Introduction: Art biennials, particularly within the Iranian visual arts landscape, function as more than temporary exhibition spaces; they serve as significant institutional mechanisms for the production, consolidation, and reproduction of artistic meaning, national identity, and cultural values. These events constitute discursive arenas in which the boundaries of what is considered legitimate art are established, negotiated, and maintained. Among such institutional events, the Iranian Miniature Painting (Negārgarī) Biennials occupy a distinctive and often contested position, situated at the intersection of a deeply rooted pictorial tradition and the complex, sometimes conflicting, demands of the contemporary art world. The central question, however, concerns how these biennials operate as institutional mechanisms. Drawing on the theoretical framework of social constructionism, this study proceeds from the premise that the meaning and identity of contemporary miniature painting are not inherent properties of artworks but are socially constructed through institutional practices, including selection procedures, curatorial decisions, and official evaluation criteria. The Fifth Iranian Miniature Painting Biennial provides a critical case through which to examine this process. This research analyzes how the institutional mechanisms of the Fifth Biennial contributed to constructing, consolidating, and reinforcing particular definitions of miniature painting, thereby shaping the development of this medium within the contemporary Iranian art scene. By examining whether the biennial primarily reflects existing artistic practices or actively participates in shaping them, the study seeks to uncover the power relations underlying the construction of artistic legitimacy.
Methods: To develop a comprehensive understanding of these institutional processes, this study adopts a qualitative, analytical-interpretive approach grounded in the principles of social constructionism. It employs data triangulation to enhance the depth and rigour of the analysis. The primary data consist of documentary materials, including official calls for submissions, curatorial statements, exhibition regulations, and archival catalogues from the Fifth Biennial. These documents were examined to identify the explicit and implicit criteria through which the institution constructs and assigns artistic value. To complement the documentary analysis and gain deeper insight into the subjective experiences and discursive processes associated with the biennial, semi-structured, in-depth interviews were conducted with selected artists, jurors, and other key figures involved in the event. These interviews provided insights into the lived experiences of participants, including the tacit assumptions and normative pressures that influence artistic production. The data were analyzed using key concepts from social constructionism, particularly legitimation, institutionalization, and the social construction of reality. This analytical framework enabled a systematic examination of how institutional discourse privileges certain aesthetic approaches while potentially marginalizing others.
Findings: The findings indicate that the Fifth Iranian Miniature Painting Biennial functioned as an active agent in the discursive construction of artistic meaning. By emphasizing a particular understanding of the relationship between tradition and contemporaneity, the biennial contributed to legitimizing a specific institutional model of contemporary miniature painting. This model was reflected in the evaluation criteria and curatorial frameworks, which tended to favor works aligned with established narratives of cultural heritage preservation. A significant finding is that this process of legitimation contributed to the consolidation of approaches that privilege controlled interpretations of tradition. Although the biennial formally sought to promote artistic development, its selection mechanisms tended to constrain the visibility of pluralistic, experimental, and critical perspectives. Artists whose works challenged conventional boundaries of what constitutes authentic miniature painting were less likely to be represented within the biennial’s framework of artistic legitimation. The findings also reveal a tension between the biennial’s stated commitment to artistic development and the normative framework established through its institutional authority, which may discourage risk-taking, innovation, and avant-garde experimentation. Thus, the biennial did not merely exhibit contemporary artistic production; it also played an active role in shaping the identity of miniature painting by associating the medium with particular historical narratives and conventions. This process contributed to a degree of homogenization within the artistic field, as the institutional recognition of certain approaches constrained the visibility of alternative artistic expressions.
Conclusion: The study concludes that the Fifth Iranian Miniature Painting Biennial should not be understood merely as a passive reflection of contemporary artistic trends. Rather, it functioned as an institution actively involved in the social construction of artistic meaning, identity, and value. Through the selection, evaluation, and exhibition of particular works as representative expressions of the medium, the biennial exerted considerable influence on the development and perceived legitimacy of contemporary miniature painting in Iran. A social constructionist analysis of the biennial provides a critical basis for reconsidering institutional policies and curatorial practices. Addressing the limitations identified in this study requires the creation of a more inclusive institutional environment that recognizes and accommodates diverse and pluralistic artistic approaches. Future policy reforms could prioritize greater transparency in evaluation procedures, openness to experimental forms, and the reduction of normative constraints that may limit artistic creativity. Understanding the biennial as an active agent in the construction of artistic reality enables researchers and practitioners to critically examine dominant narratives and contribute to a more dynamic and inclusive future for contemporary Iranian miniature painting.