The Iranian Culture and Conflicts in Satrapi’s Persepolis
Satrapi is able to capture the Iranian culture and conflicts at the heart of Persepolis through her use of elements of ancient Persian art. Iranian culture is a culture of adaptability. Although Iran has been conquered time and time again, it has remained true to its roots despite changing and absorbing elements of its many conquering cultures By juxtaposing ancient figures and design principles with more modern, cartoonish design elements throughout the novel, Satrapi is able to express the idea of “old versus new” in Iran, which is central to the plot of the book. She includes figures of ancient kings such as Darius I from ancient Persia alongside more modern figures of Reza Shah to show an evolving Iran that is still deeply rooted in its rich past despite the efforts of the Shah.
Satrapi also uses patterning and symmetry to express the religious conflict at the heart of the book. In ancient Persia, the use of patterns expressed the idea of infinity and was an attempt by man to mirror the infinite power of Allah. In addition, because the patterns are infinite. they also convey a sense of freedom. Because those in opposition to the oppressive government and fundamentalist restrictions are always drawn in patterned clothing, Satrapi conveys their sense of increased freedom and united power in protest. As well as patterns, symmetry was also used in ancient Persia to convey the power and perfection of Allah This is used throughout the book to represent Marji's gradual loss of her previous na‘i‘veté and her gradual awakening to the true state in Iran.
As a child, Marji saw everything in black and white. There was heavy use of shadowing in the panels here, symbolizing her idealistic worldview. In addition, most panels are perfectly symmetrical, conveying the sense that Marji perceives the world around her to be perfect and flawless. As the plot progresses, Marji loses that previous innocence. and the art style of the panels changes as a result. The panels are no longer divided as sharply between black and white, and the patterns present start displaying subtle flaws and asymmetry. Marji has finally lost her idealistic worldview and is able to see the true conflict and instability present all around her.
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