Since the US-Israel war against Iran began in late February, images of giant billboards in Tehran have been ubiquitous across traditional and social media. These billboards have been placed in some of the busiest and most visible parts of the city, and are constantly being updated to reflect current events.
Iran has long used public spaces as a tool of political communication. Since the 1979 Islamic Revolution - and especially during the Iran-Iraq War - the regime has erected murals and billboards to display revolutionary imagery, war memorials and ideological messages.
Today, these billboards are designed not only for local audiences, but also for global digital circulation. Depicting powerful imagery, slogans and symbolic representations, they serve a dual function:
to reinforce a sense of collective identity, national unity and shared emotion during a time of crisis
to serve as a tool of propaganda for the state, at times featuring Hebrew and English alongside Farsi (Persian).
Researchers argue these billboards are part of a broader visual communication strategy on the part of the state. They are intended to be photographed, posted and shared widely on social media as a way of projecting power and resistance to a global audience (even with a months-long internet blackout in place).
So, what do the billboards say, and what's the deeper symbolism behind the imagery? We've chosen five samples from Tehran to analyse.
1. The Epstein missile
One of the billboards that circulated widely in recent months depicted Iranian missiles covered with handwritten messages and symbolic phrases.
Among the most striking inscriptions is the phrase "To the girls of Minab", written in bold, red Farsi script. This is a reference to a strike on a girls' school in the opening days of the war that Iranian officials say killed 175 girls and teachers . Reports indicate US forces were likely responsible.
Directly below that, written in English, are the words "Epstein Island victim girls", a reference to the island owned by convicted sex offender Jeffrey Epstein where young women were allegedly sexually assaulted.
On another missile is the phrase "the girl with the pink jacket". This is a deeply emotional reference to a young Iranian girl killed in a terror attack in 2024, who was identified by her pink jacket and heart-shaped earrings.
The intention is to connect these disparate events through a narrative of vulnerable young women affected by violence, exploitation and political power. Rather than presenting missiles only as weapons of destruction, the image reframes them as symbols of grief, revenge, memory and defence.
In this narrative, Iran is portrayed not as seeking war. It is responding to injustice and protecting its people.
2. 'Masters of war'
Another billboard that gained significant attention in 2024 depicted the Farsi phrase " If you want war, we are masters of war " above a Hebrew message saying "Israel must be wiped from the face of the earth".
The billboard portrays the sky over Israel illuminated by waves of incoming missiles, almost resembling a meteor shower or rain of fire. The imagery is highly stylised and cinematic, with the missiles transforming the night sky into a scene of overwhelming force.
By directly addressing Hebrew-speaking viewers, the billboard functions as both a direct warning to Israelis and a symbolic projection of power, designed to have psychological impact. Language becomes a tool of warfare itself.
This multilingual strategy reveals an important shift in Tehran's urban propaganda. These billboards, which have become more prominent in recent years , are no longer designed solely for Iranian pedestrians and motorists. The regime is aware photographs will circulate instantly across the internet, reaching intended audiences in Israel.
3. Trump's sutured mouth
Another bilingual billboard is targeted to Western - and specifically American - audiences. It features US President Donald Trump's mouth with a rendering of the Strait of Hormuz sutured on top, alongside the English phrase "The Breaking Point."
The Farsi text roughly translates to "its patience has run out". It also contains a literary pun: the word tang in Farsi can refer both to "narrowness" or "constraint" and to the Strait (tangeh) of Hormuz itself. This creates a double meaning linking the geopolitical tensions in the Strait of Hormuz with the idea of reaching a psychological or political breaking point.
The image also critiques Trump's constant political rhetoric and media presence. The sutures placed across his mouth symbolise silencing, constraint and the loss of Trump's authority or influence in relation to Iran and the Strait of Hormuz.
4. Arash the Archer
Another billboard draws on the famous Persian myth of Arash the Archer. In the image, Arash places an arrow into his bow in the heat of battle, surrounded by missiles. The reference comes from the ancient story in which Arash sacrifices his life after shooting an arrow during a mythological war between Iran and neighbouring Turan.
The billboard suggests modern Iranian soldiers, like Arash, are willing to sacrifice their lives to defend their homeland.
More broadly, the image also reflects how poetry, mythology and heroic storytelling are deeply embedded in Iranian history and culture. It connects the contemporary conflict to centuries of struggle.
5. The fishermen
Another billboard demonstrates Iranian military power through the image of a massive fishing net spread across the Persian Gulf. Inside the net are captured American aircraft, drones and naval vessels.
The imagery is accompanied by the phrase, "The entire Persian Gulf is our hunting ground" in Farsi, connoting it is under direct Iranian control and surveillance. The image also emphasises the strategic importance of the Strait of Hormuz, indicating the power to open or close this vital waterway ultimately lies with Iran.
At the same time, the fishing net operates as a cultural metaphor. Like fishing itself, Iran's warfare strategy is based on patience, resilience, careful strategy and long-term determination, rather than sheer force alone.
The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.
