Extended Abstract
Introduction: Artistic creation has always been shaped by its sociocultural context, serving as a mirror reflecting the spirit and ideological frameworks of its time. In Iran, the emergence of Coffeehouse painting (naghashi-ghahvehkhanei) at the turn of the 20th century coincided with deep social transitions—from the Qajar to the Pahlavi era—and the encounter between religious tradition and modernizing forces. This study examines the works of Mohammad Modabber, one of the most prominent pioneers of Coffeehouse painting, with a focus on how Shi'a religious discourse functions as the dominant organizing logic in his artworks. The research aims to explore the role of religious discourse not only as thematic content but also as a hegemonic structure that governs meaning-making, identity construction, and resistance against rival discourses.
Methods: This study employs a qualitative, interpretive methodology grounded in the discourse theory of Ernesto Laclau and Chantal Mouffe. The research draws upon library-based data, visual analysis, and theoretical frameworks to examine selected paintings by Modabber—especially those depicting the Battle of Karbala and related Shi'a narratives of the day of Ashura. By identifying key signifiers (nodal points), discursive binaries, and strategies of "othering," the study aims to reveal how religious discourse is visually and semantically articulated   in his paintings                                                                                                                                    .          
Results: The analysis demonstrates that in Modabber’s work, Shi'a religious discourse operates as a hegemonic system that shapes both the form and content of the paintings. Central signifiers such as martyrdom, injustice, and divine resistance are repeatedly emphasized and visually magnified. The characters are divided into sacred (imams, martyrs, loyal companions) and profane (enemies, traitors), constructing clear moral dichotomies such as good vs. evil, oppressed vs. oppressor, and loyalty vs. betrayal. These oppositions are reinforced through compositional elements, facial expressions, symbolism, and narrative sequencing. Religious discourse in Modabber’s work not only represents historical events but also constructs a collective Shi'a identity by rooting the viewers in familiar emotive, ethical, and cultural registers. His paintings act as visual sermons, offering moral clarity and cultural continuity.                                                                                                                
Discussion: Modabber’s art must be understood as a discursive response to a historical moment when traditional religious structures were being marginalized by modern state ideologies. In this transitional era—spanning the late Qajar and early Pahlavi periods—religion became a refuge for collective memory and identity, particularly among the lower and traditional classes. Modabber’s paintings emerge from this context as acts of ideological resistance: through repetition of symbolic scenes, use of shared emotional codes, and strategic visual othering, they consolidate religious discourse as a dominant framework. His art does not merely depict; it performs. It mobilizes discourse to counter the pressures of modernization and secularism, reaffirming the Shi'a worldview as a source of spiritual and social authority. Ultimately, Modabber’s work exemplifies how religious discourse can shape not only the thematic content of art but also its narrative logic, form, and political function. His Coffeehouse paintings are thus not passive reflections but active instruments in sustaining and transmitting hegemonic Shi'a identity.