Abstract
The 6th Bahman Museum was inaugurated in February 1977/ Bahman 1355 within the Shahyad Complex (present-day Azadi Complex). This institution represented one of the Pahlavi regime’s broader cultural initiatives aimed at promoting the White Revolution, alongside other instruments such as publications, state-sponsored celebrations, and commemorative events. This study investigates the formation and underlying objectives of the 6th Bahman Museum within the context of the Pahlavi state's efforts to disseminate the ideological foundations of the White Revolution. By analyzing the museum’s architectural and exhibition design, the research explores its relationship to the regime’s broader memory politics and strategies for legitimizing its rule.
Employing a descriptive-analytical methodology, this study draws upon primary sources, including official correspondence, contracts, photographs, and library-based materials. The findings suggest that the establishment of museums such as the 6th Bahman was a deliberate attempt by the Pahlavi regime to construct an official historical narrative, promote its ideological agenda, and shape collective memory. Through the use of cutting-edge audiovisual technologies and modern display techniques, the Museum sought to forge a symbolic link between Iran’s illustrious past and the Pahlavi vision of a “Great Civilization,” thus disseminating selective narratives aligned with state propaganda.
Keywords: Memory, Cultural policy, Politics of Memory, Pahlavi, Sixth Bahman Museum, White Revolution.
 
Introduction
During the Pahlavi era, cultural policy played a significant role in the country's modernization and development, aiming to create a modern national identity and showcase the glory of Iran's ancient civilization. During the late Pahlavi, cultural policies continued more intensively and became more promotional. The late Pahlavi government sought to strengthen royal ideology and Iranian national identity through national celebrations, publications, and large-scale cultural programs. For example, the 2500-year anniversary of the Persian Empire, the coronation celebrations, the Shiraz Arts Festival, and the change of the official calendar from the solar to the imperial calendar were efforts to create an official history and shape the collective memory desired by the government.
The construction of museums was also one of the most important aspects of cultural policies during this period. These museums not only displayed the history of Iran but also sought to solidify the national identity promoted by the Pahlavi regime. The number of museums established during the Pahlavi period was large and included various museums in Tehran and other cities in Iran. However, many of these museums have not been studied, and the formation and exhibition sections of these museums are not clearly analysed. One of these museums was the 6th Bahman Museum, which was opened in Bahman 1355/ February 1977 during the 50th anniversary of the Pahlavi dynasty at the Shahyad complex (now Azadi).
This research examines the reasons behind the establishment of this museum and analyzes its design and the way exhibits were arranged. By studying these elements, the study seeks to understand how the government used the museum to create an official historical narrative. This study provides insights into how cultural institutions can be used to shape collective memory and political legitimacy.
 
Materials & Methods
The research uses a descriptive and analytical approach, examining a wide range of reliable sources such as official letters, contracts, historical photos, and other archival materials. It also draws from secondary sources like contemporary newspapers, official catalogs, and reports. This thorough approach provides an accurate and detailed understanding of the topic.
Discussion & Result
The findings of this research show that the 6^th Bahman Museum was not merely a cultural or artistic space but was deeply connected to the ideological goals of the Pahlavi government. The museum was part of a broader effort to construct an official version of history that justified the monarchy’s rule. The Pahlavi government used museums to highlight the achievements of the White Revolution which included land reforms, industrial growth, and improvements in education. Through exhibits and multimedia presentations, the 6th Bahman museum tried to show the revolution as a major turning point in Iran’s history.
One of the key features of the museum was its use of modern exhibition methods, such as audio-visual technology and multimedia presentations. These innovations were not only intended to educate visitors but also to create an immersive experience that reinforced the government’s historical narrative. By presenting a selective view of Iran’s past, the museum emphasized the connection between the ancient Persian Empire and the Pahlavi dynasty, suggesting that the monarchy was the rightful continuation of Iran’s historical legacy. The objects displayed in the museum were chosen carefully to support this narrative. Artifacts and exhibits highlighted strong, centralized rulers from Iran’s past, drawing a parallel between them and the Pahlavi monarchy. This selective storytelling omitted alternative perspectives or historical complexities that might have contradicted the government’s message.
 
Conclusion
The Shahyad Complex subtly symbolized the Shah and his ideology, presenting itself as a gateway to the so-called “Great Civilization.” The museums within the complex, decorated with official displays and symbols, became tools of state propaganda and were used to promote the regime’s ideas. The Pahlavi government aimed to legitimize its rule by selectively representing Iran’s past and shaping historical narratives. By linking itself to 2,500 years of monarchy, the regime tried to present itself as the rightful heir to Iran’s imperial legacy and influence collective memory. The opening of certain museums was part of this cultural strategy—for example, the Shahyad Museum, which opened during the 2,500-year celebrations, and the 6th Bahman Museum, which was inaugurated on the 50th anniversary of the Pahlavi dynasty. These efforts reflected the regime’s attempt to create an official version of history through museums and to shape collective memory. In this sense, the museums were instrumental in implementing the Pahlavi regime’s cultural policies, acting as tools of state propaganda and vehicles for its selective historical narratives.
The Shahyad Complex and its museums were built using the most advanced technologies of the time in terms of design, construction, and exhibition. They symbolized both progress and a fusion of modern and traditional elements during the Pahlavi era. The complex was an attempt to bridge Iran’s glorious past with the Pahlavi vision of a “Great Civilization.” Accordingly, the Shahyad Museum was organized into three historical periods: pre-Islamic, post-Islamic, and the Pahlavi era, displaying Pahlavi-era artifacts alongside items from the other two significant historical epochs.
Five years later, the 6th of Bahman Museum was added to the complex to serve as a cultural institution promoting the history of the White Revolution, a movement considered to reflect the Shah’s ideals and a catalyst for sweeping social and cultural change. This museum sought to link the ideology of the White Revolution with the ideology of Iran’s illustrious past. However, with the Islamic Revolution occurring just two years after the opening of the 6th Bahman Museum, the Shahyad Complex was renamed the Azadi (Freedom) Cultural Complex. The museums were consolidated into a single institution, continuing to operate but with modifications to their interior design and displayed artifacts, reflecting the new regime’s vision.