Iran, Russia advised to learn from past to create better future
By Sadeq Dehqan
Staff writer
Iranian and Russian scholars and experts emphasized the need for their countries to learn from their shared history and cultural heritage in order to create a better future, during a joint meeting titled ‘Iranian and Russian Cultural Dialogue’ being held in Tehran.
Mohammad Reza Vahidzadeh, head of the Resistance Literature Faculty at Soore University and secretary of the joint meeting, told Iran Daily reporter “This meeting is part of a knowledge-enhancement program called ‘Journey to Iranian Civilization and Art’ hosted by the Research Institute for Islamic Culture and Thought.”
A total of 11 researchers and academics from various Russian universities were invited to participate in this 8-day program, which includes 3 days in Isfahan and 5 days in Tehran.
Vahidzadeh explained that the participants were selected from 40 applicants based on their scientific and experiential background. “We have been hosting these individuals for 8 days, and during this period, we will hold courses on Iranian philosophy, history, art, literature, and architecture for the Russian participants.”
‘Iranian and Russian Cultural Dialogue’ included a joint meeting between Soore University professors and students and the Russian guests discussed potential collaborations and exchanges.
Vahidzadeh added that the joint session featured speeches on topics such as “Russia’s Interaction with Modernity in the 19th and 20th Centuries,” “The Impact of Cinema on Public Awareness,” “Carpet in Contemporary Islamic Art,” and “Codicology and Historical Documentation in Persian Sources.”
Semenyuk Alexander Grigoryevich, a professor at the Moscow Film School and a Russian producer, critic, and programmer, spoke about the influence of cinema on public awareness: “Cinema is not just a form of entertainment; it has the power to shape public opinion, making it a more influential art form than others.”
Grigoryevich highlighted the cultural similarities between Iran and Russia, emphasizing the need for both nations to rely on their own cultures and resist Western cultural influence. “Unfortunately, authentic Iranian and Russian cultural elements are disappearing from our films, and it’s essential for our filmmakers to return to their roots. Collaboration between Iranian and Russian filmmakers is crucial in this regard.”
Shahriar Zarshenas, a professor at Soore University, discussed modernity in Iran and Russia, “Both countries share similarities in their approach to modernity. In Russia, the 19th century was a critical period, with two opposing currents: Western modernism and a return to authentic Russian culture. Peter the Great was a key figure in introducing modernism to Russia, while Fyodor Dostoevsky represented the opposing current.”
Zarshenas continued, “In the second half of the 19th century, the Western-oriented modernist movement gained power in Russia, leading to the Bolshevik Revolution. Similarly, in Iran, we experienced a pseudo-modernism that ultimately led to the Islamic Revolution. After the Soviet collapse, Russia began to return to its authentic culture, and we must learn from our past and work together to create a better future for our countries.”
Olga Mikhailovna Yastrebova, a manuscript expert and researcher at the National Library of Russia in St. Petersburg, spoke about codicology, “Manuscript studies reveal a country’s culture, historical heritage, and national characteristics.”
Yastrebova explained that, until the 15th century, all European books were handwritten, but with the invention of the printing press, printed books became widespread. “In Europe, the transition from handwritten to printed books happened relatively quickly, but in Islamic countries, including Iran, the adoption of printed books was slower due to the prevalence of calligraphy and the respect for handwritten manuscripts.”
Yastrebova added that, as a result, many Islamic art and cultural works were presented in handwritten form until the early 20th century. “For example, the ‘Shahnameh’ of Ferdowsi was first published in India using lithography, and the text was based on 17 handwritten manuscripts. This printed version was discovered by Italian scholars in 1987.”
Yastrebova also noted that the scope of Persian manuscript publication extends beyond Iran’s current borders, with many Persian manuscripts written in Central Asia, modern-day Turkey, India, Kashmir, Afghanistan, Azerbaijan, and Iraq.
Polia Liubimova, another Russian cultural researcher, discussed the topic of carpet in contemporary Islamic art, “Carpet is an element that connects different cultures, as it contains elements of each nation’s culture and art. In Islamic countries, carpets feature Islamic and folkloric elements.”
Liubimova noted that the history of carpet is closely tied to Iran, and from the mid-20th century, carpets began to be recognized as artistic and museum-worthy, rather than just functional items.