In the heart of the night, the sound of sirens passes through the sleeping cities. The sky is on fire, walls tremble, and the silence of homes is shattered. War, this merciless word, has once again awakened from the slumber of history and cast its shadow over the lives of humans. But amidst the ruins, behind the ashes, in the silence of shelters or on the walls of half-destroyed streets, a fresh color emerges. A trace of resistance, a silent scream, or an image that tells the truth, this is where “art” begins…

Wars continue in our world, from the bloody fields of Palestine and Ukraine, to the bombing of Tehran in the early mornings of spring 1404. But what is often forgotten is the role of art in the heart of these crises. Does art simply become a spectator during times of war? Or does it become one of the most powerful voices of protest? Can it heal wounds or simply document them? And most importantly, how can art uncover a truth that politics has hidden?

This article is an attempt to answer these questions. A journey between history and modern times, between Iran and the world, from Gernika by Picasso to graffiti on the walls of Tehran, from the silence of women warriors to the screams of exiled painters, from deep suffering to enduring creations, not just for remembrance, but for resistance. Because perhaps in a world where war still persists, nothing tells the truth as directly and unfiltered as art. In a world where the line between politics, pain, and media is blurred day by day, perhaps no question is as important as this: What is the role of art in confronting war? And we are in pursuit of seeing how wounds have turned into colors…

1- Art and War: Histories of Aesthetic Resistance.

War, from the earliest days of the formation of civilizations, has not only been a political and human reality, but also an artistic concept. The cave paintings of Lascaux in France, depicting scenes of hunting and battle, are the first evidence of the connection between violence and artistic expression. From that time until today, war has not only been a subject of art, but at times has also been a catalyst for the formation of movements and new languages in art.

During the Middle Ages and the Renaissance, battles were depicted in religious and historical paintings, sometimes as a symbol of good and evil, and other times to glorify the bravery of kings. But with the modernization of wars, the artistic narrative of battle also changed. There was no longer any mention of the glory of warriors, what stood out was destruction, fear, sorrow, and the senselessness of war. Perhaps one of the earliest examples of this transformation is the collection “The Disasters of War” by Francisco Goya, which in the early 19th century, with a sharp and bitter gaze, depicted the suffering of the Spanish people during the occupation of Napoleon. In these works, war has no heroes, no victors. They are only victims whose faces are filled with terror and helplessness.

In the twentieth century, two world wars transformed art in unprecedented ways. Otto Dix, a German artist who had fought in World War I himself, depicted haunting scenes in his works, with contorted bodies, wide-eyed stares, and nightmarish landscapes filled with trenches. His works, along with many others, were a testament to the fact that the artist not only witnesses war, but also lives it and portrays their suffering through their art.

Another example is the famous painting “Guernica” by Pablo Picasso, a artistic response to the bombing of the city of Guernica during the Spanish Civil War. “Guernica” has a symbolic and non-realistic language, but its impact was so strong and global that it became a symbol of artistic protest against war. In it, a bull, a horse, a child in the arms of a mother, and a light bulb, all come together in a chaotic and angry composition, depicting chaos, terror, and a silent scream.

From these very experiences, in the middle of the 20th century, movements such as Expressionism, Dadaism, and Conceptual Art emerged, each in its own way, as a direct or indirect response to the horrors of war. Art was no longer for beauty, but rather for protest, criticism, and recording the truth.

Today, with the expansion of visual and digital media, war still exists in art; in photographs, installations, films, performances, and even city murals. Contemporary artists, using new forms, still speak loudly about the wounds that bombs and tanks have left on the human body and collective memory. This historical connection between war and art provides a platform for a deeper look at the Iranian experience of this relationship, where war, revolution, and resistance have continuously provided opportunities for the birth of new artistic languages.

2- Iran in Flames: Art, Revolution, and War in the Middle East.

The Iranian experience of war is not limited to the battlefield alone, but it is deeply rooted in the fabric of life, historical memory, and visual culture of this land. In the past half century, Iran has witnessed three major upheavals: the 1957 revolution, the eight-year war with Iraq, and decades of political and military tensions both within and beyond its borders. Each of these events has left a profound mark on the artistic landscape of Iran.

Revolution and Redefining the Narrative.

In the years before and after the 1957 revolution, Iranian art witnessed a transformation in its conceptual understanding. Revolutionary imagery, posters, murals, and street photographs were a significant part of the visual memory of the people. Artists drew inspiration from Iranian visual traditions, from calligraphy and miniature painting to café paintings, to depict new concepts such as martyrdom, resistance, nation, and salvation. While this art initially carried the revolutionary fervor, it soon became a tool for ideological propaganda. At the same time, independent artists who distanced themselves from official representation attempted to narrate other layers of the revolution experience, such as suffering, division, exile, and hope. Filmmakers like Mohsen Makhmalbaf and Rakshan Bani-Etemad, with a critical approach, tried to depict these complex experiences.

The Iran-Iraq War: From Heroism to Trauma.

The eight-year war with Iraq is a major wound on contemporary Iranian history. This war, which began with heroic and idealistic slogans, ultimately resulted in destruction, poverty, displacement, and a collective memory mixed with blood. In the early years, the official art of war, known as “Sacred Defense Art,” served to narrate martyrs and enemies, borders and faith. Paintings with shining martyrs, flags, divine lights, and smiling fighters quickly emerged in the media and exhibitions. But beneath this official layer, there were other artists who depicted the war not as a victory, but as bitter and unforgettable human experiences. In the paintings of Aidin Aghdashloo or Bahman Mohasses, war was more a symbol of destruction than a national narrative. The works of photographers like Kaveh Golestan and independent documentary films revealed the hidden reality of war, the non-heroic faces of people, displacement, disability, and the silence after the explosion. Since then, generations

Middle East: Parallel Wars, Simultaneous Narratives.

The experience of Iran cannot be understood without its connection to the political and cultural landscape of the Middle East. Palestine, Afghanistan, Iraq, Syria, and Lebanon, each have scenes of structural violence, occupation, and resistance. Iranian artists, both within the country and in diaspora, alongside their Arab, Afghan, and Kurdish counterparts, are creating a visual memory of the region, an art that often escapes official filters and finds its way through independent media, digital spaces, and international exhibitions. Within these experiences, the language of art in Iran is not only a response to war, but also a response to official narratives, censorship, and imposed silence.

3- Women, War, and Art: From Martyrdom to Courage.

In official narratives of war, women are often on the sidelines of the image: the mother of a martyr, the wife of a fighter, the tired nurse, or the weeping figure in the camera frame. But in reality, the presence of women in the belly of war is much more complex, active, and multi-layered, both on the battlefield and in the field of storytelling. Art is one of the few spaces where women have been able to use it to tell their personal, collective, and historical experiences of war.

Iranian Women in War: Hidden and Concealed.

During the Iran-Iraq war, thousands of women were not only witnesses, but also active participants. From volunteer nurses on the front lines to women displaced from border regions, from mothers who sent their children off to war to women who shouldered the burden of war through support, provision, and care. However, the voices of many of these women were either not heard in official war narratives or were limited to one-dimensional and symbolic representations. In official war art, women were often portrayed as sacred, tearful, or martyr-like; images that, while respectful, were far from the complex and grounded reality of Iranian women during the war. Nevertheless, some female artists attempted to break out of this frame.

The voice of female artists: Images of pain, resilience, and redefinition.

Among the artists who have focused on the experience of women in war, exile, oppression, and resistance, we can mention Rakhshan Bani-Etemad. Films such as “Gilan” by Rakhshan Bani-Etemad or “Track 143” by Narges Abyar not only reflect the aftermath of war, but also show the tension between collective memory and official silence.

Shirin Nashat, an Iranian immigrant artist, places women in the midst of cultural, political, and religious conflicts in her works. Although her pieces do not directly address the Iran-Iraq war, violence, power, control over women’s bodies, and resistance are deeply present in them. Images of women with veils, weapons, calligraphy on their skin, ambiguous gazes full of protest, move on the border between beauty and threat.

Niloufar Bani Sadr, using a combination of various media, from painting to installation, creates personal narratives of war, displacement, and migration. Her works are filled with fragmented images of women in the midst of history and politics, telling the story of a woman who is both a witness, a victim, and a narrator.

Women in Contemporary Art of War: From East to West.

The experience of women in war is not limited to Iran. In the works of artists from Lebanon, Syria, Afghanistan, Ukraine, and Palestine, women are seen as symbols of resilience, trauma, and courage. In Palestinian art, the image of women is not only portrayed as a mother or martyr, but also as a fighter, activist, and preserver of national identity. In all of these works, war is not just a tragedy, but also a platform for redefining feminine identity, the power of expression, and standing against historical erasure and humiliation. In the art of war, women are no longer just subjects for others to look at, but also active observers, creators, and keepers of memories.

4- Art in Exile and Migration: Wounds beyond Borders.

War and violence not only affect the land and homes, but also deeply transform the lives and identities of artists. Thousands of Iranian artists were forced to leave their homeland in the years following the revolution, war, and political tensions, and in exile and migration, they were confronted with fresh wounds and new artistic narratives.

Exile is like a lived and creative experience.

Exile, contrary to common belief, is not just separation from one’s land, but rather complex confrontations with identity, belonging, and memory. Iranian artists who have settled in Western countries, the Middle East, or other parts of the world, have attempted to depict the wounds of war and exile and redefine their multi-layered identity through various artistic languages.

Narratives of migration and war in artistic works.

Works of artists such as Farhad Moshiri, Kazem Chalipa, Hossein Khorshrojerdi, Morteza Katouzian, Iran Darroudi, Hossein Kazemi, Habibollah Sadeghi, Abdolhamid Ghadirian, Niloufar Benisadr, and many others, are prominent examples of confronting wars. They not only depict pain and memories, but also introduce new forms and languages to the world of art through these experiences. In these works, the image of Iran is not just a war-torn land, but a space of resistance, hope, and deep human connections. Some artists use photography and video, some incorporate painting and collage, and some even combine poetry and music in their art.

The role of new media and digital space.

Social media and digital platforms have given immigrant artists the opportunity to reach a wider audience and create global networks of solidarity. This has been especially crucial during times of war and political crises, allowing for independent and unmediated representation and storytelling.

5- Walls that speak: Street art, graffiti, and protest art.

Wars and political crises are not always reflected in the official discourse and government media. In many cases, the walls of cities, streets, and public spaces become a platform for protest and free expression. Street art and graffiti, especially in war-torn areas and countries with severe political restrictions, have become a non-verbal language for people and artists.

In Iran, after the war and in recent years, graffiti and street art have grown, especially in Tehran and big cities. This art, which is often created underground and with high risk, has provided spaces for expressing protest against war, violence, oppression, and injustice. Images of women removing their veils, innocent children, and anti-war symbols can be seen on city walls. Additionally, in the Middle East, Palestinian graffiti on separation walls and Syrian and Lebanese murals are prominent examples of resistance art and expression of the pain of war. These works often remain anonymous and visually depict the voice of the masses. Street art and war; a reflection of pain and hope in the heart of these murals. War is not only seen as a tragedy, but also as a subject for hope, reconstruction, and the return of peace. Slogans, symbols, and colorful images are evidence of the people’s deep desire for an end to violence and a return to life.

Graffiti and street art are the language of a new generation of art, especially among young people. It is a tool for connecting with the world, critiquing current conditions, and expressing independent identity. Street art, unlike formal art and museums, is alive, current, and accessible, and has the ability to adapt and update itself with social and political changes.

Can art stop war?

The fundamental question and challenge is: Is art merely a reflection of war, or can it be an effective agent in preventing it? Does the language of art have the power to change mindsets and policies? Or can it only be a silent witness to atrocities?

Historical experiences have shown that art can play an important role in increasing public awareness and inspiring empathy. Works such as Picasso’s “Guernica” or photographs of the Vietnam War captured global attention and even had an impact on policies. Art can serve as a bridge between victims and spectators, helping to better understand pain and suffering. However, art is always presented within specific political and social frameworks and may be censored or confiscated by those in power. In many cases, state-sponsored art has helped strengthen official narratives and legitimize wars. Additionally, the impact of art on structural changes in wars and policies is limited and slow. On the other hand, resistance art, especially underground and independent art, has been able to bring the voices of the voiceless to the attention of the world and play a role in challenging oppressive regimes. This type of art has sometimes helped bring about small or large political changes alongside social movements.

Buttocks.

In the end, it can be said that art does not stop war itself, nor can it offer a political solution, but it can pave the way for cultural and social changes by representing the truth, preserving collective memory, and inspiring empathy. Wars may end, but their effects remain on the lives of individuals, collective memory, and art. “Art” not only records the wounds that war leaves behind, but also brings them to life through color, shape, and sound. These wounds, though painful, bridge the gap between the past and the future, between silence and screams, between forgetting and remembering.

In Iran, where war and resistance are an inseparable part of history and identity of the people, art still remains as a powerful and unmediated voice to express pain, hope, and protest. Women, exiled artists, street graffiti artists, and new generations each in their own way color these wounds and present fresh narratives of war. Perhaps the greatest power of art in the midst of war lies in its ability to reveal hidden truths, truths that politicians try to conceal. And in a world where violence and war continue to repeat, art serves as a reminder that no real wound is ever forgotten and no voice remains silent forever.