Ali Mirfattah’s ‘Immortal Name of Homeland’: Stunning Wall Murals in Tehran Honor Martyrs

In the wake of the recent 12-day conflict between Iran and Israel, renowned graffiti artist and journalist Seyyed Ali Mirfattah has unveiled a powerful new collection of stencil art that pays tribute to the martyrs of the Zionist regime’s attacks on Iran. This poignant initiative has transformed the walls of Tehran into a canvas of remembrance, highlighting the emotional impact of the conflict on Iranian society.

At 58 years old, Mirfattah, who hails from Tehran, has a rich background in painting and graphic design. His new project, titled “Immortal Name of Homeland,” aims to honor those who bravely defended their country during the recent attacks. After securing permission from the Tehran Beautification Organization, Mirfattah began adorning the city with images that symbolize resilience and national pride.

Speaking with the Tehran Times, Mirfattah elaborated on the inspiration behind his collection:

“Sometimes we feel useless and powerless. At certain points in life, we think that everything we know is of no use. On the morning of June 13, when the Israelis suddenly attacked Iran, those who were in air defense, in the army and IRGC, in medical services and firefighting—everyone stood up and helped the country and people. But I had this bad feeling: ‘What can I do right now? What good is painting?’ That sense of helplessness brings disappointment with it. Then I remembered that back in my youth, during the eight-year Iran-Iraq war, I used to paint portraits of martyrs, Imam Khomeini, and martyred commanders on the city walls. So, I decided to do the same thing again.”

The artist has already completed a significant number of works, with 17 images of martyrs painted across Tehran. However, he faces challenges in compiling a comprehensive database of images, as many martyrs’ portraits are still missing. With the assistance of friends and fellow journalists, efforts are underway to gather images of approximately 200 martyrs to ensure their legacies are honored appropriately.

Mirfattah also shared his vision for a dedicated memorial wall in the city, aptly named “Immortal Name of Homeland.” He noted:

“In collaboration with the Tehran Beautification Organization, it has been decided to dedicate one wall in the city as ‘Immortal Name of Homeland,’ where the images of all the martyrs will be painted and remain as a memorial. Right now, we are in the process of finding a suitable location for it.”

One of these impactful locations includes the University of Tehran, where Mirfattah painted life-sized images of two martyred commanders on the entrance columns. He aimed to create a connection between the martyrs and the citizens of Tehran:

“I tried not to let this work become a ceremonial and routine act. That’s why I avoided just painting portraits. I tried to find full-length figures of the martyrs and paint them life-sized, with minimal colors, and without symbols, so that when citizens walk on the sidewalk and see them, they feel like they are seeing another citizen, someone just like themselves, equal and at their level.”

The technique Mirfattah employs has evolved over the years. He explained:

“After the (1979 Islamic) Revolution, I used stencils. Back then, we made images on discarded X-ray films with a razor blade, and I had become skilled at that. Now, I’ve found a suitable plastic sheet and turned it into stencils. Most of the work is done in the studio, and when I go to the street, it only takes the time to install the stencils, apply the paint, and wait for it to dry—it doesn’t take long.”

Looking toward the future, Mirfattah expressed his desire to share his stencils with artists beyond Tehran, encouraging them to create similar artworks in their own cities. This initiative aims to inspire a wider appreciation for mural art and its significance in cultural expression.

Feedback from the public has been overwhelmingly positive, with many expressing their support on social media. Mirfattah noted:

“Some of the feedback has been on social media, where people showed a lot of kindness. Interestingly, people from different walks of life and with different tastes, both Iranians inside and outside the country, who have national pride and love for the homeland, all showed affection.”

The artist emphasized the role of murals in enhancing urban aesthetics, particularly in a city like Tehran, which has faced significant architectural challenges. He stated:

“Since I have a background in journalism and have specifically worked on Tehran, with two books published, I can say that we have several serious problems in Tehran, including architectural ones. The aesthetics of Tehran are problematic, caused by many factors. From a certain period, the city’s aesthetics and architecture went astray.”

Mirfattah believes that the city needs a proper visual identity and advocates for the inclusion of skilled painters and architects to create meaningful murals that reflect the culture and history of Tehran. He cited examples from around the world where murals are celebrated for their artistic value, such as in Paris, New York, and Mexico City.

Reflecting on the potential of the new generation of artists, Mirfattah expressed optimism about their contributions:

“Every generation shows its capacities and talents when tested. Just as the generation of artists during the 1979 Islamic Revolution and 1980-1988 Iran-Iraq war showed bravery and heroism, in this 12-day war too, we saw glimpses of the new generation.”

In conclusion, Seyyed Ali Mirfattah’s stencil art collection serves as a poignant reminder of sacrifice and resilience in the face of adversity. His dedication to honoring the martyrs through public art not only enriches the cultural landscape of Tehran but also fosters a sense of unity and pride among its citizens.