Iran: The Challenges of History with an Attitude

A general view of Tehran in this February 22, 2010 Reuters file photo
A general view of Tehran in this February 22, 2010 Reuters file photo
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Iran: The Challenges of History with an Attitude

A general view of Tehran in this February 22, 2010 Reuters file photo
A general view of Tehran in this February 22, 2010 Reuters file photo

IRAN A MODERN HISTORY
By Abbas Amanat

Throughout the history of writing history, that is to say since Herodotus put pen to paper, Iran has always attracted and at the same time repelled those who for a variety of reasons took an interest in its complex character as a major actor in world events over millennia. Often, the interaction of that fascination and rejection made it difficult if not impossible to construct an objective narrative of the Iranian story. As a result, Iran was, and, as the author of this hefty oeuvre professor Abbas Amanat admits remains subject to a method of scrutiny that he labels “history with an attitude.” In practice, this means that those who write about Iran also write about themselves at least in the sense of how their generation or contemporary scholarship views historic events.

Let’s say it at the outset that thanks to the easy flow of its prose, Amanat’s book, focusing on Iran’s history from the establishment of the Safavid Dynasty in 1501 to the present day, is a delight to read especially for the general reader. The use of the term “modern”, however, injects some ambiguity as Amanat himself admits. Did Iran enter the modern world with the Safavids? More importantly, perhaps, are we sure Iran has entered the modern world which means different things to different people. A fruit of the Enlightenment, the concept of modernity is based on the linear vision of human history as a progressive continuum from a low point to higher and higher ones.

Amanat does not involve himself in the complexities of the question of modernity.

However, he implies that the modern world started with the emergence of the so-called “Gunpowder Empires”, new actors in history using the WMD of the day to expand through warfare. Since Iran under the Safavids became an early victim of “Gunpowder Empire” in the shape of the Ottomans under Sultan Salim, one could argue that it entered the modern times, especially since the Safavids ended up acquiring and deploying modern artillery.

Later, under the Qajars, who succeeded the Safavids after the long and bloody parenthesis of two more dynasties, continued Iran’s incursion into modernity with a number of physical and institutional reforms. Under the Pahlavis, who succeeded the Qajars, the pace of modernization accelerated with emphasis on turning Iran into a Western-style nation-state and, perhaps, a model for the entire Persianate cultural sphere.

Amanat’s narrative follows the predominant view of Western, and to some extent even Soviet, scholars of Iranian history in the past five centuries. Thus his book has the added interest of telling the reader how modern scholarship, dominated by Western academics and researchers, sees Iran. The advantage of that method is its genius for rationalization and simplification.

For example, we are told that the Safavid Dynasty, founded the young warrior Ismail, introduced Shiism to Iran and imposed it as a religion of the state by the sword. This means ignoring the fact that Shiism, in its many different versions, had always had a presence in Iran half a millennium before the Safavids.

One might also wonder how Shiite the Safavids actually were?

They produced no theological text on the subject and were obliged to import their clerics from the Shiite parts of Lebanon. The native Iranian Shiite clergy, especially in cities such as Shiraz and Isfahan, did not share Shah Ismail’s peculiar vision.

In any case, one might ask whether or not Shiism was nothing but an ideological prop for Ismail? Shah Ismail liked to call himself Kay-Khosrow, after the Iranian pre-Islamic mythological king who remains the perfect model of kingship in the Persianate sphere even today. The founder of the Safavids did not name his sons after any of the Shiite “saints” Ali, Hassan and Hussein. His son and successor was named Tahmasp, after another pre-Islamic mythological prince and warrior. Ismail’s favorite son’s name was Alqas which means “revenge.” Three of the 12 Safavid kings were named Abbas, after the Prophet’s uncle and the ancestor of Abbasid who became mortal enemies of Ali and his descendants. Only the very last of the Safavids on the throne in Isfahan was called Sultan Hussein.

Shah Ismail was proud of his Christian mother Martha, a Byzantine beauty, who refused to convert to Islam let alone Shiism.

Amanat repeats some of the old chestnuts in circulation about the Safavids, notably the claim that the Qizilbash (Red Cap), Ismail’s elite troops, boiled the corpses of Ottoman soldiers and devoured them while getting drunk.

The standard Western scholars’ view of the Safavids, masterfully expressed by Amanat, ignores Iran’s schizophrenia, a nation that does not feel comfortable with Islam but is, at the same time, reluctant, to abandon it. The fact that Islam, in its different versions, has been used in dynastic wars, and is today used by the Khomeinist movement, in the political arena, cannot hide the fact that religion has and still is used as an instrument of political power rather than the other way round.

The Safavids’ praetorian guards, the Qizil Bash, spoke Turkish while the king’s mullahs, imported from Lebanon, spoke Arabic. Thus the two pillars of the new state couldn’t directly communicate with the kings subjects.

The Western academia’s shortcut of “Iran became Shiite under Safavids” does not tell the whole story.

Amanat’s account of the Iranian story under the Qajars also suffers from received ideas that are hard to dispel.

The image of Qajars as a corrupt, retrograde and ultimately incompetent dynasty makes it difficult to study the impact of historic events, notably the rise of European imperialist powers, beyond their control. However, Amanat’s account has at least one welcome feature as it depicts the ups and downs of religious and political dissent in the Qajar era. Of special interest is Amanat’s account of the rise of the Babi movement and the formation of the Bahai faith and the repression meted out by the Qajars, an issue traditionally avoided by Western historians of Iran.

When we come to the Pahlavi era, Amanat tries, at times heroically, to veer away from the received ideas that have become shibboleths for many Western scholars writing about Iran. Conscious of the danger that he might be ostracized by the academic establishment that regards the Pahlavis with disdain, he raises his head from the parapet occasionally to assert that the two Pahlavis shahs did some good for Iran.

He writes: “In the Pahlavi era the Iranian population had improved in every generation [physically, hygienically, and medically, from the frail, malnourished and diseased population at the turn of the century- visible in many photographs of the period- to a relatively healthy, sanitary, and better nourished people.” Wow!

Amanat also debunks, albeit gingerly, the claim by anti-Shah Marxist and Islamist guerrillas that his regime killed “tens of thousands” of their followers. He states that the total number of Fedayeen of People executed or killed in armed action against security forces was 198 while the People’s Combatants lost 15. The killing of “tens of thousands” was to come much later, under Ayatollah Ruhollah Khomeini.

Equally gingerly, Amanat sets aside the standard claim in Western academia that whatever the Shah did was in accordance with the wishes of the Western powers. He writes: “By mid-1960s neither the United States nor Britain could hold sway over his conduct.”

In his guerrilla style attempt at escaping from received ideas concerning Iran’s recent history, Amanat hits a big hurdle in the shape of the August 1953 events that led to the end of Muhammad Mussadeq’s two-year tenure as Prime Minister. The standard narrative in Western academia is that Mussadeq’s dismissal by the Shah was a coup d’etat plotted by the CIA and carried out by the Shah and his supporters in the military. Anyone who deviates from that narrative is branded a revisionist, almost as bad as Holocaust deniers, and ostracized in scholarly circles.

So, what should Amanat do?

Well, he describes the whole thing as “the working draft of a Grahame Greene novel”, a tongue-in-cheek way of questioning the received idea without incurring the wrath of tis peddlers in the academic spheres.
Amanat then has recourse to numerous qualifiers to indicate that he doesn’t quite share the standard narrative of the Mussadeq saga.

For example he writes: That the Shah, having dismissed Mussadeq “was, perhaps, preparing for abdication and permanent exile, perhaps in the United States where he might have bought a ranch.”

Amanat also dares to criticize Mussadeq. He writes: “His disturbing autocratic conduct may be seen as a conundrum between conservativism, liberalism and radial populism.” Perhaps! In any case, Mussadeq, seen by Amanat, wasn’t the liberal democrat overthrown by earth-devouring American Imperialism.

Yet, to ensure himself against attacks by the received-ideas wolf-pack, Amanat repeats the standard narrative at top speed, a regrettable diversion in an otherwise fair account of the events. During his 37 years as sovereign, the Shah appointed and dismissed 23 prime ministers, including Mussadeq twice.

Should we regard every one of those dismissals as a coup d’état? And why didn’t Mussadeq himself ever claim that he had been victim of a coup d’état? The reason was that Mussadeq, French-educated as he was, knew that the French term meant the violent change of a nation’s regime, head of state and constitution, none of which had happened in Iran.

Mussadeq’s dismissal may have been politically bad and morally wrong. But whatever it was, it wasn’t a coup d’état. Nor did the CIA would have been able to exert such a major influence on Iranian politics.

Amanat is refreshingly balanced in his account of the Khomeinist revolution and the record of the Islamic Republic in the past three decades. In a cool tone he relates the mass executions, the seizure of hostages and the fomenting of terror and oppression that have become key features of the Khomeinist system. At the same time, however, he notes that the Khomeinist regime has provided Iran with a measure of stability rare in today’s turbulent Middle East. To be sure, critics might claim that the stability which Amanat talks about may be stagnation or the calm of a graveyard.

One big mistake Amanat makes is his assertion that the Khomeinist revolution has brought the “Shiite clerical establishment to power.” This is certainly not the case. Khomeini was never one of the “top four ayatollahs of the time”, as Amanat asserts. Until he seized power, Khomeini was in the third-tier of the top Shiite hierarchy. To distinguish himself from the traditional hierarchy, he invented the title of Imam for himself to. In 1978, the Shiite clergy numbered around 250,000 of whom a small number took part in the revolution. Even today, none of the mullahs in senior positions in the regime can be counted among the top echelon of the clerical hierarchy.

Amanat's history with an attitude is a welcome contribution, although in some cases, attitude adjustment might improve things.



As Iran Diplomacy Picks Up, Rubio Tours Taj Mahal

United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters
United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters
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As Iran Diplomacy Picks Up, Rubio Tours Taj Mahal

United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters
United States Secretary of State Marco Rubio poses with his wife, Jeanette Rubio, during their visit to the Taj Mahal in Agra, India, Monday, May 25, 2026. Pool via Reuters

As diplomacy intensifies on ending the Iran war, top US diplomat Marco Rubio was spending Monday not in negotiations but at India's world-famous monument to love, the Taj Mahal.

Rubio, on his first-ever visit to India, flew to Agra and spent 45 minutes at the Taj Mahal with his wife Jeanette, who usually shuns the spotlight.

"It's one of the wonders of the world," Rubio said of the Taj Mahal.

"I think it's important to show respect to the culture of the countries that you visit."

Under a blazing sun in 40C heat, Rubio removed the tie from his navy-blue suit, put his arm around Jeanette, who wore a flowing dress with elegant heels.

The couple posed for pictures on the bench from where Princess Diana was photographed alone in an iconic 1992 shot.

The US ambassador to India, Sergio Gor, a high-octane former aide to President Donald Trump, smiled and eagerly joined some of the couple's pictures.

The normally teeming street leading to the Taj Mahal were cleared for Rubio, with other tourists kept 100 meters away from him -- although it was only a partial shutdown unlike when Vice President JD Vance visited.

Rubio was not entirely away from Iranian influence at the Taj Mahal, whose domes and four-way charbagh gardens are heavily influenced by Persian architecture.

The Taj Mahal was built in the 17th century on orders of Mughal emperor Shah Jahan as a mausoleum for his beloved wife Mumtaz Mahal who died in childbirth.

The excursion is unusual for Rubio, who in nearly a year and a half on the job has preferred short, business-like trips and rarely done events outside of government meetings.

Rubio said he was taking advantage of a one-day break in his schedule before a meeting in New Delhi on Tuesday of the Quad -- Australia, India, Japan and the United States.

He will also visit the palace-filled city of Jaipur on Monday to tour the Amber Fort.

Rubio is visiting four cities over four days in India as he seeks to revive ties with a country successive US administrations saw as a like-minded partner in a world dominated by China's rise.

Trump has shaken up that approach since returning to office, temporarily imposing high tariffs, warming to both China and India's historic adversary Pakistan, curbing visas used by Indian professionals and reposting insulting language about Indian immigrants.

Trump, in remarks Sunday by speakerphone to a celebration in New Delhi for the 250th anniversary of US independence, insisted he was on board with the relationship, telling the crowd, "we've never been closer to India, and India can count on me 100 percent".


French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
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French Artist Begins Giant ‘Cave’ Art Inflation Over Paris’ Oldest Bridge

People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)
People walk along the Seine river next to "The Pont Neuf Cave," an inflated art installation by French street artist JR, on Paris' oldest bridge, the Pont Neuf, Thursday, May 21, 2026, which will be open to the public from June 6-28. (AP Photo/Michel Euler)

The oldest bridge in Paris has begun to vanish this week, as the artist JR — who is known as the “French Banksy” — began inflating a giant “cave” over the Pont Neuf.

The monumental, rocky illusion is swallowing the 17th-century landmark, which has carried Parisians across the Seine for more than 400 years. By Thursday, it looked as if a prehistoric cliff had risen in the heart of the city.

The inflation process, which was carried out overnight — after being delayed by bad weather — is the most dramatic stage yet of a project more than a year in the making.

One of the most ambitious public artworks Paris has seen in decades, which has been funded by the sale of JR’s work and a handful of corporate partners, does not open to the public until June 6.

“We’re about to leave something pretty incredible in the middle of Paris,” JR told The Associated Press earlier this year at his studio in the city’s east, wearing his trademark hat and shades.

The transformation of the bridge has been documented by the AP since March with time-lapse cameras, including one fixed on a rooftop terrace high above the river, watching the bridge slowly disappear day by day.

From the outside, the installation looks like a rocky mass that “literally” breaks the landscape, said JR, who is famous for pasting enormous photographs on buildings, walls and rooftops around the world. This time he wanted Parisians to do something unusual on their busiest bridge: stop.

Visitors will be able to walk for free through a long, dark tunnel that lets in no daylight and where, according to JR, people “will lose track of time.”

The numbers are startling. The structure is 120 meters (393 feet) long and 18 meters (59 feet) tall — which is as high as a six-story building.

Yet it is built almost entirely from air — 80 fabric arches filled with 20,000 cubic meters of it — and weighs only about five tons. The fabric was hand stitched by 25 artisans in a village in Brittany.

Nothing digs into the historic stone.

Cut the air and the cliff would sink like a held breath — a collapse JR’s engineers spent weeks rehearsing in a hangar at Orly airport to be sure that if the power ever failed, the rock would come down gently.

The artwork, called La Caverne du Pont Neuf, is a tribute to a Parisian artistic legend.

In 1985, artist Christo and his wife, Jeanne-Claude, wrapped the same bridge in pale golden fabric — 13 kilometers of rope, a decade of arguing with city hall, three million visitors in two weeks. The act helped invent the idea of monumental art in modern cities.

A square beside the bridge now carries their names.

“It’s pretty hard to go after them,” JR said.

His idea, he said, is to bring “mineral and nature” back to the heart of the city. He is not covering the bridge but undressing it — sending the dressed stone back to the limestone quarries from which Paris itself was cut.

The cave is also a warning. JR built it as a nod to Plato’s allegory, in which prisoners mistake shadows on a wall for the real world.

“What are our caves today? Our phones,” he said. “Because we believe that our algorithm on social media is the reality.”

Then he walks straight into the contradiction: to enter his cave about screens, visitors raise their phones.

The tech company Snap has built an augmented-reality layer that shows what the eye cannot.
The sound is a low, mineral hum from Thomas Bangalter, formerly of Daft Punk — who was 10 the year Christo wrapped the bridge.

The cave will be open around the clock from June 6-28, closing the bridge to traffic and visible from the quays, from passing boats, even from the top of the Eiffel Tower.

It will coincide with Paris Fashion Week, World Music Day and the all-night Nuit Blanche arts festival.

When it comes down, the fabric will be reused or recycled. Air, JR likes to say, leaves no scar.
Then, like the golden wrapping 40 years before, the cave will be gone — and the Pont Neuf, older than the republic and older than the revolution, will reappear exactly as it was.


Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
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Winston Churchill's 'Playful' Paintings Go on Show in London

The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP
The 'Winston Churchill: The Painter' exhibition opens on Saturday at the Wallace Collection in London. Justin TALLIS / AFP

As Britain's wartime leader, Winston Churchill was known for his stirring speeches, but a new London exhibition explores another side to his creativity -- as a passionate and prolific artist.

The exhibition opening Saturday at the Wallace Collection will be the most significant display of the statesman's paintings for more than 60 years, including over 50 canvases, many of them rarely seen in public.

Churchill first tried painting during World War I after he resigned from the government over the 1915 failed Dardanelles naval attack.

This was a "very difficult time in his life" when "he suddenly finds himself with all this unwanted leisure time", Lucy Davis, co-curator of the exhibition, told AFP.

"And he discovered painting as a way of releasing the stress, the anguish that the situation had caused him."

The museum presents a chronological survey starting with his first paintings, created with advice from renowned artist John Lavery, then canvases painted in the 1920s at Chartwell, the country house where Churchill lived with his family.

Largely self-taught while associating with well-known painters, Churchill quickly became interested in landscape painting and drew inspiration from holidays in the south of France to create brightly colored canvases dominated by blues and ochre.

- 'Loved the light' -

Churchill "saw painting as a spur to travel" and "just loved the light and warmth and atmosphere, which he captures so beautifully", said Davis.

A whole room is dedicated to canvases inspired by trips to Morocco, including "The Tower of the Koutoubia Mosque", the only painting that Churchill did during World War II. A gift to US President Franklin D. Roosevelt, the painting recently belonged to Hollywood star Angelina Jolie.

The exhibition ends with the postwar period when Churchill, defeated in a general election, began painting again and continued until his death in 1965, with some of his works going on display at the Royal Academy.

Churchill had previously shown paintings at various galleries, but always under an assumed name.

As a statesman, Churchill went down in history for his wartime leadership, but as an artist, he had little interest in depicting current world events, the curator stressed.

"He was a wartime leader. He was known for these very stirring wartime speeches. But in these paintings, you really see his joie de vivre, his witty side, his playful side."

One painting at the exhibition is an exception: "The Beach At Walmer", painted in 1938 as fears grew of imminent war.

It shows a sandy beach in southern England with bathers paddling. But in the foreground, a black cannon points at the sea, suggesting a looming threat.