Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.

中文翻译：

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为了莫哈斯，为了墙

摘要 “致 Mohasses，为墙”是 Jalal Al-e Ahmad 于 1964 年撰写的一篇文章，他是当时最具影响力和魅力的伊朗知识分子之一。在写这篇文章的三年前，Al-e Ahmad 发表了 Weststruckness，讨论了伊朗人对西方的依赖造成的文化疏离。在“To Mohasses, For the Wall”中，Al-e Ahmad 将他的分析转向伊朗绘画，认为 1960 年代的伊朗画家只是重复西方的文化进程和策略，而不是构建伊朗的文化进程和策略。艾哈迈德论证的背景是巴列维政权快速现代化的激进计划，该计划在艺术领域得到了系统的扩展。批评的、挑衅的或有问题的，这篇文章提供了一个重要的窗口，让我们了解伊朗画家在 1960 年代采用西方风格的现代主义，以及了解像 Al-e Ahmad 这样的“内部”知识分子如何在他认为的批评背景之前评估伊朗艺术的现代化忽视伊朗传统。这篇文章是写给 Bahman Mohasses 的，他是一位画家，Al-e Ahmad 认为他是少数没有被沙阿政权的文化政策收编的画家之一。