Less than two centuries after Afghanistan separated from Iran, the country has now successfully registered “Behzad-style miniature painting”—a cornerstone of Iranian art, culture, and identity—under its own name on UNESCO’s list. This move has sparked a wave of concern, criticism, and questions among Iran’s artistic and heritage communities. Can a shared cultural heritage be recognized without the consent of its historical homeland? Why has Iran repeatedly witnessed parts of its historical and cultural memory being detached from their natural continuity?
At the 20th session of the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, Afghanistan officially registered “Behzad-style miniature painting” solely under its name. The nomination was initially submitted by Afghanistan in 2021.
This decision has provoked strong reactions in Iran. Alireza Izadi, Director General of the Office for the Registration of Historical Monuments and the Preservation and Revitalization of Intangible and Natural Heritage at the Ministry of Cultural Heritage, Tourism, and Handicrafts, told ISNA that “if Afghanistan seeks to register a school under the name ‘Behzad/Herat School,’ it must come to the table with us and obtain Iran’s consent.”
Izadi clarified: “The reality is that much of the cultural heritage in this region shares common roots. Iran, Afghanistan, and Tajikistan all emerged within a broad civilizational sphere, so it is natural that many cultural elements overlap. However, in today’s context, we cannot claim ‘absolute ownership’ over such heritage. For instance, it is not accurate to say that carpets belong exclusively to one country. A design found in Kunduz, Afghanistan, might resemble patterns from Turkmenistan or from Turkmen regions of Iran. These similarities reflect historical connections, which deserve respect.”
On the subject of painting, he added: “We honor Kamal-ud-Din Behzad and recognize his importance, but Iranian painting has already been inscribed at UNESCO under the title ‘Iranian Painting.’ We submitted the global dossier and it was officially registered. If Afghanistan wishes to register a school under this style, UNESCO will ask them for details about its origin and geographic roots.”
Izadi emphasized: “Iranian painting is officially registered under Iran’s name. If Afghanistan wants to register a school as the ‘Behzad/Herat School,’ it must come to the table with us and obtain Iran’s approval. This is similar to the case of the rebab. When Iran sought to register the rebab, UNESCO required that Afghanistan’s consent be obtained. Negotiations led to a joint registration, which was ideal. Instruments like the rebab or the oud can be recognized by multiple countries, helping to reduce political tensions and promote cultural understanding. We need to adjust our approach—our influence has limits, but collaboration is key.”
Izadi emphasized: “Afghanistan can note under our ‘Iranian Painting’ dossier that this style is also practiced in their country. However, what truly belongs to Iran—Behzad’s work, with its unique forms and characteristics—cannot be registered without acknowledging Iran. Just as Nastaliq script cannot be separated from Iran, registering Thuluth script would require consulting Iraq and Saudi Arabia. Likewise, if Saudi Arabia ever sought to register Nastaliq, they would need Iran’s input. These matters are governed by established rules and interpretations that must be addressed through negotiation. UNESCO, for its part, does not seek to create tension.”
Previously, in 1399 (2020/2021), Iran had jointly registered Iranian miniature painting with Turkey, Azerbaijan, and Uzbekistan at the 15th session of UNESCO’s Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage. Now, Behzad-style miniature painting has been added to UNESCO’s list solely under Afghanistan’s name, without any recognition of Iran.
