Shayegan: Trials and Tribulations of an Iranian Philosopher

Shayegan: Trials and Tribulations of an Iranian Philosopher
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Shayegan: Trials and Tribulations of an Iranian Philosopher

Shayegan: Trials and Tribulations of an Iranian Philosopher

“We had one life, after all,” said the Daryush Shayegan as he sipped his double espresso as if it were the nectar of gods. “The question is: what did we do with it?”

The scene was a just over a year ago in a café in Paris’ posh Avenue Alma Marceau where we had gathered for lunch with a mutual friend, Professor Shahin Fatemi. At the time none of us knew that Daryush was on his last visit to the French capital which he had always regarded as a second home and that, a year later, he would pass away in his first home, his beloved Tehran.

Last Monday, a small group of mourners attended the burial ceremony in Tehran of the 83-year old Daryush under the watchful eyes of “Islamic Security” deployed to make sure there will be no “disturbances.”

The answer to Shayegan’s question, “what did we do with our life”, is both simple and complex in his case.

He has been described as polymath, philosopher, poet, mystic, linguist, and master in “Eastern” civilizations, whatever that means. But he had also dabbled in literary criticism, historic research, and, theological speculation. Moreover, he was also a keen collector and connoisseur of objects of art, books, and calligraphy.

Perhaps as a side-line, he had also dabbled in grand political strategy by promoting the concept of “a dialogue of civilization” which was first adopted by Empress Farah and, after the mullahs seized power in Tehran, Hojat al-Islam Muhammad Khatami who served as President of the Islamic Republic for eight years.

However, those who knew him best remember him for his passionate love of Iran, almost bordering on idolatry, and what he described as his lifelong love affair with the Persian language.

Shayegan was a typical product of what one may, at the risk of provocation, call the imperial culture of Iran.

He was born in Tabriz, capital of the East Azerbaijan province in northwestern Iran, of an Azeri father and a Georgian mother and thus learned both Azari and Georgian languages from childhood. At the same time, however, he learned Persian, the lingua franca, of “Iranzamin” (The Realm of Iran) which bound the many ethnic and linguistic communities of the country into a tightly-knit nation. At the time of Shayegan’s birth, Iran was home to 18 living languages, all but one of which represented ethnic communities. (Right now, sadly, only six of those languages still exist.)

The exception was Persian which, not identified with an ethnic group, was the language of every Iranian.

But Persian is a dangerous language; it could bewitch and bewilder you with its charm and mystery, throwing a lasso around your neck and leading you to regions beyond your intentions. It is like a femme fatale whose charisma makes you forget that she has a loaded gun hidden in her crocodile bag.

Shayegan was one of many Iranian intellectuals so smitten by Persian that, rather than commanding it in the service of their thoughts, became vehicles for the projection of its beauty. You marvel at a prose that, beautiful and fascinating, makes any thought it is supposed to express of secondary importance. “You say: I love it, it transports me to the seventh heaven, but what does it mean?”

Again, like many other Iranian intellectuals, Shayegan had to use other languages, in his case mostly French, to deal with the “beard-and-butter” of his philosophical speculations and historical observations. This is why most of his 18 books were written in French while he also used English for some seminar papers and essays.

Shayegan’s mastery of six languages, acquired during studies in England, Switzerland, France and, of course, Iran itself gave him direct access to the bulk of the literature he needed for inspiration and research in Islam, Sufism, Hinduism, Christianity and a whole raft of esoteric religions.

As a popular Professor of Comparative Philosophy at Tehran University between 1968 and 1979, Shayegan trained a whole new generation of scholars who have continued his work in all those domains. However, Shayegan’s focus during his decade of professorship was “Iranian Islam”, a term coined by Henry Corbin, the French Iranologist who forged a bond of friendship with Shayegan. He ended up translating part of Corbin’s work into Persian and writing a whole bio-critical book on the French master. Corbin and Shayegan shared a deep love of Iran and played a significant role in remembering and re-introducing some of Iran’s great half-forgotten Islamic philosophers.

In my view the Corbinist vision exaggerated Iran’s role in transforming Islam from a rather simple religious code into a complex culture and multifaceted civilisation. The French scholar failed to see that Iran and Islam were separate entities that met at some points but diverged at others. Worse still, Corbin was too focused on the mystic version of “Iranian Islam” to allow adequate space for the many other forms in which Iranians expressed their Islamic-ness.

In the end, trying to understand art or culture through the sole prism of religion may do a disservice to both. Does one need delving into Christian dogma to enjoy Bach’s “Passion According to Saint Matthew”? And should one attend a theological course to be admitted in the universe of great Persian poets such as Nasser Khosrow, Mowlawi, Hafez, and Nizami?

Or Saadi who said: ”Everything is good, in its own place!”

In the mid-70s Shayegan was spotted by Empress Farah, who was also French-educated, and invited to join the newly created Royal Philosophical Centre, coordinated by the Empress’s Private Secretary Sayed Hussein Nasr, a noted academic and scholar of Shi’ism.

A number of mullahs, some of whom later became prominent figures in the Khomeini’s Revolution, were also enlisted, among them Hojat al-Islam Mortaza Motahhari. Non-Iranian “philosophers” attracted to the scheme included the French Communist theoretician Henri Lefebvre, and Roger Garaudy, also a French Communist who had converted to Islam. Local philosophers who joined included Ahmad Fardid, a Heideggerian who was to achieve iconic status in the Khomeinist regime.

When Khomeini shut Iranian universities for two years to “purge and Islamicize” them, Shayegan found himself among thousands of professors and lecturers who were shown the door for not being Islamic enough.

Khomeini’s Cultural Revolution Committee, headed by one Jalal Eddin Farsi and including Abdul-Karim Sorush, a British educated Islamist philosopher, decided that those excluded from universities would have to undergo an Islamic re-education scheme to be considered for re-employment.

Many decided to go into exile rather than sign up for re-education. Some decided to stay in Iran but keep a low profile. Shayegan was among them.

The irony in all that was Shayegan had briefly supported the Islamic Revolution and even expressed the belief that Ayatollah Khomeini, the mullah who emerged as leader of the anti-Shah movement, might be “the Gandhi of Islam.” The philosopher’s saccharin-soaked vision of the Khomeinist revolution led many of his friends to stay away from him. (I was among them!)

But Shayegan was above such pettiness, especially because, as he was to admit later, his fascination with “the Gandhi of Islam” had lasted no more than a month. At the end of that month we happened to be together in a gathering and I feigned to ignore him. He, however, rushed towards me, tapped me on the shoulder and said: “I was mistaken. Let’s move on!” Who could resist that master demonstration of the power to subdue one’s ego?
Many years later, Shayegan put his “one month-long slip” into context by recalling that a good many Iranian intellectuals had been seduced by the idea of a revolution and that their fascination had done great damage to Iran.

“All our generation (of intellectuals) made a mess of things,” he wrote in a mea culpa that continues to have an echo among many Iranians.

Shayegan’s most directly political book ”What Is A Religious Revolution?” remains a masterpiece of socio-political observation of the confusion that reigns in many Muslim-majority countries trying to meet the challenges of the modern industrial, and now post-industrial, world in the creation of which they had played no role.

Shayegan further probed that theme in his “Mutilated Gaze” (1996) and “Cultural Schizophrenia: Islamic Societies Confronting the West” (1997), both of which helped inspire many debates across the Muslim world.

By the end of the 1990s, having observed the failure of the Islamic Revolution in Iran, Shayegan, always a man of passions, joined a 200-year-old dynasty of Iranian “westernizers” arguing that Iran won’t progress unless it adopted the values of the renaissance and its grandchild democracy. The result was his “The Light Comes from The West”, published in 2003 and then 2015.

The start of what was later called “The Arab Spring” in December 2010 gave Shayegan a new hope that Muslim societies might be able to find a way out of their predicament without breaking with their religion-dominated culture. It was in that hope that Shayegan dubbed the uprisings “The Islamic Awakening”.

Once again, however, Shayegan soon realised that dabbling in politics was always risky for a philosopher. By 2012, as “The Arab Spring” was beginning to turn into a dicey autumn and then a deep winter, Shayegan admitted to friends, including this writer, that he had been too hasty in supporting the uprisings.

But, where to go after that? Fortunately for Shayegan he could always return home, in the sense of seeking shelter in “Iranianism” which had always been a refuge for Iran’s disillusioned intellectuals for centuries. In that spirit, Shayegan used his prestige and moral power to launch a new series of books, many of them translations from various Western languages, on Iranian history and culture before Islam. The first series that I have seen are well chosen and edited, and printed at the highest standards. As often in Iran’s history popular disappointment in religion encourages a return to nationalism. However, excess in nationalism could be as deadly as excess in political religion.

We don’t know what this return to nationalism might lead Iran. But Shayegan had high hopes for it. The hope we could have is that he wouldn’t prove politically wrong once again.

The question what we did with our “one life” doesn’t apply to Shayegan. For he is destined to live for ever both as philosopher, and a great human being.



Once a National Obsession, Traditional Korean Wrestling Fights for Survival 

An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
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Once a National Obsession, Traditional Korean Wrestling Fights for Survival 

An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)
An elderly spectator watches a ssireum match during a Lunar New Year Ssireum championship at the Taean Complex Indoor Gymnasium in Taean, South Korea, February 14, 2026. (Reuters)

As South Korea's global cultural influence expands in areas such as music, film and television, one form of entertainment struggling to attract attention even at home is Korea's traditional style of wrestling, known as ssireum.

Ssireum - pronounced like "see room" - had its heyday in the 1980s and early 1990s, when there were as many as eight professional teams and the top wrestlers became household names. Since then, it has been squeezed by tighter budgets and a public quick to move on to new trends.

Twenty-year-old Lee Eun-soo, who began training at the age ‌of nine, is ‌taking part in this year's Lunar New Year ‌tournament, ⁠the showcase event ⁠for the more than 1,500-year-old sport.

Lee lamented that at his former high school, the ssireum team currently has no members and there is talk of disbanding it.

"I once tried to imagine my life if I hadn’t done ssireum," Lee said. "I don’t think I could live without it."

A ssireum match involves two wrestlers facing off in an ⁠eight-meter (26.25 ft) sandpit ring, gripping each other by a ‌cloth belt called a "satba" and using ‌strength, balance, timing and stamina to force the opponent to the ground.

Ssireum ‌was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage ‌of Humanity in 2018, but that international recognition has not translated into commercial success. Its relative obscurity contrasts with the high profile of Japan's sumo, another centuries-old form of wrestling.

Unlike sumo, which is supported by ‌a centralized professional ranking system and six major annual tournaments - or Olympic wrestling, with its global reach - ⁠ssireum remains ⁠largely domestic.

"Sport is something people won't come to watch if they don’t know the wrestlers or even the sport itself," said Lee Tae-hyun, a former ssireum wrestler and Professor of Martial Arts at Yong In University, who has promoted the sport overseas and believes it has commercial potential with the right backing.

Lee Hye-soo, 25, a spectator at the Lunar New Year tournament, said many Koreans are now unfamiliar with ssireum.

"My grandfather liked watching ssireum, so I watched it with him a lot when I was young," she said.

"I like it now too, but I think it would be even better if it became more famous."


Saudi Arabia Concludes Guest of Honor Role at Damascus International Book Fair 2026

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
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Saudi Arabia Concludes Guest of Honor Role at Damascus International Book Fair 2026

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA
The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities - SPA

The Literature, Publishing and Translation Commission concluded the Kingdom’s Guest of Honor participation at the Damascus International Book Fair 2026, held in the Syrian capital from February 6 to 16, drawing strong attendance and engagement from visitors and cultural enthusiasts.

The Kingdom's pavilion was highly praised for its rich cultural content and high-quality programs, reflecting the vitality and growth of the Kingdom’s literary and cultural scene, SPA reported.

Literature, Publishing and Translation Commission CEO Dr. Abdullatif Abdulaziz Al-Wasel stated that the Kingdom’s role as Guest of Honor at the Damascus International Book Fair 2026, represented by a high-level cultural delegation led by Minister of Culture Prince Bader bin Abdullah bin Farhan, highlights the depth of Saudi-Syrian cultural relations based on partnership and mutual respect.

He noted that the participation demonstrates the Kingdom’s commitment to enhancing cultural exchange, a key objective of the National Culture Strategy under Saudi Vision 2030. Through this strategy, the commission emphasizes fostering constructive dialogue among peoples, exchanging knowledge and expertise, and consolidating the Kingdom’s active role in the Arab and international cultural landscape.

The Kingdom’s pavilion, led by the commission, attracted strong attendance and active engagement through its cultural activities. It showcased the commission’s programs and initiatives in literature, publishing, and translation, and featured a comprehensive cultural program, including literary seminars, cultural discussions, and poetry evenings with prominent Saudi writers and intellectuals.

These efforts enriched cultural dialogue with fair visitors and strengthened the presence of Saudi literature in the Arab cultural scene.

This edition of the Damascus International Book Fair marks a significant cultural milestone, reaffirming the value of books as carriers of meaning, spaces for dialogue, and starting points for a cultural journey that reflects the aspirations of the Arab cultural landscape toward a more open and aware phase.


Qiddiya City Begins Construction of Landmark Performing Arts Center

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression - SPA
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Qiddiya City Begins Construction of Landmark Performing Arts Center

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression - SPA

Qiddiya Investment Company has announced the commencement of construction works for the Performing Arts Center in Qiddiya City, marking an important milestone in the development of Qiddiya City as a destination for entertainment, sports and culture.

The announcement coincided with the laying of the foundation stone, signaling the start of construction works to be carried out by Nesma and Partners.

During the ceremony, held at the project site perched on the edge of the Tuwaiq Mountains, Managing Director of Qiddiya Investment Company Abdullah Aldawood delivered a speech announcing the official start of construction. He highlighted the importance of the project as a transformative addition that strengthens Qiddiya City’s cultural offering.

The Qiddiya Performing Arts Center supports the city’s positioning as a destination for creativity and cultural expression, while contributing to the development of local talent and attracting international artistic experiences.

The Qiddiya Performing Arts Center has been designed by Tom Wiscombe Architecture, in collaboration with BSBG, and features a futuristic architectural style defined by monumental forms. The design comprises interlocking architectural panels and five illuminated blades that blend harmoniously with the desert landscape, forming a prominent cultural landmark within Qiddiya City.

The start of construction follows the launch of the first phase of Qiddiya City in December 2025, which included the opening of Six Flags Qiddiya City. It’s part of the company’s broader approach to developing integrated destinations that enhance quality of life and deliver distinctive experiences across entertainment, sports and culture.