Cultural Appropriation: Identity, Symbolism and Power in Early Iranian Architecture



Cultural Appropriation: Identity, Symbolism and Power in Early Iranian Architecture

Introduction

Iran is an inseparable part of Islam and Muslim cutters. There are numerous contributions of Iranian philosophers, artists, and poets in the field of art and architecture. In the diverse Islamic cultures, the interpretation of Islam is not same. It has been observed that one belief has different meaning in different cultures. Muslims believe in one God, Allah. He is the most Beautiful and loves beauty (Mckellar and Sparke, 2004).

Muslims reflect this concept of beauty in every behaviour or work they perform. Islam strictly prohibits the portraying or sculpturing of humans and animal as it is an attempt to imitate the Supreme Lord, as said by Him, “Thou shalt not create graven images.” For this reason, Islamic art is different in its techniques. Though influenced by the Sassanian art, Central Asian styles and Chinese patterns, Islamic artists created their own distinctive characters to use in their work. Islamic art covers a variety of artistic elements but Arabesque, Anionic, Geometry and Calligraphy are the main components. These elements mark the base of Semantics and Aesthetics-the two fields of Islamic art (Mostaedi, 2006).

The most interesting element is Arabesque which is floral and vegetal pattern. Further, geometrical shapes are frequently used in Islamic art to create complicated designs. Calligraphy, which means beautiful writing, is another artistic production. It is the art of writing Qur'anic verses by using different scripts invented over a period of times. Islamic architecture also shows some distinguishing features. Many mosques, forts and palaces, built by Muslims, make a rich cultural heritage. Mosques are the best example of Islamic architecture. Walls, ceiling and doors are decorated with the calligraphy, geometrical designs and arabesque (Mckellar and Sparke, 2004),

In the period of Safavid, many Iranian (Persian) traditional and cultural values were amalgamated into Islam. This was the period when many architectural designs, forms, and layouts have been deep embedded in the pre-Islamic period of Iranian architecture. With the reference to this integration, one of the illustrious Iranian contemporary sociologists, Ali Shariati, described Safavid Shiism not as an ideology but as a tradition and custom Lorenc, 2007).

He focused on this division so as to make Safavid Shiism understandable in a correct manner and correct interpretation. He stated that Shiism is a revolutionary belief, which can potentially inflict far better future for the Muslims following Shiism. Shariati's ideas became very popular in the ordinary men in Iran and they were expanded very soon all over the county. For this reason, many scholars are of the view that Ali Shariati holds an important place in the history of Iran and Iran revolution in 1978-79 (Lawson, 2001).

Following is a research paper that is focused on the identity and symbolising in the early Iran with their historical, social and cultural background. The paper also highlights the cultural appropriation, technology in art and architecture and scenography.

Design context: Exhibitions in Iran

Generally people in Iran do not prefer ...