A Study of the Wall Painting in Mawadat House, Yazd, through Gérard Genette’s Theories of Intertextuality and Hypertextuality

Introduction
This article addresses the conceptual and formal continuity between certain key components of modern and pre-modern art, as manifested in the development of conceptual art in Iran. It identifies three specific components - namely, the epistemological function of art, the priority of the idea over form, and the deconstruction of the concept of medium - that exhibit a remarkable degree of persistence across seemingly disparate artistic paradigms. Drawing upon examples from both Western and Iranian contexts, the article argues that these components, often assumed to be exclusive features of modernist and postmodernist art, in fact have deeper historical roots and reappear in various ways in the conceptual tendencies of contemporary Iranian art.
Methodology
The first part of the study is devoted to examining the intellectual foundations of conceptual art, particularly as they emerged in the West in the late 1960s. It highlights the influence of linguistic theory, analytical philosophy, and institutional critique in shaping the idea that the ‘idea’ or ‘concept’ of the artwork takes precedence over its material manifestation. This theoretical background is then compared to analogous tendencies in pre-modern Islamic art, particularly the emphasis on metaphysical knowledge, symbolic meaning, and conceptual construction found in the Persianate artistic tradition. The article thus demonstrates that the precedence of meaning over form is not an entirely modern invention, but rather a feature that has long been embedded in certain artistic practices and philosophies.
Findings
The second component under consideration - the epistemological function of art - is explored through a comparative analysis of Western conceptual works and traditional Iranian artworks. While modern conceptual art frequently challenges the viewer’s assumptions and reframes art as a vehicle of inquiry rather than representation, a similar epistemological dimension is evident in Persian miniature painting, calligraphy, and architecture. These art forms often served as visual manifestations of theological, cosmological, or philosophical knowledge, thereby aligning artistic creation with cognitive and intellectual objectives. Through this comparison, the article highlights a shared emphasis on the capacity of art to produce knowledge, whether through conceptual abstraction or through the formal elaboration of metaphysical truths.
The third aspect - medium deconstruction - is approached through the lens of both historical transformations in Western art and the flexible approach to materials and techniques in Iranian artistic traditions. Conceptual art’s tendency to challenge traditional definitions of painting, sculpture, and objecthood finds parallels in Islamic and Iranian artistic practices that resist rigid media classifications. Examples include the hybrid nature of Persian manuscripts (which combine text, image, and ornament), the spatial fluidity of architectural decoration, and the performative aspect of certain religious or poetic visual forms. This deconstruction of medium allows for a richer understanding of how form and content interact in both modern and traditional artistic expressions.
To substantiate its claims, the article presents close readings of selected works by contemporary Iranian conceptual artists and interprets them within the broader historical and philosophical framework outlined above. In doing so, it avoids the reductionist view that sees Iranian conceptual art merely as a local imitation of Western models. Instead, it argues for a nuanced understanding of artistic modernity in Iran - one that acknowledges both the global circulation of ideas and the persistence of indigenous conceptual traditions.
Conclusion
By situating contemporary conceptual art within a longue durée perspective, the article opens a space for rethinking the genealogies of artistic thought in Iran and challenges the dichotomy between tradition and innovation. It suggests that the dynamics of Iranian conceptual art are not adequately captured by a simple narrative of Western influence, but rather reflect a complex interplay of historical continuities, cultural translations, and creative reinterpretations. This framework may offer a productive model for understanding other non-Western art practices that engage with conceptual strategies while drawing upon localized forms of knowledge and expression.
In conclusion, the article posits that conceptual art in Iran does not represent a rupture with the past, but rather a continuation and reconfiguration of long-standing artistic concerns. The three components it identifies - epistemological orientation, conceptual primacy, and medium deconstruction - form a coherent set of tendencies that persist across time and geography. Recognizing these continuities allows for a deeper appreciation of the intellectual and cultural specificity of Iranian contemporary art and contributes to broader discussions on the global dimensions of conceptualism.