The deeply shallow minded people have taken over our beloved homeland (vatan)

What has befallen my country*,
that the petty and the destitute have descended upon
our cultural, historical, and architectural symbols?”

بر کشورم چه رفته است*

 که کم مایگان و بی مایگان هجوم آورده اند

بر نمادهای فرهنگی و تاریخی و معماری ما

In reaction to the news about the proposal to demolish the memorial Monument of Hakeem Omar Khayyam Nishapuri

Ali Kiafar, PhD, REFP**

It is widely known by now, especially in the circles of those with a genuine attachment to Iran and Iranian identity, the biased and nonsense call for the demolition of the memorial of the great philosopher, mathematician, astronomer and poet Omar Khayyam in Nishapur. It does not matter whether the person advocating this atrocity is the city’s Friday prayer leader or a low-ranking cleric. What is crucial is the presence of such thoughts among individuals who seem to have emerged from the thousand years caves, those who cannot tolerate the happiness of the people or the celebration of Nowruz near the tomb of one of the foundational figures of knowledge and art, a symbol of Iranian identity — even with a distinctly Arabic name. The claim that the proximity of this structure to the tomb of an imamzadeh causes neglect to the tomb is nothing more than a pretext. The true issue here lies in the conflict between nationalism and religiosity. It is a rejection of Iranian identity, enmity with Iran-ness, being Iranian and not a purely religious person, a disparity between knowledge and ignorance, whether intentional or not.

If there are those — and undoubtedly, there are tens of thousands, if not millions — who are unaware of the significant qualities of the memorial monument of one of Iran’s greatest figures, a brief review of such qualities might enlighten eyes and hearts and make minds aware of the richness of this significant monument. What follows are some highlights of the distinctive characteristics of Khayyam’s monument in Nishapur, located in north -east Iran as expressed by its designer and creator, the late Houshang Seyhoun, a dean and for decades professor of architecture at the Tehran University’s College of Fine Arts, part of which was education of architecture, in an interview with the author some years ago.

Note: to avoid verbosity, certain questions and answers have been shortened.

Kiafar – Architect Seyhoun, in the memorials you have designed and built, one of the most prominent features, in my view, that stands out in all of them is their Iranian identity: Iranian architecture, Iranian motifs, the colors and scents, even the atmosphere of Iran, and Iranian culture. I would like to ask a simple question, though one that encompasses a broad range of topics about your architecture. If you were to design a memorial monument for a great poet, a painter or a mathematician — whether an Iranian, Persian speaker, or a non-Iranian, but outside of Iran, would you design it similar to the memorials you have designed and created in Iran? I am asking this question mainly because the architecture of the monuments designed by you speaks the language of your architectural style, doesn’t it?

Seyhoun – I would not. There, because we were in Iran (when I designed them), it was the Iranian atmosphere that gave rise to that feeling. I tell you; I am in love with Iran. What I did, I did for Iran, not for myself, not for self-display. I wanted to bring pride to Iran, and in that pride, I wanted to share in some way (with others, with the world).

Kiafar – Again, from my perspective, you haven’t just considered the specific architectural elements of Iran, or what we call our traditional architecture, but as far as possible, you’ve incorporated what best serves the cultural and climatic needs of our homeland in your work. In which of your projects is this feature most apparent?

Seyhoun – Two of my works, the tombs, one for Khayyam and one for Nader (Shah Afshar), are the projects where this is most evident. Both of these works have been developed in great detail and align with what I have desired and envisioned.

Kiafar – Could you please share some of the design features of Khayyam’s monument?

Seyhoun – Khayyam had three important roles. Apart from other roles he played, these three were the most significant. Firstly, he was an incredibly great mathematician, who introduced concepts in mathematics that no one had done before. Later, the Europeans followed in his footsteps. Secondly, in astronomy, Khayyam made extraordinary contributions, such as the calendar we still use today (in Iran), which is a legacy of Khayyam and was unparalleled. Lastly, Khayyam was a highly distinguished figure in literature, particularly in his quatrains (Rubaiyat), where he stood out among the greatest. The design of the monument is based on these three main aspects of Khayyam’s life (I took these elements into account in the design of his tomb).

First Principle: Introduction and Characterization with Architectural and Numerical Elements

The tomb of Khayyam was located in a garden. In the northeastern corner of the burned imamzadeh, right next to it, was Khayyam’s grave. That is to say, if you were to build a structure (there for Khayyam), you would have two buildings adjacent to one another. Khayyam’s wish (as expressed in Four Articles by Arouzi) was that his tomb be placed in a location where, in the spring season, flower petals would fall onto his tomb. I thought this shouldn’t be a point of contention. I came and saw that there was a longitudinal axis in the garden, and the imamzadeh was located along this axis. I asked myself: where should I place the tomb? I considered that if I placed Khayyam’s tomb along this axis, there would be a contradiction between the imamzadeh and Khayyam’s monument. Additionally, Khayyam wanted flowers to fall on his grave in the spring. So, what should be done? I decided to construct a transverse axis, perpendicular to the longitudinal one, which would be at the entrance of the garden. From there, one could access both Khayyam’s monument and a series of subsidiary buildings required for the location, such as a guesthouse, library, meeting hall, dining area, and similar spaces. I positioned these on the northern side of this transverse axis. However, the most interesting and, in my opinion, the best location for Khayyam’s monument was where I chose a point along the axis where it intersects with a three-meter elevation difference. Above this elevation, apple and pear trees had been planted. All of them bloom in the spring and overlook Khayyam’s tomb. Therefore, flower petals would fall on Khayyam’s grave when they blossom.

To achieve this, I envisioned ten columns, each of which would have two blades moving upward in such a way that at the points of intersection, they would create a geometric form, ultimately curving around and extending to the opposite side.

Second Principle: Khayyam, Mathematics, and Astronomy

The number ten is one of the fundamental mathematical numbers and is a distinctive feature of Khayyam’s identity as a mathematician. Therefore, the architect incorporates number ten into the design. The inclined blades that rise create a specific geometric form, intricately designed, so that the horizontal lines, which will be installed on the walls, must intersect with the vertical axis of the structure. This itself requires a particular mathematical formula — a combination of geometry and mathematics. Thus, this element answers to Khayyam’s mathematics. As the blades rise, they intersect with each other, forming shapes. A ten-pointed star emerges, open between the lines, and the sky of Nishapur is visible through it. This star symbolizes ancient astronomy. Furthermore, when looking at the entire composition, it is undeniably a traditional Iranian design, meaning the form that arises is rooted in traditional Iranian patterns.

Third Principle: Khayyam and Literature

The large forms created are ten diamonds, and at the intersections of these diamonds, which are each about fourteen to fifteen meters in height, the quatrains (Rubaiyat) of Khayyam are inscribed in Nastaliq calligraphy, in broken Nastaliq style, surrounded by these diamonds. This calligraphy is similar to the work of Morteza Abdolrasoul, the author of the black writing style. It also bears an abstract Iranian quality because the lines are interwoven. At the same time, Khayyam’s quatrains are employed as part of the design.

Kiafar -As yu have noted to me before, “This is the first time that anyone has used broken Nastaliq calligraphy in an Iranian building.”

Seyhoun – Yes, that is correct.

Kiafar -Mohandes Seyhoun, we know that when the memorial monument for Khayyam was constructed, there was no building on the site — only a simple gravestone in an entirely open space, a neglected grave. Before the construction of Khayyam’s monument, this Iranian figure, with his immense genius in various fields, was not widely recognized, especially outside of Iran. How did the idea of erecting a memorial for Khayyam, similar in spirit to the monument of Ferdowsi—not in terms of size, but in the sense of honoring Khayyam—come about?

Seyhoun – When the National Heritage Society decided to celebrate the thousandth anniversary of Ferdowsi’s birth during the reign of Reza Shah Pahlavi, they also planned to build a monument for him. It was decided to invite scholars and orientalists from around the world to come to Iran. They would go to Tus (the small city where Ferdowsi is buried) to inaugurate the monument of Ferdowsi, and on the way back to Tehran, they would visit Khayyam’s grave, where a ceremony, speeches, and an introduction to Khayyam would take place. Fitzgerald, who had translated Khayyam’s Rubaiyat into English, was the one who made Khayyam known to the Western world. His translation, which captured his own understanding of Khayyam’s quatrains, was published as poetry, and this was a significant contribution to Iran. Until then, Khayyam was largely unknown abroad, but after Fitzgerald’s work, Khayyam became an extraordinary symbol for Europeans and Americans alike.

Kiafar – Let’s emphasize that the role of Reza Shah Pahlavi in introducing Khayyam to the world and in the idea of creating and then building a memorial monument for him should not be forgotten.

Seyhoun – Yes, that is true. Reza Shah realized that now that Khayyam had attracted international attention, it would be inappropriate for those visiting to see Khayyam’s grave as nothing more than a small gravestone beside the imamzadeh. How could they (the outsider scholars) believe this was the Khayyam they had heard so much about with such grandeur? Therefore, the monument of Khayyam had to be constructed urgently. So, they hastily built a column-like structure, about two to three meters tall, using regional stone, and placed it at that spot. This was also a good gesture, a respectful homage to Khayyam.

Kiafar -This event occurred after you had already designed and built other memorials. Isn’t that correct?

Seyhoun – Yes, it was after I had built the monuments of Nader and Avicenna that the National Heritage Society thought about doing something for Khayyam. During the construction of Nader’s monument, we also started Khayyam’s monument. After Nader’s monument was completed, Khayyam’s monument was finished.

Kiafar -Another important aspect of the design of this monument is the use of numbers that are historically and culturally significant in Iranian philosophy, mythology, and tradition, numbers such as 7 and 9. With great insight by you, these well-known mathematical numbers were incorporated into the design. Mathematical factors like 4, 8, 16, and 32 were used.

Seyhoun –In the Khayyam monument itself, we created a semicircle around the circular tower, all made from Iranian stone. The building was heavily influenced by geometry. Once again, this relates to the geometry and mathematics of Khayyam. Additionally, there are seven pools, from which water flows; the pools are triangular in shape, with turquoise tiles on the bottoms. The number 7 refers to the seven heavens in astronomy, as per Khayyam’s contributions. Moreover, the forms above each pool are geometrically designed to evoke the image of a tent. To some extent, they resemble a tent. Why a tent? Because Khayyam’s father was a tent maker, which is where Khayyam’s name is derived. So, this design serves two purposes: it answers to the meaning of Khayyam’s name and also reflects Khayyam’s work in astronomy.

Kiafar -When you were asked to design and build Khayyam’s monument, did you already know the details of his life, or did you research it before beginning the design?

Seyhoun – Not only did I study Khayyam’s life, but I also carefully studied the lives of all the figures for whom I designed memorial monuments before I even began sketching the designs. I read their biographies in detail to understand who they were, and then based on that knowledge, I began the design process. Otherwise, how could I have understood who they truly were?

Kiafar -Aghay e Mohandes, without any undue flattering, I strongly believe that this perspective and thought process in the field of design and architecture, especially when it comes to creating a monument or a memorial structure for a historical figure, is one that imbues architecture with the same profound and timeless meaning as the figure itself. Even for that reason alone, your work deserves deep respect. As a student of architecture for decades I truly salute you for what you have done.

Seyhoun – Thank you very much.

Final Words: How could anyone even consider, let alone act on, the destruction of such a noble structure that encompasses such profound ideas, unless…

*A Quote from the beginning of a poem by Saeed Soltanpour

** Ali Kiafar is an Architect, Urban Planner, and University Professo