TEHRAN- Iranian graffiti artist, painter, and journalist Seyyed Ali Mirfattah has unveiled his latest work, a portrait dedicated to Martyr Leader of the Islamic Revolution Ayatollah Seyyed Ali Khamenei.

Accompanying the artwork, Mirfattah released a personal essay that reveals the evolution of his artistic and intellectual journey.
 
In his accompanying essay, Mirfattah offers introspection about his position as an intellectual and artist navigating between tradition and modernity. 

"I used to quietly paint for myself and for the small circle of like-minded friends," Mirfattah writes. "I painted rhinos, birds, trees, monkeys, zebras, horses, and camels. Any intelligent and educated person who viewed my work would soon identify traces of Eugène Ionesco, Buddha, and other great thinkers and philosophers woven into my forms, symbols, and colors."
  
The essay describes Mirfattah's past as a self-proclaimed intellectual who engaged with literary giants such as J.D. Salinger, Fyodor Dostoyevsky, Ernest Hemingway, Saadi, and Rumi from his Tehran studio.

"Just three weeks ago, I sat in my studio disregarding world affairs, discussing literature with friends," he states. Mirfattah describes a dramatic shift triggered by regional events he refers to as the rise of the unskillful and clumsy son of the deposed Shah and the cunning Zionist leader, whom he portrays as threatening Iran's sovereignty and security.

"What did they want?" Mirfattah asks. "They want to set Iran, our dear country, on fire. They want to destroy our lovely and beautiful world and then dance on our corpses."

He criticizes what he describes as Western hypocrisy and colonial attitudes, noting that some intellectuals "kiss the oil barrel" while exposing their "animal and colonial nature."

Despite confessing his attraction to Western thought, Mirfattah emphasizes his commitment to remaining connected to Iranian and Islamic tradition.

"I admit that I am intellectually connected to the world of intellectuals," he writes. "But I am also aware of my 'West-struck' nature. Thank God, thanks to the Islamic Revolution, I have not completely abandoned my roots and have not fallen out of the orbit of Iran and Islam." He expresses gratitude for the invisible but strong chains that have kept him from fully abandoning tradition. 

Mirfattah concludes that he can no longer remain a passive observer in the face of national challenges. "I spent years in my small and peaceful world without quarrel," he states. "But their bomb has landed in the middle of our Iftar table."

The artist then confronts the question of whether an intellectual can remain passive in the face of existential threats to their nation. "How can we still hold cinema classes and literary criticism," he asks, "and spin nonsense about our grievances with the political system? We are living beings, and we have no choice but to take a stand relative to external conditions and defend our individual and collective dignity and existence." 

"When a forest catches fire," he writes, "even the blind worms beneath the earth change their situation to stand on the right side of history, according to their understanding." He acknowledges the role of external events in catalyzing this change, describing how the actions of certain political figures from abroad have compelled him to emerge "from my intellectual cocoon." He states that he becomes “the pure-hearted youth who, even if at the end of the line, stands beside the defenders of the homeland and becomes part of the army of Islam."

He makes clear that if Israel were to launch an attack, he would join the homeland defenders to defend Iran despite his limitations. "Shame on me if I were only good at painting and a little literature," he writes, "for these days, what does a country need?" He acknowledges his inability to contribute in more direct ways to the nation's defense but commits to not becoming a burden on the hearts of the people and the country and instead striving to be an aid to the courageous defenders of Iran.

He expresses his pride in standing alongside his Iranian brothers and sisters, calling upon God to strengthen the "Front of Truth and this axis of resistance." He ends with a reference to a Quranic promise, "indeed We have granted you a manifest victory," expressing hope in its fulfillment.

Mirfattah is mostly known for his activities in the field of journalism. He started his career as a journalist at Soureh Weekly. He had worked as an editor in that magazine as well as other magazines such as Mehr, Negah, Kargadan, as well as Roozegar and Etemad dailies. 

In addition to journalism, he has also authored several books and worked as a screenwriter. As an artist, he has many experiences in the field of graphic design, including the poster design for several Iranian movies.

Following the coordinated U.S.- Israeli attack on February 28, which targeted key national facilities in Iran, Ayatollah Seyyed Ali Khamenei, the Leader of the Islamic Revolution, was martyred. Ayatollah Mojtaba Khamenei has since been appointed as the new Leader by the Assembly of Experts. 

The tragedy extended beyond political leadership to civilian infrastructure. In one of the most devastating attacks, Shajareh Tayyebah elementary school in Minab, Hormozgan Province, was struck, resulting in the martyrdom of 168 children and 95 injuries. These strikes destroyed numerous homes while directly targeting cultural and educational centers.

These attacks caused irreparable damage to residential and cultural areas across Iran. Many schools, theaters, libraries, and cultural institutions were either completely destroyed or heavily damaged. Iranian families in cities like Minab, Tehran, Isfahan, Hamedan, Tabriz and other regions have faced the devastation of home destruction and the loss of loved ones. Despite this, the spirit of resistance and resilience among the Iranian people has been strengthened. The ongoing efforts to rebuild and preserve the country's cultural heritage continue.

Operation "True Promise 4" has been launched in response and will continue until the defeat of enemies. The operation stands as a symbol of Iran's response to foreign aggression and demonstrates the national determination to defend territorial integrity.

SAB/