The Propaganda and Political Symbolism of Shahram Goodarzi: An In-Depth Analysis of Art, National Identity

Introduction

In the complex landscape of contemporary Iranian society, art has historically served as a powerful vehicle for expression—sometimes revolutionary, sometimes propagandistic, and often a mixture of both. The recent activities of Shahram Goodarzi, an Iranian sculptor who has garnered significant attention through his symbolic gestures, exemplify this intricate relationship between art, national identity, and political messaging.

Goodarzi’s creation of a monumental statue of Cyrus the Great, coupled with his symbolic pilgrimage from Kelardasht to Pasargad, has sparked a nationwide debate. Supporters see him as a patriotic hero, reviving Iran’s glorious past; critics view his actions as mere spectacle or even state-influenced propaganda. This duality underscores a central theme: in Iran, art and symbolism are not merely aesthetic pursuits but are deeply intertwined with political narratives, social control, and collective memory.

This article aims to analyze the propaganda embedded within Shahram Goodarzi’s activities, exploring how his artistic expressions serve broader political purposes, influence public sentiment, and reflect the socio-political climate. By examining his symbolism, societal reactions, and the historical context of Iranian art and nationalism, we can better understand the strategic deployment of art as a political tool.