In 1855, a milestone was reached in Iranian education history with the establishment of the “Ministry of Science.” Nasereddin Shah appointed Ali Gholi Mirza I’tizad al-Saltaneh as the first-ever Minister of Science in the country. This was a remarkable development, and it set the stage for advancements in higher education. By the 1890s, the Darolfonoon (translates to The House of Techniques) made its mark as a leading modern institution for higher learning.
A significant leap was made in the first Pahlavi period in 1928 when Mahmoud Hessaby, a renowned Iranian physicist, envisaged the establishment of Iran’s inaugural university. This vision came to fruition in 1934 with the founding of the University of Tehran. The University, designed by the French architect Andre Godard (who also held the esteemed position as the first director of the School of Fine Arts), holds the distinction of having the largest student populace in Iran.
As the first Pahlavi period concluded in 1941, the University of Tehran held the unique distinction of being the sole modern university within the country. This spurred the Ministry of Science to embark on an ambitious project to establish additional universities in various cities, including Isfahan, Tabriz, Ahvaz, and Shiraz.
Mohammad Reza Shah Pahlavi, inspired by the American educational system, spearheaded initiatives to create Iranian universities reflecting the structure and essence of their American counterparts. For instance, Pahlavi University (renamed to Shiraz University), Sharif University of Technology, and Isfahan University of Technology were modeled following the University of Illinois at Chicago, Massachusetts Institute of Technology (MIT), and the University of Pennsylvania respectively. The Shah’s admiration for the American education system was further exemplified by his substantial financial contributions to several American universities.
In 1967, Iran took another critical step in higher education with the establishment of the Ministry of Higher Education, which is presently known as the Ministry of Science, Research, and Technology. This new entity was entrusted with the responsibility of overseeing all higher education institutions throughout Iran, playing a pivotal role in shaping the education landscape of the nation.
The Iranian Revolution in 1979 marked the end of extensive academic relations between the US and Iran. A significant reform in Iran’s academia and higher education system, termed “Iran’s Cultural Revolution,” was initiated by the Islamic Republic in 1980. This overhaul led to the closure of all universities in Iran from 1980 to 1983, and upon reopening, an Islamic curriculum was introduced.
Following the Iran-Iraq War (1980-1988), new universities were established and doctoral programs were introduced in existing universities. The student population grew exponentially, which sparked debates on the relevance of the national entrance exam.
Today Iran has a large network of private, public, and state-affiliated universities offering higher education degrees. State-run universities are under the supervision of Iran’s Ministry of Science, Research and Technology (for non-medical universities) and Ministry of Health and Medical Education (for medical schools).
Presently, Iran is home to over 190 government-initiated public universities. Additionally, the Islamic Azad University, a private university system with main headquarters based in Tehran, has established a presence not only in Iran with two independent and more than 30 state university branches across over 300 campuses but also internationally with a few overseas branches. Although considered private, Islamic Azad University is monitored by the government and the university came to fruition through an endowment by Iran’s supreme leader.
The development of education in art and architectural history in Iran is multifaceted, tracing back to the 19th century. It began around 1861 with the establishment of the first publicly-run private art teaching institutes in Tehran. Although the aforementioned Darolfonoon School incorporated the teachings of some technical crafts and construction or architecture-related topics, the Madreseh sanaye’-e mostaẓrafa (School of Crafts), founded in 1911, marked the initiation of formal higher learning in the arts.
Since these initial efforts a plethora of institutions offering higher education in art, architecture, media, visual culture, archaeology, design, preservation, and museum studies have thrived.
The evolution of art history education in Iran can be segmented into two broad primary eras: from 1911 to 1980, and from 1983 to 2022. The segmentation is attributed largely to the Islamic Cultural Revolution of 1980-83 which substantially altered the educational landscape in Iran, affecting arts, humanities, and social sciences.
Political and ideological changes have been instrumental in shaping art history education. Censorship and ideological inclinations have influenced not only educational content but also the creation and reception of art. Post the 1979 Islamic Revolution, the government often mandated art themes and genres to comply with Islamic principles. The subsequent Islamic Cultural Revolution led to temporary university closures and a substantial purge of Western influences, resembling Mao Zedong’s Chinese Cultural Revolution. During this time, many artists and intellectuals migrated or found clandestine ways to continue their work.
Educational syllabi for art history also underwent transformation. Until the late 1980s, education focused predominantly on “Islamic” art and architectural history, citing mainly pro-revolutionary Iranian scholars. From the late 1990s, syllabi became more open, incorporating works by both Iranian and international scholars.
The 2000s saw the emergence of private organizations, which were often affiliated with privately-owned art galleries, such as Arya, Mah-e Mehr, Vista, and Honar-e Farda Institute. They have been distinguished by the practical orientation of their courses, a focus on modern and contemporary art topics typically overlooked in official classrooms (e.g., Feminism, art and activism, etc.), and encouragement of a free exchange of ideas through connections with global networks.
Academic theses and dissertations in Iran reveal an array of subjects and methodological approaches. While descriptive approaches have been favored, there has been a recent inclination towards more analytical writing that respects and integrates usage of primary sources and serious archival work.
Al-Zahra University offers a well-structured Graduate Program in the Study of Art History (known as Pajoohesh-e Honar or Research in Art), highlighting the importance of theoretical discourses. The Faculty of Architecture at Shahid Beheshti University encourages and promotes careful archival investigation and interdisciplinary studies in architectural history and urban planning.
Today the realm of art history literature is enriched by a burgeoning collection of books penned by local historians. Additionally, there is a remarkable surge in translations of seminal art history texts, predominantly from English, into Persian. It is important to note that, while the majority of these translations tend to possess an educational orientation akin to textbooks, they somewhat lack the distinctive, analytical depth characteristic of the art history research publications crafted by scholars in North America. Nevertheless, these freshly translated texts have played an instrumental role in propelling the study of art history beyond the traditional academic settings, making it more accessible and influential in diverse contexts. There are also many professional journals in the field of art history, architectural theory/history as well as histories of archeology, crafts, fashion, interior design, and the built environment. University-based publications tend to be more conservative, whereas semi-independent publications and independent journals are more flexible. Individual editors have contributed to major transformations in disseminating art and architectural history and theory. For instance, the late Soheila Beski significantly contributed to more open approaches to the field of architectural history, diversifying the discussion in a field traditionally dominated by men.
Additionally, art history documentaries have played a pivotal role in shedding light on Iran’s rich artistic heritage. Starting in the late 1960s, these documentaries have evolved and are now accessible through online platforms like YouTube. From the 1967 documentary “Iranian Contemporary Art”, which featured artists like Bahman Mohasses, to modern documentaries such as “Ways of Seeing Iranian Art” (Shivehay-e Didan) with Aydin Aghdashloo, they have facilitated a deeper understanding of Iranian art. Following the Islamic Revolution, documentaries like “Beh sooy-e Simorgh” aired in 1984, serving as significant historical references. In the digital age, platforms like the YouTube channel “Arte” have further expanded access to art history. These art history documentaries in Iran have significantly shaped the public’s perception and understanding of art. Like Kenneth Clark’s “Civilization” or John Berger’s “Ways of Seeing,” these platforms have acted as conduits, bridging audiences to Iran’s rich art history. A comparative analysis of pre- and post-revolutionary documentaries reveals their pivotal role in fostering a more robust and nuanced understanding of the arts in Iran, and their contribution in keeping art history alive across generations, despite censorship and other restrictions in higher education.
Select Sources:
Ardalan, Nader. “Architecture viii. Pahlavi, After World War II.” In Encyclopædia Iranica, vol. II, 351-355. 1986.
Ekhtiar, Maryam. “From Workshop, to Bazaar, to Academy: Art Training and Production in Qajar Iran.” In Royal Persian Painting: The Qajar Epoch 1785-1825, edited by Layla Diba, 50-65. New York: I.B. Tauris, 1998.
Hashemi, Seyyedeh Mitra. Moghaddameh-yi bar Tarikh-e shafahi-ye memari-e Iran [An Introduction to Iran’s History of Architecture]. Tehran: Nashr-e Rozaneh, 2014.
Imani, Nadiyeh, and Hamed Beyti. “Motaleeh tatbighi barnameh memari eslami dar daneshkadehay-e memari [A Comparative Analysis of ‘Islamic Architecture’ courses across the National Curriculum].” Higher Education Letter 11, no. 42 (2018): 81-108.
Karimi-Hakkak, Ahmad. “Censorship.” Encyclopedia Iranica 5, no. 2 (December 15, 1990): 135-142.
Moridi, Mohammad Reza. Honar-e ejtema’yi: Maghalati dar jame’eh shenasi- e honar mo’aser- e Iran [Social art: Essays on the sociology of contemporary art in Iran]. Tehran: Aban Press in conjunction with Art University, 2018.
Pakbaz, Ruin., & Mourizi Nejad, H. Talar-e Ghandriz: Tajrobehyi dar arseh ejtema’yi honar [Ghandriz Hall: An experiment on the impact of art on society]. Tehran: Herfeh Honarmand, 2018.
Roudbari, S. “Renegade Cosmopolitans: Iranian Architects, Professional Power, and the State,” Iranian Studies, 2018. Vol. 51, No. 6, 905–930.
— UPenn Archives, “A Brief History of Global Engagement at the University of Pennsylvania”. Available at. https://web.archive.org/web/20110519015838/http://www.archives.upenn.edu/histy/features/intrntnl/country/mideast.html
Text by Dr. Pamela Karimi