achievements of islamic republic of iran 3

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Achievements of Islamic Republic of Iran

in its specic denition and analyzed cultural

achievements under the category of cultural sector (including the achievements and performance of the

Ministry of Culture and Islamic Guidance) dened and

anticipated in the upstream laws and the laws of the

ve-year development plans of the Islamic Republic

of Iran:1

11Written culture: including publishing industry such

as books, the press, and similar paper works

11Movies and theater

11Music and related elds of activity

11Islamic knowledge and wisdom, including all

activities related to education, promotion, and publicity

on religious knowledge as well as rites and rituals meant

to promote the Islamic sciences and understanding

11Art and related elds of activity

This chapter falls into two major parts. In the rst, we

will discuss the most important trends in art and culture

realized under the cultural management of the nation,

therewith, present the most important activities and

programs. The second part we will present indicators

•

•••

•



152

in each subdivision for studying qualitative and

quantitative development based on well-documentedstatistics and information.

Results show that great achievements have been made

in cultural sector during the past thirty years both in

qualitative and quantitative areas so that Iran could

gain a unique status in the world. An ethical approach

to art and culture and special attention to spirituality

in these elds are among the outstanding preferences

during the past three decades.1

Introduction

The Islamic community of Iran during the past 32 years

has experienced fundamental developments in many

elds. With the establishment of Islamic Republic system

of government in Iran in 1979, the political, economic,

social, educational, scientic, judicial, defensive and law

enforcement systems underwent great changes. Culture

is believed to be the centerpiece of developments in all

these elds. In another word, it can be said that culture




could manifest expected performance in boosting and

expanding the revolutionary system through transmittingits messages and values. This is why culture is believed

to be the basis for all planning and activities of the

Islamic Republic of Iran.1

A deeper review of the ideals of the Ministry of Culture

and Islamic Guidance will suggest that the cultural

sector and administrators of this sector are expected to

help the transfer of religious concepts, imaginations,

and values to the masses. They are also expected to

enliven and promote the revolutionary values. This is

because the major reasons behind the establishment

of the Ministry of Culture and Islamic Guidance were

the growth of ethical merits based on belief and piety,

cultural independence, immunity of the society from

cultural penetration of foreigners, promoting public

awareness on various elds, blossoming of the talents,

promoting the spirit of research, innovation and

invention in the society, publicizing Islamic art and

culture, awareness of the world over the principles,

manifestations, and ideals of the Islamic Revolution,



154

expansion of cultural ties with other nations specially

with other Muslim countries and world oppressed,.paving the ground for enhanced unity of Muslims, etc

This report is the story of unied efforts by ofcials,

cultural gures and artists who love and believe in the

art and culture of this nation and live their life with an

ambition to promote them.1

Undoubtedly, it is impossible to cover the detailed

compilation and presentation of these efforts and plans

in this chapter. 1

In a plan entitled “Cultural Achievements of 31 Years

of Islamic Republic of Iran (Ministry of Culture

and Islamic Guidance)” authors tried to analyze the

cultural achievements by two approaches. In the rst

approach the plan tried to study art and culture trends

from statistical viewpoint. We tried to identify the most

important cultural and artistic indicators related to the

responsibilities of the Ministry of Culture and Islamic

Guidance and review developments within the past 32

years. Books and book-reading, movies, art (dramatic,

visual and music), the press, religious activities (Hajj




and pilgrimage, endowments and charity affairs, centers

of art and culture in the mosques) and cultural activitiesof the Islamic Republic of Iran in foreign countries

constitute the qualitative sections of this report.1

We know access to accurate and updated statistics has

been always a serious problem in the cultural sector

studies. This report, too, has faced the same problems.

However, we have tried to rely on authentic documents

and avoid using unauthenticated documents.1

In the second approach, we studied the cultural

achievements of the Islamic Republic of Iran from

qualitative point of view. In this part, the most important

activities and programs have been brought under

qualitative and conceptual classications.1



156

1-Cultural Developments in Iran

Religious Approach in Cultural and Artistic Activities

According to the majority of Iranian and foreign experts,

the Islamic Revolution of Iran has a hundred percent

cultural and religious nature. Therefore, all other plans

and programs in the Islamic Republic of Iran are made

based on these two axes. Naturally art and culture have

received the greatest inuence from the revolution so

that from early years after the establishment of Islamic

Republic of Iran, the majority of artistic and cultural

productions contained Islamic and religious values.

Therefore, since then the majority of art and culture

works were value-based and religious and it is perhaps

inappropriate to set aside an independent part for

religious activities.1



158

world, and wide distribution of translated Qoran inside

and outside the country for familiarity of the worldnations with this Great Book, promoting the culture of

endowment by identifying and registering the endowed

properties across the country, provincial identication

and registration of the endowments since mid 90s are

some examples of the achievements of Endowments

and Charity Affairs Organization within the past three

decades.1

Also, during the past thirty years, establishment of

the Endowments Construction Fund could gain public

trust and revive the rights of the endowed properties

in cooperation with benevolent people. In line with

enforcement of Imam Khomeini’s decree and the single

article on endowments passed on May 18, 1984 In the

Islamic Consultative Assembly (Iranian Parliament)

thousands of hectares of already endowed properties

that had been used in the past regime under Land

Reform Plan, were returned to the organization and

received certicates of endowments.1

Hajj and Pilgrimage Organization became an organization




in 1984 at the ratication of the Law on Organization

and Authority of Hajj, Pilgrimage and EndowmentsOrganization and in 1991 it was recognized as an

independent organization under the Ministry of Culture

and Islamic Guidance. The organization since then,

is active in administering the affairs of the major and

minor pilgrimage to Mecca and pilgrimage visits

to the holy shrines in Karbala and Najaf. Hajj and

Pilgrimage Organization, as an achievement of the

Islamic Revolution, has managed well pilgrimage tours

to Mecca and Medina, specially in minor pilgrimage to

Mecca, through its privatization plans.1

Boosting Religious Researches, Religious Activities

with Artistic and Cultural Approach

Supporting and developing fundamental and applied

research works on religion with artistic and cultural

approach were among the key policies of the Ministry of

Culture and Islamic Guidance after the Islamic Revolution.

To that end, the ministry established Secretariat of

Religious Researchers since mid 90s.

One of the most successful regular programs is the



160

annual festival to select and honor the best research

work on religion. The festival has brought aboutsupporting religious researchers and fundamental and

applied researches on religion.1

At the same time, organizing the National Congress of

Religious Researchers since mid 90s in the presence

of university professors, experts, thinkers, researchers

and experts of religious sciences from universities and

theological schools could lead to the unity of thought

and action among the religious researchers as well as

development of religious activities in the society. The

congress is held annually in Qom by the Secretariat of

Religious Researchers.1

Another achievement in this sector is the Zakar al-

Zakerin Music Festival. Held since mid 90s, the festival

studies religious rites and rituals in various regions of

the country by music performance.1

In addition to the above, there were some other notable

achievements such as holding festivals on religious

subjects, Festival of Metaphysical World from the

Window of Movies, supporting highly conceptual




movies and introducing them in international festivals,

paving the ground for production and performanceof religious theater, material and spiritual support of

religious works of art and culture, supporting religious

newspapers and periodicals as well as religious press

activists, and holding the rst Festival of Religious

Press in 2003.1

The International Holy Qoran Competitions, held

incessantly for almost two decades, is perhaps the

meeting point of art-culture works and religious-Qoranic

activities. The festival is held annually concurrent with

the holy month of Ramadan in Tehran. It also displays

a large number of works of art and culture in the form

of books, visual arts (calligraphy, painting, graphics),

traditional arts (illumination, inlaid works, …), dramatic

arts, etc. all with religious themes in various levels from

children to adults. Holding specialized religious, artistic

and cultural meetings, invigorating and participating

the young generation in month-long Qoranic activities,

and presenting the latest cultural, artistic, and religious

achievements in religion and Qoran are among the other



162

objectives behind holding the competitions. At the same

time, concurrent with these competitions, provincialQoranic contests are also held in the provinces.1

The national, international and provincial Qoranic

competitions are among the most important Qoranic

activities observed from the early years after the

revolution until now. The Endowments and Charity

Affairs Organization is responsible for policy-making

and organization of the festivals. each year, the national,

international, and provincial competitions are held

better and stronger than before, so that the International

Qoranic Competitions in Tehran is now one of the most

.recognized Qoranic events in the world

The above is only a speck of achievements in this

sector and we tried to introduce and document the

most institutionalized activities that are implemented

regularly with qualitative and quantitative growth.1

Perhaps one of the most important achievements of

the Ministry of Culture and Islamic Guidance is the

establishment of Secretariat of Supreme Headquarters to

Supervise Art and Culture Centers in Mosques in 1993.




Mosques, one of the early centers of scientic, artistic

and cultural works, had been taken away from principalgoals in the course of years, turning into a place of

worship only. After the revolution, mosques regained

their primary signicance by activating and supporting

centers for artistic and cultural activities and opening

libraries with religious, artistic and cultural works.1

Center for Development and Promotion of Qoranic

Activities is another institution that was established

at the Ministry of Culture and Islamic Guidance after

the victory of Islamic Revolution in Iran. Established

since late 90s, the center has managed well to fulll its

responsibilities in connection with supporting, directing

and promoting Qoranic affairs. At present, holding

international, national and provincial Qoranic festivals

and exhibitions, supporting non-governmental Qoranic

institutions and organizations, and supporting works of

art and culture with Qoranic themes are among the most

important activities of this center.1

It should be noted that, however, the Qoranic and

religious publicity and promotional works are not



164

exclusive to these institutions or organizations. Rather,

major religious factors have been included in the majorityof religious works of art and culture, religious activities

and programs within the past thirty years. Therefore,

we observe the presence of religion in structuring these

activities. It was because of such religious approach

that since 90s religious and revolutionary works of art

and culture enjoyed material and spiritual supports and

notable subsidies. In this regard, nancial supports were

offered to movies with religious themes, religious books,

and religious books’ printing houses, so that production

of religious books grew outstandingly in quality and

quantity and in titles and circulation after the Islamic

Revolution. Supporting religious press, increasing the

number of religious information centers and supporting

art productions with religious themes are among the

incessant activities carried out in this sector.1




2-Religious Works of Art and Culture from

Statistical Point of View

In early 90s with the establishment of Secretariat of

Supreme Headquarters to Supervise Art and Culture

Centers in Mosques, serious steps were taken to support

scientic and cultural works in the mosques. Statistics in

Diagram (1) are solid evidences for this claim.1

According to this table, in 1993 (the year of establishment

of Secretariat of Supreme Headquarters to Supervise

Art and Culture Centers in Mosques) there were only

14 active centers of art and culture in the mosques, that

were increased to 5,067 centers in 2009 with an average



166

annual growth of 48.42 percent. In 1993 there was only

0.3 center per one million population. The gure wasincreased to over 70 centers in 2008. At the same time, in

1993 these centers had 1,480 members only (23 people

per 100,000 population), that was increased to 1,552,000

in 2008. In other words, almost 2,300 new members per

100,000 population have joined these centers.1

Libraries in the mosques are important tools for

religious works of art and culture. In 1995, there were

only 139 active libraries in the mosques that were

increased to 2,777 libraries in 2009. The increase

shows 23.85 percent annual growth. With respect to

the number of population in 1995, there were only 0.3

mosque libraries per 100,000 people. The gure was

pushed up to 3.75 libraries in 2008.1



168

Endowments and Charity Affairs Organization, in

addition to holding Qoranic competitions, is responsiblefor publication of books into world languages,

management of holy mausoleums and shrines, and

supporting festivals of religious rites and rituals. Diagram

(1) depicts the number of endowed properties in the

country. It should be noted that lack of statistics before

1996 does not mean lack of activities before that year.

It means there is no reliable statistics on endowments

at hand before the year 1996. The number of endowed

properties grew with average annual 3.34 percent

from 84,000 in 1996 to 124,525 endowed properties in

2008. Also during this period, the number of endowed

mausoleums showed 4.8 percent growth, growing from

617,319 to 1,076,865 mausoleums.1

Of course, the religious activities and achievements of

the Ministry of Culture and Islamic Guidance do not

conne to these nine indicators. There are some other

activities and programs implemented every year that

must be reviewed from qualitative viewpoint not from

quantitative point of view.1




Diagram (1): Religious Activities Indicators, 1991-2009

3-Books and Book-reading

Producing and publishing books along with related

activities such as book fairs and public libraries are

important indicators for cultural competence of any

nation. Perhaps, we can divide the qualitative and

quantitative growth of book writing and book reading

in contemporary Iran into two periods of before and

after the Islamic Revolution. The sharp difference in the

statistics of these two periods has always attracted the

0

500

1000

1500

2000

2500

3000

1991 1993 1996 1997 1999 2001 2003 2005 2007 2009

mosque cultural

centersmajor hajj

pilgrims

minor hajj

pilgrims

no. of

endowments

no. of

endowments

no. of

endowments



170

attention of responsible authorities. During the years

after the revolution, books and book-reading sector hasenjoyed outstanding achievements and developments

such as the development of information technology

on books, increasing the number of literary awards,

increasing the number of specialized book fairs,

holding Tehran International Book Fair, establishing an

institution named Book House, holding Book Week as

the most important cultural event in the year, expansion

of poetry activities, boosting governmental support of

book producers, authors and consumers, development

of book activities on religions, sects and faiths, and

establishing the rst printing town in Iran. In the next

pages we will review each achievement in brief.1

A-National and international book events

1-Holding the International Book Fair in Tehran

2-Holding provincial book fairs

3-Increasing the number of specialized book fairs

B-Increasing the number of book awards

1-Holding book of the year and world book awards

2-Holding Jalal Al-e-Ahmad Literary Award




3-Holding Parvin E’tesami Literary Award

C-Books and book-reading nancial support programs1-Supporting consumers of written works

2-Supporting publication of valuable books

3-Supporting production and publication of books

4-Supporting works of poetry

D-Developing information technology on books

1-Establishing Ketab Net (databank of published books

in the country = www.ketabnet.org.ir)1

2-Creating International ISBN codes for Iran

3-Creating centers for the newly published books

4-Producing and publishing periodicals on information

dissemination, literary criticism and review of books

E-Books and Book-reading from statistical point of view

Diagram (2) depicts statistics on books and book-

reading during the years after the Islamic Revolution

in Iran. The table, however, has studied and analyzed

a few major indicators. As the table shows, in 1979

some 1,860 books were published. The gure in 2009

stands at 60,801 titles and shows 12.3 percent growth

annual growth. Given the total number of population



172

(36,388,000 people) in 1979, there was only 0.51 book

for 10,000 people in the country, but in 2009 with apopulation of 73,745,344 people there were 8.2 books

per 10,000 people. Despite double-fold increase in the

number of population from 1979 to 2009, the per capita

of produced books has grown by 15 percent.1

Circulation of published books is also an important

indicator for book-reading. During the period under

discussion, the circulation of published books grew

from 683,000 books in 1979 to 206,161,000 books in

2009, showing an average annual 21 percent growth. 1

Public libraries in the towns offer free of charge

services to the general public and serve to be a place

for reading books and exchanging information. They

are also important indicators for book-reading. The

number of public libraries, too, grew from 368 libraries

in 1979 to 2,073 libraries in 2009, showing an average

annual growth of 5.9 percent. In the year 1979, there

were only 1.01 libraries per 100,000 people, but in

2009 there were 2.8 libraries available for a hundred

thousand people.1




One of the important and interesting indicators in the

period under discussion is the number of references to

the public libraries. In 1979, some 3,213,000 people

have referred to the public libraries across the country.

Given the number of population that time (almost 36

million), there were only 8.8 people per 100 people

referring to the public library. The gure in 2009 went

up to 57 people per 100 people, showing over seven-

fold growth. Despite almost four-fold increase in the

number of public libraries during this period, public

references to these libraries have grown by seven-fold.

Statistics show that despite emphasis of ofcials and



174

managers on boosting public use of the public libraries

and its eye-catching development after the revolution, gures are yet to cope with the increase in the number

of addressees and referrals. In other words, interest of

the people in public libraries was high above the speed

of construction and establishment of public libraries.

This shows the growth in scientic competence, literacy

and book-reading interest in the people.1

Another important indicator relates to the number of

books published for the children and young adults. The

number of books published for the children and young

adults in 1979 was 95 titles with a circulation of 50,000.

This gure jumped high by 16.38 percent annual growth

to stand at 9,006 titles and annual growth of 25.43

percent in circulation to be 44,768,000 books in 2009.

Governmental supports and policies for production

and publication of books on children and young adults

highly increased the number of publishers specialized

in these books as well as the number of specialized

book fairs across the country. On the other hand, a

comparison of these statistics with the total number of




published books shows its importance in the society.

In 1979, there was only one child book per 20 booksreleased, while in 2009 these books constituted 1.5

percent of the total circulation of the books published

in the country.1

Di a gr am ( 2 ) : B o ok P u b l i c a t i on an d B o ok -r e a d i n gI n d i

c a t or s ,2 0 0 1 -2 0 0 9

1 -A v e r a g e ann u al gr o w

t h f r om 1 9 7 9 t o2 0 0 9


t h f r om 1 9 9 2 t o2 0 0 8


t h f r om 1 9 9 4 t o2 0 0 8


t h f r om 1 9 9 6 t o2 0 0 8


t h f r om 1 9 7 9 t o2 0 0 8


t h f r om 1 9 8 7 t o2 0 0 8

0

5

0 0 0 0

1 0

0 0 0 0

1 5

0 0 0 0

2 0

0 0 0 0

2 5

0 0 0 0

p u b l

i s h e d b o o k s

c h i l d

e r n a n d y o u n g

a d u l t b o o k s

s u b s

c r i b e r s

o f p u b l i c

l i b r a r i e s



176

4-The Press

Development is an all-out concept part of which is

manifested in the qualitative growth of indicators.

The modern day world has accepted this standpoint

as a reality that communications play a key role in the

development of societies. If participation rate is taken as a

component of development, communications will be then

necessarily accepted as a prerequisite for contribution and

development. In other words, contribution is prerequisite

for development and communications is prerequisite for

contribution.1

This point must be also emphasized that communications

can both inuence development and be considered

as one of the objectives of development. At any




rate, the following points must be seriously taken

into consideration in the process of development:First, modern world community is on the transition

toward information community and it is necessary

to understand this trend in order to diagnose the

demands of information community. Second, cultural

imperialism, as an undeniable phenomenon, intends to

publicize its culture and paradigm as an active subject

through development of information technology. The

way to avoid being object of this Western hegemony is

accurate understanding of the modern world phenomena

(information community), adherence to its principles,

respecting national contribution as the only factor for

victory and prosperity.1

Undoubtedly, a major part of communications industry

is manifested in the press. The impact of mass media on

public opinion is known to all. The press, are written

mass media with bilateral relations with the society.

The press inuences and receives inuence from the

institutions and individuals in the society. During the

past centuries, this phenomenon has manifested itself in



178

the social life of the society so that no society without

press can be imagined. The press is indispensable partof a society. Despite its supervisory role, almost all

institutions accept its presence in the society. We have

accepted the press as the fourth pillar of democracy,

lack of which is not useful for the society. Therefore, we

try to use its capabilities and capacities for the progress

of the society. This is why the government is planning

to develop the press and set aside subsidies from the

governmental budget for newspapers and periodicals.1

In modern societies, the press has a two-sided relationship

with the organizations. The press impresses the course

of action in these organizations and they lay inuence on

production, distribution and consumption of the press.1

The government plays a key role in the qualitative

and quantitative development of the press and in

picturing the future for the newspapers and periodicals

according to certain strategies. The degree of inuence

the government exerts on the press varies according

to political and cultural structures. In some countries

the government is highly involved in the planning and




policies of the press, while in some other countries

government interference is very low. However, almostin all world countries the government plays some role

in the course of action of the press. 1

It should be noted that with respect to the role of the

press in shaping public opinion, the governments try to

control the press to move according to the values and

norms in the society. Therefore, they plan to develop

this phenomenon according to the norms and values

of the society. The denition of plan has two implied

meanings: supervision and information and statistics.

This means the government supervises the course of

action in the press based on the information and statistics

during the plan. These three factors come together to

help the government express its deed of performance

known as “achievement”. This is why achievement

always comes after planning in government reports. As

a matter of fact, wherever planning is introduced, the

result or achievement should come next.1

All governments plan for development of the cultural

sector, including the press, as they do for development of



180

agriculture and economy and present their achievements in

each eld. Government decisions on the press and attainmentof anticipated goals as a result of enforcement of these

decisions are collectively known as the achievements. In

the following part we will review government achievements

in various elds related to the press.1

Rules and Regulations

A-Constitution

The Constitutional Law of the Islamic Republic of Iran

contains one direct and three general articles on the

press. The most important article on the press in this

law is Article 24 on freedom of the press. According to

this article, anti-Islam and anti-civil rights practices are

the only restricting measures for the press. Article 168,

too, says verication of press crimes is special so they

must be veried in justice administration courts in the

presence of jury members. The following articles in the

Constitutional Law are about the press:1

Article 3 – The government of the Islamic Republic of

Iran is bound to use all its facilities to implement the

following in a bid to realize the objectives anticipated




in Article 2.1

K Promoting public awareness in all elds by accurateuse of the press, mass media and other tools

K Offering political and social freedom within the

context of law

Article 15 – Persian (Farsi) is the ofcial and common

language spoken and written by the Iranian people. All

documents, ofcial letters, texts and textbooks must be

written in this language, but it is free to use local and

tribal language in the press and mass media or teach

them in schools in addition to Persian language.1

Article 24 – The press and periodicals enjoy freedom of

pen and expression unless they act against the Islamic

tenets and civil rights the interpretation of which is on

the law.1

Article 168 – Verication of political and press crimes

should be carried out in an open court in the presence of

jury members at the justice administration courts. Way

of selection, rules and regulations, authority of the jury

and denition of the political crime will be determined

based on Islamic precepts.1

-

-



182

Quantitative Development of the Press

The press, as part of the written culture of the society,is another indicator for the degree of development in a

society. Such indicators as circulation, per capita paper

consumption and the number of magazines and newspapers

are among the most important HDI indicators in cultural

sector. In this part, we will review the quantitative growth

of the press in the Islamic Republic of Iran after the 1979

Revolution. There are, however, in sufcient statistics on

the number of the press, newspapers, certied periodicals,

applicants for certicates, and circulation of newspapers

during three decades after the revolution.1

There were ups and downs in the number of the press

within three decades after the Islamic Revolution. In

the beginning, the growth in the number of newspapers




and periodicals was skyrocketing but it was plummeted

in summer 1980. In early 80s the trend was almost xed, but after 1984 the number of press increased.

In 1985, concurrent with the ratication of the Law of

the Press, the number of the press reached 309 with

15 newspapers. After the end of war, concurrent with

the establishment of the Deputy Ofce for the Press

and Advertising Affairs at the Ministry of Culture and

Islamic Guidance, the number of the press increased

substantially. Statistics show that in 1990, there were 323

periodicals with 21 newspapers. The increase was slow

in the rst half of 90s, but the social demands inside the

country (increase in the literacy rate, young population,

development of urbanization) as well as regional and

international developments (communications revolution,

information explosion, emergence and penetration of

Internet as a new mass media) called the attention for

the press and mass media once again. Therefore, in

the coming years more licenses were issued for the

periodicals and newspapers. With respect to the above-

said developments and the mottoes of Reconstruction



184

Period, communications in general and the newspapers

and periodicals in particular accompanied other sectorsin development. In the second half of 1997, the press

became dominant in Iran’s communication technology

to respond to the social demands, converge with the

world community and advance developments in the

communications arena. In that period, the number of

newspapers became outstandingly large. The trends

continued even after 1997, so that in 1998 the number

of periodicals reached 797 and the newspapers became

51 in number. The growth in quantity of newspapers and

periodicals kept on continuing. In 2000 a large number

of newspapers were banned from publication but the

quantitative growth of the newspapers did not stop. In

2007 there were 2,266 periodicals and 145 newspapers.1

With respect to the above, the number of the periodicals

and newspapers will be presented in a table separately

for the years in between 1972 and 2007.1

In 1981 political conicts subsided and political stability

was observed since September. The periodicals and

newspapers remaining from the early years of the Islamic




Revolution continued publication according to the

revolutionary atmosphere. The reduction in the number of periodicals in 1981 in comparison with previous years

and continued reduction in the coming years show that

after the Islamic Revolution the quantitative growth in

early 80s (reduction in the number of newspapers) was

an accident not a procedure.1

Table (1): Number of Newspapers and Periodicals Published

between 1979 and 2009 (Collected from Various Sources)1

NewspapersPublicationsYear

94271979434441980

452001981

7851982

81021983

91171984121561985

153091986

153151987

-3321988

121831989

91861990

213231991

184081992

133141993

134081994

124861995

275701996326571997

358501998

518971999

896992000

948012001

989532002

10811732003

12314722004

13417292005

13717052006

14321202007

14522602008



186

The above table shows that in 1980 there is reduction

in the number of the press but from 1984 a gradual growth happens. After a two-year stop, the number of

the newspapers published in closing months of the year

1989 – except 1992 and 1993 – has been increased. The

growing trend has continued to date after the year 1995.1

Some achievements concerning the press:1

1-Establishment of guild and professional centers

2-Press festival and exhibition

3-Financial support of the press

A-Press subsidies

B-Social Security and Medication Insurance of the

journalists

C-Credit Fund to Support Authors, Journalists and

Artists

D-The plan to classify journalism among difcult and

dangerous jobs

E-Conducting rst national census on news agencies

and newspapers




Newspapers from Statistical Point of View

As it is seen in the Table, the number of the press after theIslamic Revolution has been on the rise so that from 21

titles in 1979, it has been pushed up by 17.4 percent growth

to 2,200 in 2008. In other words, the press per capita in

1979 has been six newspapers per 10 million people. The

relative growth of 50-fold has improved the per capita for

303 newspapers for 10 million population in 2008. It should

be noted that the growth in the press has been accelerated

since 90s so that in 1993, the press per capita for 10 million

people has been 51 titles.1

K Ñ N É é R ´ Ò û K Ñ ¢ Å d R 7



´ Ò û K Ñ ¢ Å d T ô 2 â 3

´ Ò û K Ñ ¢ Å d R 8





w D â á k â Ñ é R


8 ¡ Å d L V 0 0 5 3 o è L Ô

I B A R A - L A - N A H Y A K

´ Ò û K Ñ ¢ Å d R K Ñ X L Ñ X R ´ Ò û K Ñ ¢ Å d R K Ñ X L Ü é R K Ñ ¸ l k ) 3 7 9 7 ( K Ñ t ß R K Ñ X Ö W ã á , K Ñ h Ù é u 9 w ã K Ô 2 3 4 1 ç ƒ Ë / 7 1 w å p è ã o 0 9 3 1 ç ƒ z / 8 K è Ò ã Ô 1 1 0 2 Û

â s « S ß L Ø ê K Ñ h ã Ç Ø à A q Ø R K Ñ l è ã á . .

Ø H L V K Ñ @ Õ Ç è T ¯ L ä p â á í w ã K o ¿ E è ª L Ñ é L â E s N L Ü é L ¥ l g ª « K Ñ T É x Æ

´ ã K ¡ Ú - â Ì L Õ V K Ü N L þ : - S ¯ L ä p Ø H L V K Õ Ñ @ Ç í w ã K o ¿ K ò l á K Õ s N L Ü é R g L ¡ R Ø l o è l â Ì n Ñ Î í K ò l á K Õ è ª L Ñ é R g L ¡ R o â Ø L K c T ` L ^ LŒ ´ Ò û S l K M ø K Ñ T É x Æ K Ñ p K Ø é R K Ñ û S å l G R K Ñ B s ã K Ë K ò ¦ ª p M R M t N O A q Ø R K Ñ l è ã á â Ø h L © p E Ü Í Ù L z K ù È T ¢ L k Ø ` l k KŒ .

Ä É l S ¯ L ä p Ø H L V K Õ Õ Ç Ø à K Õ è ª L Ñ é ô í A Ü d L þ E è ª L Ñ é L K c T ` L ^ LŒ ´ Ò û g ª R

K Ñ T É x Æ K Ñ T ê M l A Ø ` Ò u K Ñ x é ã j Ø ß L È x T å L S Ò N é R Ñ l ´ ã Q K ù S d L k K Ñ ¸ L Û K ù è ª L ì Ñ Ò ¸ Ù Ó , K Ñ ß É L M R K Ñ p G é t R í K è ª L Ñ é L â m Ñ Î í S ¸ N ø

^ l è l ´ à c L Ñ R K Ñ T n Ø p K ù ^ T Ù L ´ ê K Ñ T ê S t ã k A â o â M L í g ¦ Ú A q Ø R K Ñ X É R K Ñ T ê S x å l ä L A s ã K Ë K ò L Ô .

â g p ^ U K Ñ T ¯ L ä p K V í Ü d ã Ø L G R Ø l è ß R E è ª L Ñ é R A M p q ä L o â Ø L â Ü L M ã ì â Ø é Ö Ü ã

À l KŒ . . © å p K á S x å l S ¯ L ä p K V w ¸ N é R À L ¥ N R S ß l è l K M ` p K G Ú @ Ô g Ò é Å R

© å p K á - Ì é å L á K Ñ ¸ p M ê : - s T É L Û í K Ñ ¸ L ¡ Ù R © å p K á è ã Û À l K Ñ ` Ù ¸ R S ¯ L ä p K V w ¸ N é R À L ¥ N R M l ´ ã Q Ø à K ò ` Ò u K Ñ T ß t é É ê Ñ Ö ´ Ö Û K Õ s Ö Ø ê Ñ Ò T ß l è l M ` p K G Ú @ Ô g Ò é Å R â @ Ô s ¸ ã k í K Ñ N d p è à .

í c l è X æ Ñ ` Ù » Ø à Ø ß l â M ê â s L G Ó K Õ ´ Ö Û K Ñ Í ã è T é R . .

¡ L Ñ d ê : Ü p K È O M l È R S ª ã o K V K ò ß ª É R â Ü l ´ Ú Ø ª L Ñ O K Ñ x ¸ ã P K ò x p â ´ R , â Ü l ´ ã ä L K Ñ T d Ò ê M L Ñ é É ¯ R â K Ñ ã ´ ê

© å p K á - K Ñ ã c l Q K ò p Ì r è R Ñ Ö Ü N L þ : - K w L o â q è p K Ñ h L o ^ é R ´ Ò ê K Ì ð ¡ L Ñ d ê K Ñ û K Ñ ¸ Ö È L V

K Ñ ` é l Q M ô K è p K á w ¸ N L â c Í ã Ø R Ø » Ì L Ä R k â Ô K ò ß ª É R â È L Ô : K Ü æ Õ è ã ^ l ä ß L Ï K ë Ø ð o K â K s L v Õ M l K þ K Ñ ¸ l K þ â K Ñ ¸ ß L k M ô K è p K á â k â Ô K ò ß ª É R , Ø N l è L K s T ¸ l K k K è p K á Ñ ã ¥ » Ø ß ` r K S å L í g l Ø R s Ö Û â K Ø à K ò ß ª É R â S É l Ø å L .

â Ñ Å U â q è p K Ñ h L o ^ é R Ñ l ü K s T É N L Ñ æ ^ Ù ¸ L Ø à K ò l o K þ â K ò t D â Ñ ô K Ñ N L o q è à â o C s L þ K Ñ T d p è p í â s L G Ó K Õ ´ Ö Û K Ñ Í ã è T é R , K Ñ û Ø ã È Æ K è p K á K Ñ x Å L Ç â K Ñ ¢ p è e K ò T Ù X Ó í k ´ Ú K Ñ d p Ì L V â K ò ª L Ñ O K ò x p â ´ R Ñ Ò x ¸ ã P K ò t Ò Ù R í K ò ß ª É R , Ø ã ¥ d L : K á K Ñ ` Ù å ã o è R K Õ s Ö Ø é R S p K È O S ª ã o K V K ò ß ª É R M l È R â M ß ¯ p Q ´ Ù é É R â À ø Ø T t p ´ R â K Ñ û ^ L Ü O k ´ Ù å L Ñ Ò Ù ª L Ñ O K ò x p â ´ R Ñ Ò x ¸ ã P , S D Ì l ¥ p â o Q K Ñ T d Ò ê M L Ñ é É ¯ R â K Ñ ã ´ ê Ø à K ^ Ó K Ñ d Å L ² ´ Ò û K Ø à â K s T É p K o K ò ß ª É R M ¢ Å T å Ù L K s L v K Ñ T ß Ù é R â K Ñ T É l Û .

Ì Ù L Ñ Å U â q è p K Ñ h L o ^ é R K Ñ û K Ñ T ã ^ æ K Õ ´ Ö Ø ê K Ñ h L © I K Ñ n ë S ¸ T Ù l ç â s L G Ó K Õ ´ Ö Û K Ñ Á p M é R ´ ß l S Á ª é R K g N L o â S ª ã o K V K è p K á â È L Ô : K á â s L G Ó K Õ ´ Ö Û S Ò ¸ O k â o K Ø å Ù L â c t L s L Ñ Ò Á L è R í M é L á K Ñ d É L G Ê â S ¸ r è r Ø ß L j K Õ g ã Q â K Ñ ¢ l K È R M ô K Ñ l â Ô â K Ñ x ¸ ã P â Ü B Ø Ó M L á S Í ã á q è L o Q K Ñ ã Ä l K Õ ´ Ö Ø ê K Ñ Í ã è T ê Õ è p K á g ª ã Q M L S ` L ç S ¸ r è r K â K ¡ p K Ñ ¢ l K È R â K Õ g ã Q M ô K Ñ N l è à K Ñ x É é É ô K è p K á â K Ñ Í ã è U .

* K ò ¢ L Ñ e K ò x ö Ì R M ô K è p K á â k â Ô K ò ß ª É R S T ª Ò O K Ñ d Å L ² ´ Ò û K Õ Ø à â K Õ s T É p K o í K ò ß ª É R

* K è p K á c Í ã Ø R â w ¸ N L â í K c Ò Î â K ¡ ¸ O K Ñ ¯ p â Ç A W N T U K Ü å L A Ä ¦ Ó ^ L o Q Ñ Ò Í ã è U â Ñ ` Ù é » k â Ô K Ñ h Ò é a K Ñ Å L o s ê

g Ö Ô K s T É N L Ñ æ K Õ Ø ô K Ñ ¸ L Û Ñ ` Ù ¸ é R K Ñ å Ö Ô K Õ c Ù p K Õ è p K Ü ê . .

o G é u K Ñ ã q o K þ K Ñ ¢ ã Ø L ì è X Ù à K ò t L ´ l K V K Õ Ü t L Ü é R K Ñ T ê È l Ø å L K Ñ x ¸ O K Õ è p K Ü ê Ñ N Ö k ç

Ø d n o KŒ Ø à c p P w L Ø Ò R í K Ñ x p Ë K Ñ B â s « . .

^ ß p K Ô ¡ å é ã Ü ê o Ä é » : K è p K á S t T Ù p â M Í Ó È ã Q í M p Ü L Ø ` å L K Ñ ß ã â ë

© å p K á - Ì é å L á K Ñ ¸ p M ê : - A W L o V S ¢ p è d L V ^ ß p K Ô Ì N ø í È é L k Q K Ñ ` é y K Ñ ¢ å é ã Ü ê c ã Ô g ª p Ü x ã P c p P w L Ø Ò R í K Ñ x p Ë K Ñ B â s « S Ù T l Ø à E è p K á â c T û s é ß L þ K ò ¢ p è R â Ø à K Ñ B o k á ´ ð s ã o è L â Ñ N ß L á E Ñ û È ª L ¿ À r Q , E Ñ û Ä r ¿ w L Ø Ó M ô È ª ¸ L á K ò t T ã © ß ô â Ø t D â Ñ é å Ú í K Õ o K ¥ ê

K ò d T Ò R . â m Ì p ä n K K Ñ B Ø p M L Ñ p ´ O K Ñ n ë s L k ´ x é R c p P K Ñ B è L Û K Ñ t T R ´ L Û 7 6 9 1 , K Ñ B Ø p K Ñ n ë k Ä » M ã q è p c p P K Ñ ¸ l â

K Ñ ¢ å é ã Ü ê " E è å ã k M L o K Ï " E Ñ û © Ù B Ü R K Ñ ` Ù å ã o M T ¢ p è d L V Ø T Á ª p s R .

k K ´ é LŒ Ü ¯ L Û @ Ô g Ò é Å R K Ñ û K c ö K Û c É ã Ë K ò ã K © ß ô . .

È N Ö á è ª L Ñ O K Ñ ¸ p P â K ò t Ò Ù ô M L Ñ ¸ Ù Ó ù Ü É L m

w ¸ O K Ñ N d p è à

Ä é Ù L K Ì l c r P K Ñ Ò æ â K Ñ ` Ù L ´ R K Õ s Ö Ø é R ´ Ò û â c l Q K Ñ ¢ Æ í Ø ã K ^ å R K ò x L o è » K Ñ ¢ å é ã Ü é R . .

K Ñ p G é u M p ë : " K ò t T É N Ó " è p è l â Ü ß L K á Ü ¢ l Ë A Ü ß L Ü d à Ø » A Ø ø Ì L â ä Ú ¥ l ä L ! !

M ø â V - E o Ü L : - © L Ñ O Ü L G O o G é u K ò ` Ò u K ù s Ö Ø ê K Ñ x é ¸ ê K Ñ B ´ Ò û í Ñ N ß L á K Ñ x é i ´ N l K Ñ B Ø ø È N Ö á K Ñ ¸ p P â K ò t Ò Ù ô P ƒ ' K Ñ T d p Ï ù Ü É L m A ä Ó K Ñ N d p è à Ø à K Õ s T å T L o â K Ñ T h ã è Æ â K ò ` L q o K Ñ T ê S ß T å Î K Ñ x ¸ O í K Ñ N d p è à ' .

â © L Ñ O K Ñ x é i È N Ö á í S ¢ p è e Ñ æ K Ø u K Ñ B o M ¸ L þ ' Ø ` Ò u K Ñ T ¸ L â á ' í K Ñ h Ò é a K Ñ Å L o s ê M Ù ¸ L Ñ ` R K Ñ ã ¥ » í K Ñ N d p è à ' M Ù L è p ¥ ê K Ñ x ¸ O â è d Ó K ò x L Ì Ó k â á È T Ó â È å p â ® Ò Ú ' , â È L Ô : ' ´ Ò û Ø ` Ò u K Ñ T ¸ L â á K Ñ h Ò é ` ê Ø t D â Ñ é R K Õ ä T Ù L Û M x ¸ O K Ñ h Ò é a ) K Ñ Å L o s ê ( ´ Ù ã Ø L â K Ñ N d p è à

K Ñ ` p è d R g ¢ ã ¡ L , Ä L Ñ N d p è à ^ r è p Q g Ò é ` é R â ´ Ò û ¡ Ò R Ø T é ß R â A Ì é l Q â ¡ d é d R Ø » K Ñ x ¸ O K Ñ h Ò é ` ê â w ¸ N å L w É é Ê Ñ Í Ó K Ñ x ¸ ã P K Ñ ¸ p M é R â K Õ s Ö Ø é R ' .

â â Ä É LŒ Ñ T É p è p Ñ ã Ì L Ñ R K Ñ ` Ù å ã o è R K ù s Ö Ø é R Ñ Ò B Ü N L þ ' E o Ü L ' Ø à M ø â V Ä É l © L Ñ O K Ñ x é i È N Ö á A è ¦ LŒ P ƒ ' ´ É l K ^ T Ù L ¿ ´ L ^ Ó ò ` Ò u K Ñ T ¸ L â á K Ñ h Ò é ` ê í K Ñ N d p è à ù Ü ¢ L Ç w ¸ O K Ñ N d p è à â c Ó A q Ø T æ , Ä Ö è ` ã q E ä Ù L Ô ä n ç K Ñ ` r è p Q â K Ñ T Á L ¥ ê ´ Ù L è l â o í o c L M å L Ø à ® Ò Ú â K ¥ ª å L k , Ä L Ñ x ¸ O K Ñ N d p è ß ê w ¸ O Ø t L Ñ Ú â Ø t Ò Ú è å T Ú M x D â á â A Ø ã o K ò t Ò Ù ô â K Ñ ¸ p P â Ü ª L Ñ O M ã ¥ » c l ò B s L Q w ¸ O K Ñ N d p è à K Ñ n ë è ª L Ñ O M F Ü ¢ L Ä æ â E ´ ª L G æ c É ã È æ K ò ª Ò ã M R Ä Ö è ` ã q E á Ü N T ¸ l ´ à ä n ç K ò ª L Ñ O â K Ñ d É ã Ë â Ü t T ¢ p j ^ Ù é » K Ñ ¸ p P â K ò t Ò Ù ô E Ü É L m ä Ú Ø à K Ñ ¯ Ò Ú K Ñ Ö c Ê M å Ú , â Ü l ´ ã ä Ú ò ¸ L Ñ ` R K Ñ B q Ø R M B s p ¿ â È U ñ Í à â E ´ ª L þ Ì Ó m ë c Ê c É æ â K Õ M T ¸ L k ´ à K Ñ T ¢ p Ç K Ñ ¯ L Ñ Ú â Ü É ã Ô Ñ Ò ` Ù é » K o c Ù ã K Ø à í K Ñ B o ¨ è p c Ù Í Ú Ø à í K Ñ t Ù L þ , Ä Ö è ` ã q K ä Ù L Ô ä n K K Ñ x ¸ O K Ñ n ë è ¸ L Ü ê K Ñ d é Æ â K ò p K o Q â K Ñ T d l ë ' .

â Ä Ò ã o Ü t L í â s « K Ñ N Ö k c é Y K c T x l Ø H L V

@ Õ Ç K Õ w h L ¤ , â í

^ ß ã ü K Ñ T ê S ` Ù » Ä é å L 5 1 K Ñ Æ w h £ í K Ñ x Ù L Ô .

â ¡ L c O K Ñ T ¯ L ä p K V E ¥ p K P ´ à K Ñ ¸ Ù Ó E s T Ù p

W Ù L Ü ê s L ´ L V A k ü E Ñ û E ¥ ª p K P í c p Ì R K Ñ ß É Ó

â K ò ã K ¡ Ö V â E À Ö Ë ´ l k Ø à K ò ã K È »

K Ñ t é L c é R Ø X Ó Ø N ß û K Ñ Í ã Ñ é t é ã Û í o â Ø L .

M ø â V - â Ì L Õ V K Ü N L þ : - A Ì l V È é L k S L " K Ñ ` Ù L ´ R K Õ s Ö Ø é R â c r P K Ñ Ò æ " í M ø â V

´ Ò û â c l Q K Ñ ¢ Æ í Ø ã K ^ å R K ò x L o è » K Ñ ¢ å é ã Ü é R .

â ^ L þ Ø ã È Æ K Ñ É é L k S L á M ¸ l E ^ T Ù L ´ å Ù L K Ñ l â o ë Ø t L þ K Ñ X Ö W L þ â K Ñ n ë S ß L â Ô K ò ` T Ù ¸ ã á K ò t T ` l K V K Ñ t é L s é R ´ Ò û K Ñ t L c T ô K Ñ ã © ß é R

â K Õ s Ö Ø é R , â k ´ ã K E Ñ û " E è ` L k K ò h L o b K ò Ö G Ù R Ñ B q Ø R K Ñ Í å p M L þ M Ù L è ¦ Ù à c É ã Ë K Ñ ã © à â K ò ã K © à " .

´ Ò û ¡ ¸ é l @ g p o k o G é u Ø ` Ò u K Ñ ß ã K P K Ñ Ò N ß L Ü ê Ü N é æ M p ë í M é L á K ¡ l o ç Ø Í T N æ A Ø u K Õ o M ¸ L þ M L Ñ É ã Ô : " è p è l â Ü ß L K á Ü ¢ l Ë A Ü ß L Ü d à Ø » A Ø ø Ì L â ä Ú

¥ l ä L " , â m Ñ Î o k KŒ ´ Ò û Ø L S ß x p ç ¡ d é Å R " K ò t T É N Ó " K Ñ Ò N ß L Ü é R Ø à â W L G Ê S ß t O ò ã È » " â è Í é Ò é Í u " â S r ´ Ú A Ü æ è T ¦ Ù à Ì Ö Ø L Ñ Ò p G é u M p ë .

M L o q K Ü ê è x Í Î M ̀ L ä r è R K Ñ É ã K V K Õ Ø ß é R K Ñ ̧ p K È é R

â è l ́ ã K Ñ û M É L þ K Ñ É ã K V K Õ Ø ø Ì é R

Ø ¢ L k o : K Ñ t Ò ª R K Ñ Å Ò t ª é ß é R Ø t T Ù p Q M L ^ p K þ Ø Å L â ¥ L V s p è R Ø » " K s p K G é Ó " í ´ ã K ¡ Ú ´ p M é R â A â o M é R K Ñ é Ù à : S ¯ L ä p K V K Ñ ð Ü L Ø a K Ñ T ¢ ¸ é l ë S ª L Ñ O M L s É L ¬ ¡ L Ñ e â M É L è L Ü ¯ L Ø æ Ø ¢ p . . K s T H ß L Ç Ø d L Ì Ù R Ø N L o Ï â K Ñ ̧ L k ì

M T å Ù R È T Ó K ò T ̄ L ä p è à

© å p K á / K Ñ ã c l Q K ò p Ì r è R Ñ Ö Ü N L þ : - A ´ p P o G é u K Ñ ã q o K þ K Ñ ¢ ã Ø L ì ´ N l K Ñ ã ì Ø d Ù l ´ Ò û ´ à S É l è p ç â w Í p ç K Ñ ã K Ä p Ñ Ò Ù t L ´ l K V K Õ Ü t L Ü é R K Ñ T ê È l Ø T å L K Ñ ` Ù å ã o è R K Õ s Ö Ø é R E Ñ û M Ö k ç k K ´ é L E Ñ û E s T Ù p K o ä n ç K ò t L ´ l K V g L ¡ R K ò t L ´ l K V K Ñ ª N é R â K Ñ ¸ Ö ^ é R .

^ L þ m Ñ Î g Ö Ô Ñ É L þ K Ñ B Ø ô K Ñ ¸ L Û Ñ ` Ù ¸ é R K Ñ å Ö Ô K Õ c Ù p K Õ è p K Ü ê " ® L ä p o s T Ù ê " Ø » o G é u K Ñ ã q o K þ K Ñ ¢ ã Ø L Ñ û ´ N l K Ñ ã ì Ø d Ù l ´ Ò ê c é Y A M Ò Â K Ñ T d é L V K Ñ d L o Q ò t D â ì K Ñ ß ¯ L Û â K Ñ x ¸ O K Õ è p K Ü ê E Ñ û K Ñ x ¸ O K Ñ ¢ ã Ø L ì â È L Ô , K á K è p K á c Í ã Ø R â w ¸ N L ´ L q Ø R ´ Ò û K s T h l K Û Ì L Ä R © L È L S å L ò t L ´ l Q K Ñ x ¸ O K Ñ ¢ ã Ø L ì K ò ß Í ã P M L ò ` L ´ R .

â K w ß ª à Ä x Ò U M F k o K b c r P K Ñ Ò æ í

Õ G d R K ò ß ¯ Ù L V K ù o ä L M é R

Ø t D â Ô Ñ é N ê : È L Ä Ò R Ñ é N é R S d Ù Ó m ä N L â A Ø ã K Õ ´ ð V K Ñ û K Ñ ß é ` p M L c Y s é L s ê : Ø h ª « s ¸ ã k ë Ñ ª Ù u

K ò ¸ L Ñ Ú K ù s Ö Ø é R M Ù Í R â K ò l è ß R

K s T ª Ö ¿ : S p K ^ » w ¸ N é R M L o K Ï

A â M L Ø L Ñ B k Ü û Ø t T ã ü Ñ å L

* Ø ¢ l o Ø t D â Ô : M Ò Á ß L K Õ Ì T Å L þ K Ñ n K S ê í ä n K K ò ` L Ô â Ñ l è ß L Ø x L o è » Ñ Ò l â Ô K Õ g p ü

M É l o Q c Å p S ¢ Ó K Ñ û ´ Ù Ê 6 @ Õ Ç Ø ö . .

g ð K C Ü L è ß ` d ã á í ¡ ß » A M p K b c Å p ´ Ù Ö È R â c l è X R Ñ Ò ß Å « â K Ñ Á L q * © å p K á Ø t T ¸ l Q Ñ T ¢ l è p S É ß é R K Ü T L b K M p K b K Ñ ª L È R

K ò d T Í p Q Ø à È N Ó K Ø ø Ì L â M ¸ § K Ñ l â Ô K Ñ Á p M é R © å p K á - Ì é å L á K Ñ ¸ p M ê : - K k g Ó g ð K C Ü L K Ñ û K Ñ h l Ø R â Õ â Ô Ø p Q

M p b c Å p K Õ M L o K Ñ ß Å ª é R â K Ñ Á L q è R M T ¢ L Ø é Ú Ø d Ò é R â m Ñ Î í s é L Ë K s ö K S é ` é R Ø ã K ^ å R K Ñ d ¯ p K Ñ n ë S Å p ¥ æ K Ñ É ã ü K Ñ Á p M é R ´ Ò û K Ñ ¢ ß L ´ R K Ñ ß Å ª é R í K Ñ N Ö k .

â è T Ù é r K Ñ ð b " Ä T e 3 5 " M É l o S æ ´ Ò û K Ñ d Å p í ´ Ù Ê 6 K Õ Ç Ø ö â S ¸ l K Ø ø Ì L â M p è ª L Ü é L â K Ñ ß p â è a Ø à K Ñ l â Ô K Ñ T ê S d T Í p ¡ ß L ´ R K Õ M p K b K Ñ ß Å ª é R .

â í ä n K K Ñ t é L Ë È L Ô c é l o M å Ù ß ê Ø l è p ´ L Û K Ñ x p Ì R K Ñ ã © ß é R Ñ Ò T ß É é O ´ à K Ñ ß Å « í K Ñ N Ö k : K á Ø é r Q ä n K K Ñ ð b Ä p è l Q Ø à Ü ã ´ å L c é Y è t T ª é » K Ñ d Å p í ´ Ù Ê K Ì X p Ø à 6 K Õ Ç Ø ö Ì Ù L K Ü æ È L k o ´ Ò û c Ù Ó K Õ â q K á K Ñ X É é Ò R .

â K ¥ L Ç : K á ä n K K Ñ ð b ¡ ß » Ø à È N Ó K Ñ h ð K þ K Õ è p K Ü é ô â Ü t T ª é » K Ñ É ã Ô M L Ü ß L M Ò Á ß L Ø p c Ò R K Õ Ì T Å L þ K Ñ n K S ê í ä n K K ò ` L Ô â Ñ l è ß L K Ñ é ã Û Ø x L o è » í ´ l k Ø à K Ñ N Ò l K á Ø ß å L S p Ì Ù t T L á â K Ñ ¸ p K Ë .

â è É ã Ô K Ñ h ð K þ M L á K M p K b K Ñ ß Å « â K Ñ Á L q K Ñ T ê M l A ¡ ß ¸ å L í K Ñ N Ö k s é T Ú K Ü T L ^ å L ´ Ò û Ü ª L Ë â K s » â S ¢ l è p ä L K Ñ û g L o b K Ñ N Ö k .

M l â o ç È L Ô ´ N l K Ñ ¸ Ò ê Ø ª å p ë o G é u Ø p Ì r ¡ ß L ´ R K M p K b c Å p K M L o K Ñ ß Å « â K Ñ Á L q í g ã q s T L á , K á ä n ç K Ñ T ` p M R ä ê K Ñ h L Ø t R Ø à

¡ ß ¸ å L K Ñ T ê Ü ` d U â S Ù Í à K Ñ h ð K þ K Õ è p K Ü é ã á Ø à Ì t p K Ñ É é ã k K ò Å p â ¥ R ´ Ò û M Ò l Ü L ^ p K þ K Ñ d ¢ L o , â È N Ó m Ñ Î Ì L Ü U ä n ç K Ñ T É ß é R c Í p K ´ Ò û K Ñ ã Õ è L V K ò T d l Q â k â Ñ T ô K â o â M é T ô , Ø D Ì l K K Ñ É ã Ô , K Ü ß L s ß É ã Û È p è N L M T ¢ l è p ä n ç K Ñ T É ß é R K Ñ û k â Ô K g p ü .

K Ñ ¸ p K Ë â g L o © R K Ñ ª p è Ê

Ø » K è p K á ! !

Ä é Ù L S t T Ù p È ã K V K Ñ ß ¯ L Û K Ñ h Ò é Å ê M Ù å L ^ Ù R K ò T ¯ L ä p è à K Ñ ¸ r Ô M L Ñ p ¡ L ¤ â K Ñ Á L q K V K Ñ t L Ø R . .

K Ñ N d p è à . . S ã K ¡ Ó K Ñ T ¯ L ä p K V K Ñ x ¸ N é R K Ñ Á L ¥ N R â K Ñ ã Ä L Ë S l ´ ã K Ñ û " ^ Ù ¸ R K Õ ¡ p K o " * K ò ¸ L o ¥ R S ß l k M L s T Ù p K o K Ñ ¢ Ù U K Ñ ¸ p M ê â K Ñ l â ì K q K þ Ø L è l â o Ø à È Ù » â Ø ` L q o â c x é R ¥ l K Õ M p è L þ K Ñ ¸ r Ô K ò ß L Ø R - â Ì L Õ V K Ü N L þ : - S ã K ¡ Ó È ã K V Ü ¯ L Û @ Ô g Ò é Å R K Ñ ª L G Å ê â K Ñ ¸ ß ¢ p ë ä ` Ù L S å L K Ñ ã c x é R â K Ñ ð M p è R ´ Ò û c x ã k K ò T ¯ L ä p è à K ò t L ò ô í È p ü â Ø l á K Ñ N d p è à Ø t T h l Ø R M n Ñ Î K Ñ p ¡ L ¤ K ò ª L ¬ â È ß L M Ó K Ñ Á L q K Õ Ø ø Ì é R K Ñ t L Ø R K Ñ d l è X R .

Ä É l w å l V K À Ò O K ò ß L © Ê K Ñ N d p è ß é R Ø t L þ A Ø u K Õ â Ô S ã K ¡ Ó K Ñ T ¯ L ä p K V K Ñ x ¸ N é R K Ñ Á L ¥ N R ¥ l K Ñ ß ¯ L Û K Ñ É Ù ¸ ê K Ñ h Ò é Å ê g L ¡ R í K Ñ Ò é Ó , c é Y o Ä » K ò T ¯ L ä p â á w ¸ L o K V S ß l k M L Ñ É Ù » â S ª L Ñ O M L © Ö Ë s p K f

s ` ß L þ K Ñ p A ë â K è É L Ç K ò d L Ì Ù L V K Ñ ¸ t Í p è R . K Ñ û m Ñ Î k ´ U ^ Ù ¸ é R K Ñ ã Ä L Ë K Ñ ã © ß ê K Õ s Ö Ø é R K Ñ û ^ Ù ¸ R c L w l Q S d U w ¸ L o " ^ Ù ¸ R K Õ ¡ p K o " . ü

Ø à ^ L Ü N æ K Ì l Ü L G O K Õ Ø ô K Ñ ¸ L Û Ñ Ò T ` Ù » K Ñ ã © ß ê K Ñ l è Ù É p K © ê í K Ñ N d p è à Ø d Ù l ^ L s Ú K Ñ l o K q ë K á K Ñ x ¸ O K Ñ N d p è ß ê s é t T Ù p í ¡ Ù ã k ç â S ¯ L ä p K S æ â Ø t ø K S æ K Ñ û c ô S d É é Ê Ø ª L Ñ N æ o À Ú Ì Ó K ò D K Ø p K V K Ñ l K g Ò é R â K Ñ h L o ^ é R ¥ l ç .

K Ñ p G é u K c Ù l ë Ü ` L k : ´ Ò é ß L K á Ü ¦ » K è l è ß L M L è l ë

K Ñ N ¸ § Ñ T ã Ä ø 5 o 2 Ø Ò é ã á Ä p ¡ R ´ Ù Ó í K Ñ N Ö k



188

Unfortunately there is no clear-cut statistics on the

circulation of the newspapers in Iran during the closingyears of 70s and through 80s. The tables on circulation of

newspapers and periodicals contain gures since 1993. The

total circulation of the press in 1993 has been 649 copies

that was promoted to 1,280,000,000 copies in 2008 with

an average growth rate of 4.6 percent. A review of this

indicator shows that in 1993 there were 10.9 copies per

year per one person while in 2008, the gure was increased

to 17.6 copies per year. Since the growth in the number of

the press in 1993 is more and faster than the growth in

circulation, we see an imbalance between the per capita

growth in quantity and per capita growth in circulation

of the newspapers and periodicals. In other words, the

growth in quantity of the press is faster than the growth in

circulation of the newspapers and periodicals.1

The number of newsstands also has grown from 2,250 in

1994 to 4,000 in 2008, showing 4.2 percent growth. In

other words, in the year 1994 there were 36.6 newsstands

per a population of one million people. The gure was

promoted to 55.1 newsstands in 2008.1



190

Diagram (3-1): Indicators of the press (newspapers), 1991-2000

Diagram (3-2): Indicators of the press (newspapers), 2001-2008

0

500

1000

1500

2000

2500

3000

3500

4000

19 1 1992

19 93 19 94

1995 199

1997 1

998 1999 2000

T

T

T

T

oa

T

P

T

oe

e number of

blications titl

e number of

blications

e number of

wspaper

e number of

egin pressencies

e n umbero f S

ess

e number of

eign pressporters in iran

s

ales

0

500

1000

1500

2000

2500

3000

3500

4000

4500

5000

2001 2002 2003

TheTheTheTheThe

2004 2

number of punumber of punumber of nenumber of forenumber of sale

005 2006

lications titleslicationsspaper gin press agens press

2007

ies

008 200




5-Movies

Iranian cinema is the cinema of personality.1 In its century-long history, Iranian cinema has put behind

many ups and downs. Theoretically, Iranian cinema can

be divided into two distinct periods. The rst period

begins from introduction of motion pictures in Iran in

1900 until the victory of Islamic Revolution in 1979. The

70s is the decade of growth and ourishing of Iranian

cinema. The second period begins from the victory of

Islamic Revolution in 1979 and marks a distinctive

growth except the early years (until early 80s).1



192

From mid March 1970 until mid March 1979 a total

of 504 lms were screened in the movie theaters. In between the years 1971 and 1976 lm production and

screening reached unprecedented gure of over 80 lms

per year, but in the years 1977 and 1978 production

and screening of Iranian lms decreased. In those years

47 and 18 lms were screened respectively. The crisis

began since 1974 in Iranian cinema reached its pinnacle

in 1976 and continued close to closure of motion

pictures industry and bankruptcy of Iranian cinema. The

crisis happened to a great deal because of the import of

cheap foreign lms of sex and violence. In 1974, there

was a 10% decline in screening certied Iranian lms

in comparison with the year 1973. The downfall trend

continued until the year 1976 so that in the same year

from among 829 screened lms only 7.8 percent or 65

lms were Iranian.1

The combination of foreign lms screened in Iranian

movie theaters between the years 1971 and 1976 shows

the hegemony of Hollywood lms on Iranian motion

pictures market.1




Until 1979 moviegoers were from among all walks of

life. In a general classication, moviegoers in that periodbelonged to two groups: “high class” moviegoers and

“low class” moviegoers with subclasses in each class. The

high class moviegoers fell into two subgroups of regular

moviegoers and the intellectual moviegoers. Low class

moviegoers comprised of people with deep interest in

romantic lms (Persian, Arabic, Indian and Turkish lms)

who used to watch the movies with their families or single

men who watched the foreign action movies alone or in

the company of friends. 1

Iranian cinema in the rst period is concurrent with the

Pahlavi I and II dynasties. It was a new phenomenon

emerged in the traditional but developing society. Such

a new phenomenon was so attractive to the people that

they watched all movies irrespective of theme, script

and inuence on the addressee. In this period, cinematic

industry has completely focused on making cinematic

lms sidelining documentaries, short and experimental

lms. In 70s, lmmaking studios came to being and a

new generation of producers and directors stepped on the



194

scene with artistic tendencies. This helped the moviegoers

nd an aesthetic approach toward the movies. Publicationof cinema books and periodicals played an important role

in promoting public (the youth and students) awareness in

motion pictures. At the threshold of the Islamic Revolution,

Iranian cinema was rich in manpower. Cinema graduates

and those specialized in motion pictures by experience,

found a chance during Islamic Revolution to gain self-

condence and new experiences. The years 1979 until

1983 mark the period when old manifestations of Iranian

cinema automatically become outdated as manifestations

of corruption and prostitution. No lm is shot, movie

theaters are closed and cinema activists wait for a chance.

The post-revolution Iranian cinema was born indeed

in between the years 1983 and 1985. Revolutionary

atmosphere in the society, rapid developments in political

structure of the society, war, and dominance of religious

approaches on art and culture are among the factors

that exert deep inuence on Iranian movies from the

beginning. Post-revolution cinema in Iran can be duly

called the cinema of ethics and personality. 1




The newly found cinema passes behind stages of

development very fast so that today, 30 years after therevolution, we can say that it has gained a brand in world

motion pictures industry for itself. 1

Iranian cinema may be ahead or back from world cinematic

industry due to technology or production and screening,

but it is special and specic in its concept, and the world

recognizes Iranian cinema by its conceptuality. The major

characteristics of national Iranian cinema can be outlined as

the following :1

HIranian cinema is a highly prestigious cinema and at the

same time personality-generating: Modern day Iranian

cinema has its specic social excellence and status. It is not

merely an evening recreation, rather, it possesses religious

and national legitimacy. Cinema activists including

producers, directors, actors and actresses (specially the

actresses who lacked social acceptability in the past and

their art was sinful) are no more accused of moral decay.1

•



196

H Iranian cinema is an ethical cinema with special

status for human relations: Today, ethical criteria govern

Iranian cinema. This cinema reects the paradox and

opposition between the corruptions in social life and

social and religious values in such a way that corruption

fades away in the light of values, rites and rituals,

healthy manners and social ethical behaviors. Today,

moviegoers do not go to the movie theaters to forget

calamities of their life and dream a luxury life in the

ecstasy and hallucination of darkness. Unlike Western

cinema, Iranian cinema is not indifferent to ethics and it

condemns unethical manners.1

H Iranian cinema is the cinema of reality: Modern day

•

•




Iranian cinema represents realities of the society and

tries to solve the social problems in a practical and non-hallucinated way. In other words, Iranian cinema is a

social cinema. The heroes and heroines in this cinema

are ordinary people on the streets with ordinary strength

and weakness. Their heroic conducts are the same as

the behaviors expected from the ordinary people. In

this cinema, the conict between good and bad, noble

and ignoble, egotism and self-denial is logical. In the

mechanism to overcome poverty, bad guys, ignobility

and egotism there is no need for the good, noble and self-

denier to be antagonist rst in order to overcome the bad,

ignoble and egoist. It is the good, noble and self-denial

nature indeed that nally defeats the bad characters. 1

H Iranian cinema is the cinema of love, self-sacrice

and hope: Iranian cinema is today full of outstanding

characters and real heroes who manifest real love,

self-sacrice and hope to life. Such good characters

nally defeat disloyalty, self-respect and wicked

imaginations.1

H The above, therefore, distinguish Iranian cinema from

•

•



198

world cinema. This gives Iranian cinema a deserving

status in the world motion pictures. The Iranian cinema,of course, owes such achievements to the decisions and

policies of the ofcials and activists. Hereunder, we will

outline the major achievements of Iranian cinema within

the past 31 years.1

H Some Achievements in Iranian Cinema:1

Cinema events and festivals

H Participation of Iranian cinema in international

festivals and events

HHome video service

HComputer games

HEducating and training expert manpower H

HCinematic and motion pictures heritage of the nation

HPromoting social excellence of cinema activists

H New cinema equipment and technology

HInstitutionalization of cinema and development of

related infrastructures

HCinema from statistical point of view

There were around 500 active movie theaters before the




Islamic Revolution. The gure fell down sharply to 198

movie theaters in the year 1979. From 1979 until 2009the number of movie theaters increased again to be 239

in 2009, showing 0.59 percent annual growth by average.

During the years after the Islamic Revolution many movie

theaters were built by the private sector at direct and

indirect government supports. During the same period,

many substandard and old movie theaters became closed

and this pushed the gure of active movie theaters down.

According to the statistics on 1979, there was only one

movie theater for a population of 200,000 people. The

gure was decreased to 312 movie theaters in the year

2009. This means that during the years after the victory

of Islamic Revolution the per capita movie going rate in

individuals remained almost unchanged despite duplicity

of population.

The number of Iranian long and short lms entries in

international festivals was increased from 29 cases in

1979 to 1,031 cases in 2007, showing an average annual

growth rate of 13.6 percent.1

Until before 1991, the Islamic Filmmaking Training



200

Center was the only cinema education center in the

country. Since that time the ground was paved for theprivate sector to open educational and training centers

so that three centers were activated in the same year.

Enjoying an annual growth rate of 27 percent, the number

of these centers reached 173 centers in the year 2008.1

The number of moviegoers at the movie theaters is one

of the important indicators in this sector. As it is seen in

Diagram (4) from a population of 48 million people in

1985, almost 75 million people were moviegoers. The

gure fell down to 18 million people in 2009. In 2009,

indeed, from a population of four people only one person

was moviegoer. Various economic problems (ination,

reduced leisure time, unemployment, low-income and the

like) must be also taken into consideration in this respect.

The non-economic factors were depreciation of the majority

of movie theaters, losing their cultural nature, their locality

in inappropriate areas after urban development programs,

emergence of substitute cultural products such as home

video, satellite and Internet, lack of movie theaters in over

450 towns across the country, etc.1




Di a gr am ( 4 ) : Ci n e m a S e c t o

r i n d i c a t or s ,1 9 7 9 -2 0 0 9

S t a t i s t i c s ar e r e l a t

e d t o2 4 0 m o vi e t h e a t e r s .1

S t a t i s t i c s ar e r e l a t e d t o2 2 8 m o vi e t h e a t e r s i n2 0 0 7 .1

A v e r a g

e ann u al gr o w t h h a s b e e n c al c ul a

t e d f r om 1 9 7 9 un t i l 2 0 0 8 .1

A v e r a g


t e d f r om 1 9 8 2 un t i l 2 0 0 8 .1

A v e r a g


t e d f r om 1 9 9 3 un t i l 2 0 0 8 .1

A v e r a g e ann u al gr o w t h h a s b e e n c al c ul a t e d f r om 1 9 9 1 un t i l 2 0 0 8 .1





0

2 0 0

4 0 0

6 0 0

8 0 0

1 0 0 0

1 2 0 0

1 4 0 0

1 6 0 0

1 8 0 0

2 0 0 0

1 9 7 9 1 9 8 1

1 9 8 3 1 9 8 5 1 9 8 7 1 9 8 9 1 9 9 1 1 9 9 3 1 9 9 5 1 9 9 7 1 9 9 9 2 0 0 1 2 0 0 3 2 0 0 5 2 0 0 7 2 0 0 9

t h e n um b e r of c i n e m a s

t h e n um b e r of a u d i e n c e s

t h e n um b e r of p a r t i c i p a t i on

of i r a ni a nm o vi e s i n

f or e i gnf e s t i v a l

t h e n um b e r of pr i v a t e f i l m

s c h o ol s



202

7-Art

Art is one major component and dimension of culture thatis considered as a dynamic, live, changing, developing and

self-rening element. Art plays a key role in cultural identity

of a nation due to its aesthetic properties and inuence.

Music, visual arts, and dramatic arts can establish close

relations with cultural elements due to their nature, and can

reproduce the social and cultural values closely associated

with rich past culture.1

Iranian music has deep connections with mystical concepts

and themes, calligraphy and illumination have deeply rooted

in religious works, painting has deep connections with

ethical, mystical, spiritual and epical literature, traditional




Iranian drama is closely associated with passion play, life

of the Infallible Household of the Prophet (S) and thespiritual life of the people. Other forms of art possess unique

attractions for transmission of religious and humane values

in the history of this land. They are capable of expressing

the ideals, wishes, fears and concerns of people. Art is the

best tool to transfer the ideals that the great reformers of

history, most notably the Prophet of Islam (S), spent their

lives to convey them to humanity.1

Art is rich in historical personality elements, therefore,

it is considered as an important element in production

and reproduction of social identity for a society. Today,

various forms of art can help the society publicize values

among all walks of life, to establish a link between artistic

elements and identity elements, and to promote public

awareness on historical roots or culture and values.1

Post-revolution art, possessing strong civilization and

cultural backup, faced some mighty incidents as the

Islamic Revolution and war. Each of these incidents could

be an endless source to aspirate the artists to produce

valuable works of art. Within the past 32 years, the Islamic



204

Revolution has paved the ground for realization of eye-

catching achievements in the eld of art.1 Islamic Revolution and Popularization of Art

Today, due attention to art and culture is felt more than

ever as a basis for all programs and policies of the Islamic

system of government. The world in the past decade

has experienced extraordinary developments in cultural

activities, function of culture, cultural products and

works, cultural demands, and the speed of transferring

cultural products. The very fast and complicated growth

in information technology has facilitated exchange of

cultural products, and this has given variety to art and

culture products. 1

Before the revolution, works of art and culture were

considered as luxury and auxiliary goods and there

was no need for the general public to use these works.

Therefore, the majority of art addressees were from

among the people in big cities and provincial centers. The

art products distribution centers were chiey focused in

Tehran and a few major cities. 1

After the revolution, however, legitimacy of cultural




activities upon a decree by Imam Khomeini gave a boost

to cultural and artistic productions. Moreover, creationof new cultural and artistic institutions has increased

the demands. Other factors giving a boost to cultural

demand were population growth, increased ofcial and

unofcial trainings, reduced illiteracy rate, increased

centers of higher education, science and culture,

increased urbanization, and development of mass media

and information technology. Intensication of the

social segregation procedure has added to the variety of

works of art and culture. The emergence of new social

groups such as occupational and educational groups,

creation of new jobs, and empowerment of women in

various social activities have all intensied demands

for art and culture works. This has necessitated ever-

increasing development in production and distribution

of art and culture products. One of the major policies

of the Islamic Republic of Iran after the revolution,

specially in closing years of 90s, is to increase art

and culture products according to the principles, rules

and regulations of the Islamic Republic. To that end,



206

the government has supported producers of desirable

products and at the same time supervised all works of art and culture. On the other hand, the government has

delegated the authority of art and culture production

to the private sector to enable production of cultural

products according to public taste and demands. This

procedure necessitated serious attention to production

and distribution of art and culture products. Therefore, the

government offered various subsidies, loans and supports

to the producers of art and culture products to help the

growth in art and culture products. Granting low-interest

loans to art productions, granting subsidies for theater and

music productions, granting subsidies for establishment of

art and culture institutions, and granting subsidies to the

art and culture production companies are among the key

policies that have brought about eye-catching growth in

production of works of art and culture specially since 80s.1

Supporting Art and Culture Activists

Art sector, like other cultural sectors, is in need of material

and spiritual support of the government. Although

hardships and problems make the artists experienced




and their productions more creative, the concerns of

artists and art activists over nancing their programs andmeeting their livelihood are big obstacles to their artistic

and cultural productions. On this basis, art and culture

underwent umbrella coverage of government supports

from the very beginning. In addition to nancial supports,

the government considered some legal facilities and

advantages for the art and culture.1

During the past 32 years, the governments have

supported the cultural sector by various ways and

means such as supporting art and culture festivals and

exhibitions, supporting participation of artists and

creators of works of art and culture in the international

festivals and exhibitions, support music productions,

dramatic and visual arts, and supporting establishment



208

and operation of the non-governmental institutions of

art, culture and music. In addition to regular supports,during the years after the revolution some exclusive

supports were also dened and offered to the activists

and creators of art and culture, a few examples of which

we have brought hereunder:1

1-Realization of tax exemption for cultural and artistic

activities by virtue of Clause L of Article 139 of the

Direct Taxation Act

2-Establishing credit funds for supporting art and

culture activists

3-Implementing Social Security Insurance plan for the

creators of works of art and culture

4-Ratifying and implementing the directive for paying

pensions to the disabled and aged artists

5-Implementing the plan to honor the veteran artists

6-Implementing the plan to evaluate artistic competence

of artists

7-Purchasing works of art

8-Implementing the law to support the authors and

composers




Art from Statistical Point of View

Iranians are known for their history-long art and culture.Visual arts, dramatic arts and music rose to worldly fame

in the course of ages by combining Iranian and Islamic

characteristics to glitter bright in the sky of world art.

Management, promotion and publicizing the collection

of these arts inside and outside the country during the

past 32 years have always been the prime concern of the

policymakers and planners of the nation.1

As it is seen in the Table, art indicators show eye-

catching growth during the years after the revolution. It

is a regret, however, to say that there is no statistics on

art available before the year 1988. There is no record of

artistic productions in between the years 1978 and 1988,

i.e. rst decade after the revolution. This is because of

the eight years of Imposed War when the priority was

defending the country against the enemy and there was

no time for collecting information on the art and culture

productions.1

The number of plays produced with an average annual

growth rate of 10.3 percent, grew from 226 plays in



210

1979 to 3,903 titles in 2008.1

The number of play sequences also shows outstandinggrowth so that the 1,525 sequences belonging to the year

1988 jumped high to 49,044 sequences in the year 2008,

showing an average annual growth rate of 19 percent.1

A review of the per capita production of plays in between

the years 1979 and 2008 shows that the per capita has

moved up from 6.1 titles for each one million population

in 1979 to over 54 titles in 2008. On the other hand the

sequences in 1988 per a hundred thousand people stands

at 2.85 sequences, rising to 67.6 sequences in 2008,

showing 20-fold increase from 1988 until 2008.1

The number of active art galleries rose from

insignicant seven galleries in 1988 to 280 galleries in

2008, showing average annual growth rate of 20.3 percent.

In other words, there were only two art galleries for an

urban population of 10 million people in 1988, while the

gure in 2008 jumped high to 38.6 galleries. This is a sign

of increasing attention to creation of appropriate spaces

for displaying works of art and culture.1

The number of exhibitions held in visual arts rose from




420 exhibitions in 1988 to 1,430 exhibitions in 2008,

showing an average annual growth rate of 6.3 percent.Reviewing pertinent per capita shows that in 1988 there

were 14.4 exhibitions for an urban population of one

million people, while the gure in 2008 has reached

19.7 exhibitions.1

The number of private institutes of art in between the

years 1988 and 2008 grew with an average annual growth

rate of 22.5 percent from 48 institutes in 1988 to 2,778

institutes in 2008. The institute per capita, too, rose from

1.6 institutes in 1988 to 38.3 institutes in 2008 per an

urban population of one million people. 1

This shows the increasing attention to art and training

art as an inuential factor for artistic development on

one hand, privatization of this sector in a bid to help

growing trend of the artists toward dynamic and extensive

activities, transfer of the experience and knowledge from

the veteran artists to the enthusiastic youth.1



212

Diagram (5): Art Trends Indicators, 1979-1990

Diagram (5-1): Art Trends Indicators, 1991-2000

0

5000

10000

15000

20000

25000

30000

35000

1991 1992 1993 1994 1995 1996 1997 1998 1999 2000

the number of produced plays &

shows

the number of plays performance

the number of art galeries

the number of foreign art groups

participation in iran

0

500

1000

1500

2000

2500

1979 1981 1983 1985 1987 1989

the number of produced

plays & shows

the number of plays

performance

the number of art galeries

the number of foreign art

groups participation in

iranthe number of art fairs

held in art galleries and

centers




0

1 0 0 0 0

2 0 0 0 0

3 0 0 0 0

4 0 0 0 0

5 0 0 0 0

6 0 0 0 0

2 0 0 1

2 0 0 2

2 0 0 3

2 0 0 4

2 0 0 5

2 0 0 6

2 0 0 7

2 0 0 8

2 0 0 9

t h e n um b e r of pr o d u c e d pl a y s &

s h o w s

t h e n um b e r of pl a y s p e r f or m an c e

t h e n um b e r of ar t g al l e r i e s

t h e n um b e r of f or e i gn ar t gr o u p s

p ar t i c i p a t i oni ni r an

t h e n um b e r of ar t f ai r s h e l d i n ar t

g al e r i e s i ni r an

t h e n um b e r of ar t i n s t i t u t e s

.Th e a v e r a g e ann u al gr o w t h r a t e h a s

b e e n c al c ul a t e d f r om

1 9 8 8 t o2 0 0 8



1 9 7 9 t o2 0 0 8



1 9 9 8 t o2 0 0 8



1 9 8 9 t o2 0 0 8

Th e

a v e r a g e ann u al gr o w t h r a t e h a s b

e e n c al c ul a t e d f r om

1 9 9 1 t o2 0 0 8

Di a gr a

m ( 5 -2 ) : Ar t Tr e n d s I n d i c a t or s i n b e t w e e n t h e Y e ar s 2 0 0 1 an d 2 0 0 8



214

Conclusion

Culture is the breathing room for a society. The major ideal

of Iranian nation is to reach a brave, pious, happy, optimistic,

justice-seeking, self-condent, indefatigable, pioneer and

self-sacricing society. Culture is the best tool for realizing

all these higher objectives. (Part of the Supreme Leader’s

remarks in his visit to the members of the Supreme Council

of Cultural Revolution, Dec. 8, 2007)1

In order to realize these objectives, other economic,

social and political systems move in tandem with cultural

sector. The cultural development of the country will bring

sovereignty for the nation in all other areas and sectors.

With respect to the signicance of culture, the Islamic

Republic of Iran has worked for all-out development

in cultural sector, in addition to leading development

in other sectors, to promote the dissemination of the

message of Islamic Republic of Iran in the region and

in the world.1

In some indicators such as the press, books, religious

knowledge, the growth is fast in comparison with the




developed nations. With respect to the Islamic awakening

in the region during the recent months, the importance of culture and its inuence on the developments can be the

strong point for the Muslim nations. 1

Source

hhReport of the Research for Supreme Council of the

Cultural Revolution, May 22, 2011



216

achievements of islamic republic of iran 3

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