Senior Research Analyst, NUFDI
Tehran’s recent gestures of apparent flexibility—from looser enforcement of the hijab to an embrace of nationalist symbolism—recall moments in Communist history when a brief opening exposed risks the system ultimately moved to contain.
In 1956, Soviet leader Nikita Khrushchev stunned the communist world by denouncing Joseph Stalin’s crimes in a closed-door speech at the Communist Party Congress.
The address, later leaked, raised expectations that the Soviet system might be capable of reform from within. Instead, it exposed pressures the leadership struggled to contain, contributing to unrest at home and rebellion abroad—notably in Hungary—and ultimately reinforcing the limits of permissible change.
That pattern—tactical relaxation under pressure, followed by retrenchment—offers a useful lens for understanding Iran’s current moment.
Since June’s 12-day war with Israel and the United States, the Islamic Republic has been navigating what officials privately describe as a convergence of external threat and internal fragility.
Internationally, Tehran faces deepening isolation and a US administration that has shown a willingness to use force. Domestically, the aftershocks of the 2022 Woman, Life, Freedom uprising continue to shape public behavior and elite anxiety.
Lifeline: patriotism
Against that backdrop, the state has adopted a dual strategy.
On one track, it has sought to soften flashpoints—particularly hijab enforcement—that could reignite street unrest. Police patrols have become less visible, enforcement more uneven, and officials have emphasized “cultural” rather than coercive methods.
On another track, the leadership has leaned into a form of state-sponsored nationalism that draws selectively on Iran’s pre-Islamic past.
Last month, authorities unveiled a statue in Tehran depicting the Roman Emperor Valerian kneeling before the Sassanid king Shapur I, commemorating a third-century Persian victory over Rome. The accompanying slogan—“You will kneel before Iran again”—was echoed in imagery portraying Israel’s prime minister in a similar posture.
Such symbolism would have been unthinkable for much of the theocracy’s history, when pre-Islamic iconography was treated with suspicion or outright hostility.
Supreme Leader Ali Khamenei reinforced this shift in July when, in his first public appearance after the war, he asked a religious eulogist to perform “Ey Iran,” a nationalist song associated with the pre-revolutionary era.
The gesture was widely read, both inside Iran and abroad, as an attempt to blur the line between religious authority and national identity—and by some, as a signal of potential recalibration.
‘Let a hundred flowers bloom’
History suggests caution. Authoritarian systems have often reached for controlled liberalization or symbolic inclusion during moments of acute stress, only to reverse course once the immediate danger recedes.
Mao Zedong’s 1957 “Hundred Flowers” campaign—launched in part to manage the fallout from Khrushchev’s de-Stalinization—famously invited criticism before giving way to a sweeping crackdown when dissent exceeded official expectations.
Iran’s trajectory over recent months has followed a similar arc.
Even as officials spoke of unity and restraint, legislation advanced to tighten restrictions on speech, expand capital punishment for acts of dissent, and broaden the security services’ remit online.
Arrests and executions have continued at a steady pace, and pressure on journalists, activists and minority communities has intensified.
Earlier this month, Khamenei dismissed criticism of hijab laws as part of a Western ideological campaign, warning domestic media against amplifying such views. The judiciary chief swiftly followed suit, announcing a more coordinated effort involving police and prosecutors—a signal less of retreat than of reorganization.
The episode underscores a recurring dynamic in the Islamic Republic’s history: moments of apparent opening that generate speculation about reform, followed by moves that reassert control once the boundaries of dissent become clearer.
As with Khrushchev’s speech nearly seven decades ago, the significance may lie less in the promise of change than in what the response reveals about the system’s underlying anxieties—and the limits it is ultimately prepared to enforce.
Tehran’s unveiling of a towering statue depicting the Roman Emperor Valerian kneeling before pre-Islamic Persian King Shapur I has renewed criticism of the Islamic Republic’s appeal to nationalist sentiment following the June war with Israel.
For over forty years, the theocracy purged ancient Persian history from schoolbooks, replacing it with post-Islamic narratives. But after the 12-day conflict with Israel, officials have turned to the distant pre-Islamic past to rally a divided society.
From murals of ancient kings and soldiers to patriotic songs added to Shi’ite mourning ceremonies performed before Supreme Leader Ali Khamenei, Tehran now embraces imagery once deemed heretical by its own revolutionary ethos.
'Kneel before Iran' campaign
Tehran’s Revolution (Enghelab) Square was the scene of an unusual spectacle on Friday as officials unveiled a massive bronze statue depicting Roman Emperor Valerian kneeling in submission before Sassanid King Shapur I, commemorating Iran’s victory at the Battle of Edessa (260 AD).
The event was held under the slogan “Kneel before Iran,” part of what authorities describe as a campaign to project “national unity and historical pride” following the June war with Israel.
Tehran Mayor Alireza Zakani, a staunch ultraconservative, said on X: “Enmity with Great Iran can only end in kneeling before this historic nation.”
Municipal official Davood Goodarzi said the installation would be accompanied by visual displays depicting “other victories of Iranians over foreign aggressors,” including the defeat of British forces by local commander Rais-Ali Delvari, Mirza Kuchak Khan’s resistance against Russian troops, and Surena’s triumph over Rome at the Battle of Carrhae in 53 BCE.
The goal, Goodarzi said, is “strengthening concepts such as national dignity, social unity, and Iranian identity.”
The statue, he said, would remain temporarily at Revolution Square before being moved to a city gateway “where it will stand as the first emblem of Iran before diplomats and foreign visitors.”
Unveiled women were allowed to attend the unveiling ceremony—an uncommon scene at events organized by Tehran’s ultra-hardline municipality.
The turn to the pre-Islamic past
The sharp reversal also recalls remarks once made by Khamenei. In a 2011 speech, he asserted that “all the great military victories of this nation came after Islam,” dismissing pre-Islamic accounts as “things that are not documented.”
In 1987, he had said that prophets triumphed over kings such as Cyrus and that “nothing remains of these monarchs in history but names remembered with derision.”
Nevertheless, pro-government social media accounts have now gone so far as to circulate posters equating Khamenei himself with Shapur, showing him standing with a staff as Benjamin Netanyahu and Donald Trump kneel before him. The caption reads: “You will kneel before Iran.”
'Hypocrisy'
Pro-government figures have hailed the move as a patriotic success. Conservative political reporter Hossein Saremi posted: “Today’s grand Iranian gathering showed that people and the state share one essence: Iran itself. Nothing can take our homeland away.”
Others, however, called the spectacle “hypocrisy.” Journalist Gholamhossein Pashaei wrote on X: “Every year you close Pasargadae to stop people from celebrating Cyrus Day, yet you unveil Shapur’s statue in Enghelab Square with drums and fireworks during Fatimiyya (mourning period)!”
Dissident commentator Hamid Asafi called the ceremony “a perfect snapshot of the Islamic Republic’s contradictions.”
On Telegram he wrote: “A week ago they closed Cyrus’s tomb out of fear of the crowds, and now they glorify Shapur in the same breath. The Islamic Republic fears living history but poses for selfies with its corpse.”
He added: “They know people no longer respond to rosaries and sermons. That’s why they’ve brought history back to the stage—in a controlled costume. If they can’t erase the past, they’ll try to own it.”
The irony deepened as UNESCO formally recognized Cyrus’s Charter as one of the earliest human-rights documents.
President Masoud Pezeshkian wrote on X: “Iran, the cradle of dialogue, justice, and coexistence, can still inspire peace today.”
Users swiftly replied, questioning how such pride could coexist with a government that blocks access to Cyrus’s tomb each year to those wishing to visit it on his birthday.