Abstract Focused on modern and contemporary Iranian visual culture, this article traces the shifts from an institutionalised high art ethos under the Pahlavi dynasty to a hegemonic, yet, populist-amateur cultural environment after the Iranian Revolution of 1979. By raising questions about the (dis)position of populism, amateurism, and people-made art in the streets, cemeteries, and public parks of the Islamic Republic, it proposes that, however defined and labelled, contemporary Iranian art cannot be properly understood without addressing the art historical and dialectic co-dependence of street kitsch and closeted avant-garde. In Iran, subversive art can hardly be grasped without the beauty of fake flowers.

中文翻译：

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业余美学作为伊朗殉难的国家叙事

摘要 本文着眼于现代和当代伊朗视觉文化，追溯了 1979 年伊朗革命后从巴列维王朝制度化的高雅艺术精神到霸权但又是民粹主义的业余文化环境的转变。 ) 民粹主义、业余主义和人造艺术在伊斯兰共和国的街道、墓地和公园中的地位，它提出，无论如何定义和标记，如果不解决艺术历史和辩证法问题，就无法正确理解当代伊朗艺术。 -对街头媚俗和封闭前卫的依赖。在伊朗，如果没有假花的美，就很难掌握颠覆性的艺术。