The Changing Landscapes of Iranian Art: Tehran Auction As a Mirror

Abstract Tehran Auction, established in 2012, rose to prominence during a period of severe international sanctions, economic instability, and institutional fragility in Iran. The auction represents a turning point in the evolution of Iranian art, in which its value increasingly aligns with luxury goods, a change that reflects a broader semi-neoliberal transformation in Iranian cultural policy. To analyze this shift, this article draws on concepts such as symbolic capital (Bourdieu), institutional theory (Dickie), and aesthetic politics (Rancière) to trace how market pricing mechanisms shape artistic legitimacy in Iran. Particular reference is made to paintings by Sohrab Sepehri, which have achieved the highest sales in the history of Tehran Auction. It is argued that his paintings function as markers of status, enhancing collectors’ cultural capital. This phenomenon mirrors the role of luxury brands in Tehran, where material possessions signal social distinction.