Why do not we have space to display a “4500 year old” work in the National Museum of Iran?

Of the 350,000 pieces and artifacts in the National Museum’s repository, less than one percent are on display. Why do works such as the 4,500-year-old pottery found in the Burnt City and thousands of other ancient artifacts have no space for public display?

According to IRNA’s cultural correspondent, a video of the visit of the Minister of Cultural Heritage, Tourism and Handicrafts to the National Museum of Iran has been shared on social media since yesterday, which shows a 4,500-year-old pottery vessel in the National Museum repository. Stored. Although the audience criticized Ezatullah Zarghami’s treatment of this valuable historical object, the question is, why is such a work kept in a repository and has no place to be displayed in a museum?

The pottery seen in the hands of the Minister of Cultural Heritage is a 10 cm high cup that was used for drinking on a pedestal, according to archaeologists. Excavations have been discovered in the burned city around 2001. This area is the remnants of the ancient city government in Iran, which is located 30 km south of the city of Mohammadabad, the capital of Hamoon city, on the Zabul-Zahedan road in Sistan and Baluchestan province.

After examining this historical object, archaeologists found that the inscription on the cup, unlike other artifacts from the historical sites of the burnt city, has a purposeful repetition, showing the movement of a goat towards a tree. The artist who used the earthenware cup as his canvas, was able to design a goat in five movements, which moves towards the tree and feeds on its leaves.

By bringing these images together, archaeologists were able to obtain a sample of a moving image in the form of a 20-second film. The goat is one of the animals that is skilled in reaching heights and can jump upwards by jumping.

No such image has ever been seen in prehistoric times, and this image was first found in the burned city. Of course, in many dishes there are shapes that are just repetitive and do not show any movement in them, but research has shown that this role is the oldest idea of ​​the ancient people to present a moving image and in today’s interpretation animation or animation.

People are right

The 4,500-year-old earthenware cup is one of the 350,000 registered pieces that the Minister of Cultural Heritage says. “It will reach a million.”

“Part of the valuable treasure in the tanks is the capacity of an independent specialized museum,” Zarghami said. “People have the right to be aware of their precious possessions.” Meanwhile, Jibril Nokandeh, director of the National Museum of Iran, believes that “by observing professional protocols and rules, it is possible to make public exhibitions possible throughout the country.”

In 2003, the government passed a resolution to preserve the National Garden complex (Maidan Mashkh) with a cultural approach with a legal license in the form of cultural and historical axis of Tehran, in order to develop the Museum of Ancient Iran, relocation and transfer of government buildings and property within the project. The cooperation of the relevant executive bodies took place and last year in the twelfth government of the Ministry of Cultural Heritage, Tourism and Handicrafts, according to the opinions of the representatives of the relevant bodies, he proposed the former National Library building and the former police palace building, which is now part of Building No. (9) The Ministry of Foreign Affairs should be assigned to the National Museum of Iran.

The development plan of the National Museum of Iran should be revived until the exercise square

Reza Dabirinejad, a museum management expert and director of the Malek Museum, says: “The number of objects in the National Museum’s repository and the possibility of displaying it is more than 100 times that of the objects on display.” In the original plan of Andre Godard (French architect of the National Museum of Iran) in 1311, the area of ​​the National Museum of Iran was the size of the entire exercise square at that time and its building was supposed to face the former police station, which is now the Ministry of Foreign Affairs. Of course, the first Pahlavi at that time opposed the area of ​​the plan and limited it. “The building of this museum is only enough for 10 years with the growth of archeology,” Andre Godard wrote in the final letter of the National Museum.

The head of the Malek National Museum considered it necessary to pay attention to the major issues of museums and the museum industry and said: “The development of the National Museum of Iran has been neglected for years and we have not been able to improve the area in terms of size and capability.” Maidan-e-Mashk, which has been approved by the Council of Ministers since 2003, has been neglected.

In the historical context of Tehran and around the National Museum of Iran, it is not possible to build a new building. I believe that the revival of the development plan of the National Museum of Iran up to Maidan Mashkh can make this museum competitive with the major museums in the region. If this happens, we can have the Louvre Museum in Iran.

The National Museum of Iran is the national honor and dignity of all of us

Dabirinejad pointed to the close competition between the countries of the region in the field of cultural heritage and museum management and said that neighboring countries such as Qatar, UAE and Kuwait open large museums such as the Louvre in Abu Dhabi or the Museum of Islamic Art in Qatar by borrowing and renting works from other countries. That Iran with this rich cultural capital that has always been a civilization in the world and the region; It does not pay attention to the display of historical monuments and the development of its museums.

The National Museum is the national honor and dignity of all of us and has nothing to do only with the Ministry of Cultural Heritage. Public sensitivity to historical monuments is valuable, but the neglected issues of the National Museum of Iran should be demanded. It should not be touched. It is important to follow the rules and instructions.

The director of the National Museum of Property stated: The Ministry of Cultural Heritage should note that the type and level of people’s demand for historical monuments and objects has changed, and now is the time to expand the National Museum and standardize and enhance the facilities of the National Museum. And the exhibition facilities should be developed and more works should be exposed to the public.

Intrusive visits to museum repositories continue

Dabirinejad, referring to the increasing sensitivity of public opinion to historical and cultural issues despite social networks and cyberspace, said: Shows the condition of the National Museum repositories has been improved and reorganized. On the other hand, an intrusive visit to the museum’s repository is a good thing because the condition of the works is monitored and requires the repository to be ready for acceptance at any time, and where exactly the historical objects are, and this process must be repeated regularly.

The director of the Malik Museum pointed out: Dealing with a historical object is subject to protocols based on the material of the object, contact with a pottery object with a manuscript is very different; Access to the work of the reservoir museums should be in the presence of the museum director and the trustee of the property and collector of objects to give protective warnings. As an expert, I trust the experts and specialists present at the scene who have given the necessary warnings to the visitor.