Draft:Sayyed Morteza Avini
| Sayyed Morteza Avini | |
|---|---|
 | |
| Name | Sayyed Morteza Avini |
| Other Names | Kamran
|
| Personal Details | |
| Birth Place | City of Rey, south of Tehran |
| Brith Date | 12 September 1947 (CE) |
| Death Place | Fakkeh
|
| Death Date | 9 April 1993 (CE) |
| Religion | Islam |
Sayyed Morteza Avini was a documentary filmmaker, photographer, journalist, writer, and theorist of Islamic cinema, and the director and writer of the documentary series Ravayat-e Fath. He achieved martyrdom on 9 April 1993 (CE), while filming in the Fakkeh region of Khuzestan Province, due to a landmine explosion. His body was buried on 11 April 1993 (CE) in the Behesht-e Zahra Martyrs Cemetery, with the attendance of Supreme Leader Khamenei, artists, and writers.
Biography
Sayyed Morteza Avini was born on 12 September 1947 (CE), in the City of Rey, south of Tehran, into a Muslim middle-class family.
Education
He completed his elementary and guidance school periods in Zanjan, Kerman, and Tehran, and entered university in 1965 (CE). He graduated with a master's degree in architecture from the University of Tehran.
Artistic Activities
During the Iranian Revolution, Avini began his artistic activity as a documentary film director and was considered one of the prominent war filmmakers. He made over 80 films about the Iran–Iraq War and invented main filming methods, depicting the esoteric aspect of the Iran–Iraq War based on the mystical thought of Shia. Most of his works were dedicated to reflecting the Basiji fighters' perception of the war and their role in it. His most famous work is the Ravayat-e Fath documentary series, which was filmed during the Iran–Iraq War.
Works
Ravayat-e Fath
Ravayat-e Fath was a lifelong documentary of the Iran–Iraq War that focused on the daily lives of Iranian soldiers. The series consisted of five seasons and addressed the spiritual aspects of the war. The film depicted a lifelong spiritual experience through its ideological narrative.
Theoretical Works
Articles
He wrote a series of articles in Surah magazine criticizing Western civilization, a topic that later attracted the attention of his film (Sarab).
Selected Films
- Six Days in Turkmen Sahra;
- Khuzestan Flood;
- Khan Gazideh-ha;
- Truth;
- With Dr. Jihad in Bashagard;
- Seven Stories from Baluchestan;
- With Al-Mahdi Brigade in Ras-al-Bishah Axis;
- Men of God! Karbala is Waiting;
- A City in the Sky.
Books
- Everyone Except Himself;
- Magic Mirror;
- Development and Foundations of Western Civilization;
- Heavenly Treasure;
- A Lasting Experience;
- Another Tomorrow;
- Snails Carrying Their Homes;
- Resurrection of the Soul;
- A Beginning to an End;
- Conquest of Blood;
- The Imam and the Esoteric Life of Man;
- Speak to Me, Dukuhah;
- Center of the Sky;
- Breeze of Life;
- Journey to the Land of Light;
- Infitar-e Surat (On the Theoretical Foundations of Art).
Martyrdom
Sayyed Morteza Avini achieved martyrdom on 9 April 1993 (CE), while filming in the Fakkeh region of Khuzestan Province, due to a landmine explosion. His body was buried on 11 April 1993 (CE) with the attendance of Supreme Leader , artists, and writers, and was interred in the Behesht-e Zahra Martyrs Cemetery[1].
Naming of Martyrdom Day
Imam Khamenei declared Avini as "Sayyed of the Martyrs of the Pen" after his martyrdom, and on the occasion of his martyrdom, the 20th day of Farvardin was named "Islamic Revolution Art Day" in honor of him in the calendar of Islamic Republic of Iran[2].
Notes
References
Martyr Avini According to Imam Khamenei
They should not allow his works (Martyr Avini) to remain unfinished. These works were valuable. It appears he possessed a very high capacity, enabling him to perform so much work so well. Particularly, this Ravayat-e Fath is a very important thing. I used to listen to it on the nights it was broadcast. Apparently, no more than three or four episodes were aired.
Now, one issue is how to utilize the work he has done and which is ready and available. Another issue is that the work should continue. At that time when we requested these gentlemen and I insisted that this Ravayat-e Fath should continue, I did not know exactly how it would continue. Later, when the programmes were aired, we saw that this was it. That is, reviving the values of the Sacred Defense in memories. Drawing out those memories one by one from tongues. And depicting them visually and recreating that war atmosphere. This was the work he was doing. And the further it progressed, the better it became. That is, it became more mature. Because it was unprecedented work. It was different from going to the battlefield and talking to the fighters. That work was much easier. This work was more artistic and difficult and required more intellectual and artistic effort. He started it first, and then gradually it became better and more mature. I guess if he had remained alive and continued, this work would have reached great heights. Now too, this programme must be pursued. Moreover, it is not limited to this field alone. That is, recreating that atmosphere through memories is one of the tasks. Regarding the war and continuing Ravayat-e Fath, other works might also be done. It is a pity that this work should be discontinued. I was very happy to have met you[1].
See also
Notes
References
- A Brief Biography of the Martyr, Website of the Shahid Avini Cultural-Artistic Institute of Thought, Publication date: n.d., Access date: 9 April 2025 (CE).
- Familiarity with the Biography of Martyr Morteza Avini, Website of the Cultural and Artistic Institute of Payam-e Azadegan, Publication date: n.d., Access date: 9 April 2025 (CE).