expressions convey neither distinct sorrow, despair, nor joy; instead, they display a composed, authoritative serenity (iqrar dar sima, meaning "dignity in countenance").
Although some artists have clearly invested considerable effort to enhance the artistic quality of these works, the murals’ impact is often undermined by poor placement, inadequate lighting, and other environmental factors controlled by urban planning and executive authorities. These elements collectively reduce viewer engagement and weaken the conceptual effectiveness of the artwork.
کلیدواژهها English
