Shafqna English– The advent of Islam in Iran coincided with the Sasanian rule and brought about significant changes in various aspects of human life at that time.
According to Shafaqna, Iranian art was among the most important aspects that were most influenced by Islamic culture. However, the change in Iranian art after the arrival of Islam was not sudden; rather, it was a gradual process. Some factors, such as the revival of the Persian language and the composition of Ferdowsi’s Shahnameh, even slowed down this process. What is evident is that after the emergence of Islam in Iran, art was placed in the service of religion, and remarkable advancements occurred in most arts, including architecture, music, and literature.
Architecture before and after Islam in Iran
Pre-Islamic architecture is a type of grand architecture. This grandeur can be for a temple like Chogha Zanbil, which resembles the grandeur of the Egyptian pyramids, or for a palace like Persepolis. What is common in these two examples is the avoidance of the ordinary lives of the people. Now, the origin of this avoidance might be the mythological view of the Elamites and the superstitious belief that the more they invest in the temple, the more they will be answered, or that its origin is completely opposite to the mythological view, and a terrestrial and human perspective to meet the benefit of the country’s highest authority, i.e., the king.
The Islamic view and the divine worldview of Muslims have led them to seek God neither in the heavens nor in their human lords. In Islamic architecture, mosques replace temples like Chogha Zanbil, and houses, water reservoirs, baths, and schools replace royal palaces. Muslims believe that God does not need massive structures to answer the prayers of His servants and does not determine the extent to which their needs are met by the proximity of their temple to the sky.
After the advent of Islam in Iran and the acquaintance of Iranians with the Islamic worldview, it caused a change and transformation in the thoughts and beliefs of the authentic and cultured Iranians. The Islamic worldview influenced Iranian architecture and led to the formation of various structures, including mosques, houses, Tekyeh (religious gathering places), caravanserais, and other buildings, according to Islamic theories. The different parts of these mentioned spaces, such as the dome, minaret, entrance, vestibule (Hashti), and other buildings, were created according to Islamic principles and foundations, leading to the formation of an architectural style that is known today as Iranian Islamic architecture. This architectural style, like all existing styles in architecture, has been influenced by its local and historical characteristics.
The limited and reasonable grandeur of Islamic mosques is mainly observable in the prayer hall (shabestan), the dome, and the minarets. The reason for this is the spiritual and soulful connection of the worshipper with the celestial realm. He is guided upwards, not because God is in the heavens, nor with forms like a winged bull or a creature with a human head and other mythological symbols, but with Arabesque and Khatai designs, which have earthly and natural foundations, and with inscriptions in Naskh and Thuluth scripts, turquoise colors, and mirror work. Instead of emphasizing human greatness as a ruler or a myth, these elements call for self-abasement and inherent humility in the face of the unique, eternal, and everlasting Creator. The Islamic artist, like the pre-Islamic artist, utilizes a form of abstraction, but his abstraction, instead of referring to mythology, focuses on meaning.
The evolution of music in Iran
Music is a means of expressing human emotions and inner states, and for this reason, music is considered one of the most beautiful and delicate arts. This art is a manifestation of national cultures that has undergone many transformations from ancient times to the present day (Islamic era). During the Sasanian era, music was known by various names, including Naghmeh, Alhan, Ahang, and Khonyagari. Music in the pre-Islamic era, particularly in the Elamite period, reached its peak. At that time, it was not employed as a separate art form but was integrated with other social customs, often performed during celebrations and military operations. The Tanbur, Tar, flute, and Setar were considered the most important instruments of that time, often played together.
In the Median era, music also held an important position, so much so that when Deioces, the first Median ruler, ascended the throne, the sound of drums and trumpets arose from every corner of the country. Evidence suggests that among the pre-Islamic dynasties in Iran, the Sasanians paid more attention to music than other dynasties, even appointing a minister for it. Musical instruments of this period, based on the Shahnameh, historical research, and motifs on stones and vessels, included the common Oud, Indian Oud, Chang, Barbat, Tanbur, large copper Tanbur, Nay, Qarnei, Tas, Dumbak, Zil, Aeolian Chang, and Chambar or Chenbar.
With the arrival of Islam in Iran and the influence of Islamic teachings, Iranian music also underwent changes. During this era, while retaining its specific characteristics, music was influenced by Islamic culture, and concepts such as mysticism and Sufism were added to Iranian music. After the advent of Islam, Iranian music was influenced by Arabic music. These influences were particularly evident in the structure of melodies, the use of Arabic poetry, and the introduction of mystical concepts. Arabs, during the Abbasid era, were intensely interested in music, and during this period, Iranian musicians were active in the Abbasid courts, playing a significant role in the development of Islamic music. Poets and mystics such as Rumi and Attar of Nishapur used music as a tool to express divine love and the concept of unity.
The influence of Islamic culture on literature
The transformations in Iranian literature after the advent of Islam coincided with the birth of the New Persian language and the emergence of Iran’s first epic Persian poem, Ferdowsi’s Shahnameh. The translation of Arabic works and the establishment of schools like Nizamiyyah created the necessary groundwork for the initiation of new Islamic discourses, attracting writers and literary leaders of the country into the Islamic sphere.
The interest of poets and writers such as Tahir and Abdullah in Islamic discourses led them to establish libraries where Islamic religious books (in Arabic) were kept. These individuals strived to increase the focus on the Persian language in the creation of new literary works, which resulted in the revival of the Persian language in the literature of the Samanid era.
The establishment of Jundishapur University (or Shahid Chamran University today) is considered one of the most significant developments after the arrival of Islam in Iran. At this university, new sciences and literature were taught, free from pre-Islamic superstitions, which led to the flourishing of renowned Islamic poets such as Nizami, Khayyam, Anvari, and Asadi Tusi.