نقش جهان؛ شکوه فرهنگی نصف جهان

“Naqsh-e Jahan” Square, as one of the most prominent cultural and historical symbols of Iran, has consistently attracted the attention of researchers in the fields of cultural sociology and art history. Inspired by the theoretical framework of cultural sociologists such as Roland Barthes, this article seeks to analyze Naqsh-e Jahan Square not merely as an architectural monument but as a living narrative that intertwines politics, religion, economy, and art throughout Iranian history. The primary aim of this study is to propose a model for the globalization of Iran’s historical heritage through the production of refined cultural and literary texts—an approach that, akin to the successful experience of the Eiffel Tower in France, could transform Naqsh-e Jahan Square into a global cultural icon. The findings reveal that Naqsh-e Jahan Square transcends its architectural significance to embody the historical and cultural identity of the Iranian nation, an identity shaped by major historical events, the coexistence of diverse religions and ethnicities, and the splendor of Iranian-Islamic art and architecture. This article underscores the necessity of literary and sociological narration for the global branding and introduction of Iran’s historical monuments and positions Naqsh-e Jahan Square as an exemplary manifestation of the unparalleled capacities of Iran’s cultural heritage.