جستجوی مقالات مرتبط با کلیدواژه « نقاشی ایرانی » در نشریات گروه « هنر و معماری »

Geometry plays a crucial role in the design of structures in Iranian painting. such as painting, where a distinct visual language has emerged through the interaction between form and content, organized by geometric relationships and proportions. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting .For this purpose, the main research question is: how geometry has been integrated into the visual and content structure of the painting's hidden layers? Has the painter purposefully used geometry as a theme in the painting? In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting of The Prophet Muhammad’s Ascent to Heaven." The comparison and test results indicate that:1. In the Painting of The Prophet Muhammad’s Ascent to Heaven, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2.Moreover, the geometric symbols used in the painting express cognitive themes, irrespective of the total temporal, spatial, and technical conditions 3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.

The Iranian visual arts, in a general view, can be divided into two groups. The first group follows the world's important artistic trends; and the second group, having different spectrums, is to preserve and promote the rich heritage of Iranian art. In the case of the first group, one should take a comprehensive approach to the history of the world art and examine its relationship with tradition and modernism. In the second case, the focus of the present article, the establishment of the Tehran School of Ancient Crafts should be considered as the foundation of the Iranian contemporary painting. The close analysis of the thought lines of the second group can be enlightening in the study of the current status of the traditional Iranian art. In the history of world painting, unique characteristics are attributed to the aesthetics of the Iranian art. In its structure and style, the employment of rich colours and the special concept of space indicate a different worldview among the Iranian painters. They conceived of the shape and form of their paintings in accordance with their subject matters. By examining many similar topics that have been used in various schools of painting over several centuries, differences in the form and even in the content of the paintings can be detected. The works of Sultan Muhammad based on the stories from Ferdowsi's Shahnameh and also the paintings of Kamal al-din Behzad on the story of "Yusuf and Zulikha" are significant examples. These painters due to their genius proved successful in establishing a creative relationship between form and content. Such achievement was the result of several centuries of effort and artistic experience, which finally reached its peak at the beginning of the Safavid era when Tabriz was the capital city of Iran. The historical status of the Safavids played a vital role in the formation of the painting schools. At that time, politically and culturally, Iran was caught in a deadlock. As the Ottomans were threatening the northwest borders of Iran, the government was forced to move the capital city from Tabriz to Qazvin and then to Isfahan. The transference of the capital city to Isfahan brought forth efficient connections between Iran and the European countries. The communication with the Dutch and Orange tradesmen, politicians, and artists provided more fitting grounds for cultural communication with the West. Even Shah Abbas the Safavid (1571-1629) invited the western painters to paint and decorate his court. In such a historical context, traditional calligraphy had fallen from prosperity and the court did not support artists who practiced it. These factors caused the growth and development of patchwork and the prosperity of single-leaf paintings and patterns. The painters freed from the court restrictions, got able to deal with everyday issues and the common people in their works. The new paintings expressed a different aspect of the multi-cultural and ethnic society of Isfahan which was evolved by the migration of Turks, Armenians, Circassians, and Georgians, and also by the commotion of the Europeans presenting their cultural gifts. Reza Abbasi was an influential artist of that era who, with a different approach to the events of his time, depicted everyday life and recorded the delicate details of history. He portrayed the human body and costumes in a precise and calculated style, using minimal lines and curves, with the visual delicacies of Nastaliq calligraphy. Using the possibilities of Nastaliq in an innovative style, he amalgamated calligraphy with Iranian traditional motifs. The elements applied in his works led to the formation of new concepts in the sketching of the human body. With the decline of the Safavid Empire, the style of Reza Abbasi and his prominent disciples fell out of favour. From the twelfth century onwards, the traditional artists turned to produce more practical works such as lacquer painting and the flower-bird illustration. In the continuation of the pictorial traditions, the application of oil colours, gave rise to the imitative style of Zand and Qajar paintings that were considered as Iranian national painting. The style bore traces of realism that was not dissimilar to naturalism and with its incomplete sketches appealed both to the taste of the court and the common people. Amid the adherents of the Iranian pictorial traditions was Mirza Abulhasan Ghaffari (Sani al-Mulk) in the Qajar era. The traces of Iranian painting can be seen in his employment of colouring and composition, particularly in those sketches painted for One Thousand and One Nights. It seems that he and Mahmoud Khan Malik al-Shoa'ra had succeeded in creating a balance between the common western experiences and the heritage of Iranian art. With the establishment of the School of Fine Arts in 1910 by Muhammad Ghafari (Kamal al-Molk), the academic style of nature painting was popularized. By the establishment of the Constitutional government and the initiation of modernism in Iran, the nature painting was officially supported by the court; and the Iranian painters turned to the European classicism and abandoned the Iranian pictorial traditions. At this time, Hadi Khan Tajweedi started working at the School of Fine Arts. The painters of this school adhered to the traditions of western classical art and disregarded the fact that the art of their ancestors belonged to a different taste and age. According to the evidences, the knowledge of the traditional painters was based on the techniques and methods of performance. They had a mere technical and formal approach to colours, the human and animal organs, and the abstract motifs as well. And in their naturalistic approach to penning, polishing, and face painting they were dexterous. The non-observance of perspective did not mean that the Iranian painters were ignorant of the perspective; rather they removed the perspective with full awareness, as they were not allowed to represent nature in its three-dimensional aspect. In Iranian classic painting, every element should lose its materiality to assume the colour of light, still forming a meticulous and detailed decorative unity between the elements. This was so serious among the Iranian painters that they took an anti-perspective move to represent the social concepts. With the establishment of School of Fine Arts at the end of the Qajar era that promoted the academic classical European naturalistic art, the Iranian painting was on the verge of oblivion. But with the establishment of the School of Ancient Crafts in the first Pahlavi era, due to political and cultural policies, it was revitalized only in the form (not in the content). By the establishment of Tehran School of Ancient Crafts in 1929, and due to the efforts of Behzad and Tajweedi that morbid movement was resuscitated. In this article the School of Ancient Crafts is believed to be a vital source in the renaissance of ancient Iranian painting.

Sadiqi Beiq Kitabdar, as a prominent Persian artist from the tenth to eleventh centuries, holds a unique position in the annals of traditional Persian painting. Despite the extensive study done by Welch, exploration into his life and works has been scarce. Sadiqi's artistic brilliance was somewhat overshadowed by contemporaries such as Bihzad or Reza Abbasi, and compounded by his reputed sharp temper that deterred effusive praise from his peers. However, delving deeper into the narrative of his life reveals a fascinating tale of an unconventional Qizilbash warrior, who has ascended to the pinnacle of artistic mastery amidst the Safavid era's cultural ferment. Understanding Sadiqi's contributions necessitates a nuanced examination of his life's chronicle, set against the backdrop of Iran's socio-political milieu in the Safavid era. Welch's meticulous research has illuminated key facets of Sadiqi's existence, offering insights into his patronage dynamics and the evolving landscape of Persian artistry. This study endeavors to unravel Sadiqi's enigmatic persona while shedding light on his profound impact on the burgeoning self-awareness and artistic ethos of the Safavid epoch.

This research adopts a qualitative strategy employing a descriptive, historiographical method. Focusing on the Safavid period, it examines the concept of self-awareness in Persian painting, with Sadiqi Beiq Kitabdar as the primary subject. The study analyzes Sadiqi's artistic expressions and signatures. To do so, it employs an interdisciplinary approach to understand his self-awareness and its impact on the Safavid painting evolution.

Sadiqi Beiq, renowned for his prowess as a painter, emerged equally as a self-aware and prolific writer. Through his literary works, particularly Majma' al-Khawas, Sadiqi revealed a keen awareness of his status and effectiveness across various domains. His writings were marked by directness, candid observations, and occasional criticisms, reflecting his self-assured persona. Sadiqi's interactions with contemporaries, artists, and peers underscored his self-awareness, evident in his nuanced assessments and critiques. Despite his sharp temperament, Sadiqi's writings offered insights into the social and cultural milieu of his time, positioning him and his contemporaries within the broader artistic landscape of the Safavid era.
In Majma' al-Khawas, Sadiqi showcased his discerning eye and critical attitude towards his contemporaries, sparing few from his candid evaluations. His commentary on poets and painters alike reflected his self-confidence and uncompromising nature. Notably, Sadiqi's writings depicted a selective acknowledgment of the talent, with few individuals receiving praise, often accompanied by subtle self-comparisons or references to his own accomplishments. His interactions with fellow artists revealed a complex blend of pride, confidence, and perhaps, a desire for recognition.
Sadiqi's self-awareness extended beyond his literary works to his treatises on painting such as Qanun al-Sovar. In this technical treatise, he positioned himself as an authority, advocating naturalism and emphasizing the significance of imbuing paintings with meanings. Sadiqi's self-appointed role, as a guide in the realm of Persian painting, reflected his aspiration for lasting recognition and influence. Moreover, his writings suggested a deep-seated desire for artistic mastery and innovation, evident in his quest to explore the meaning behind painting. Through his poems and treatises, Sadiqi crafted a narrative of self-aggrandizement, portraying him as a polymath of an unparalleled talent. Despite occasional critiques from contemporaries like Iskandar Beiq Turkman, who had questioned his literary prowess, Sadiqi's writings exuded confidence and self-assurance. His self-perception, as a multifaceted artist who was adept in both poetry and painting, underscored his ambition and self-awareness. Contemporary accounts offered further insights into Sadiqi's self-aware persona. Mirza Taher Nasrabadi's anecdote depicted Sadiqi's assertiveness and awareness of his artistic value as he swiftly dismissed praise in favor of material recognition. Similarly, Ohadi-e Balyani and Valeh Esfahani's descriptions highlighted Sadiqi's reputation for haughtiness and conceit, which aligned with his strong sense of self-awareness.
Overall, Sadiqi Beiq emerged as a multifaceted figure, whose writings and interactions reflected a nuanced understanding of his own abilities and place within the artistic community. His self-awareness, even though perceived as arrogance in some cases, was integral to his identity as an artist striving for recognition and mastery in the vibrant cultural milieu of Safavid Iran.

The study has delves into the transformative process, whereby artists' self-awareness shaped the trajectory of modern Persian painting with a focus on the influential figure of Sadiqi Beiq during the Safavid era. Through an examination of Sadiqi's self-awareness in his artistic endeavors, the study has elucidated his pivotal role in fostering a movement of artist self-awareness within this period. Sadiqi's extensive body of works, encompassing both paintings and writings, has underscored his acute awareness of his impact and status as an artist. His writings, whether authored by him or about him, revealed a nuanced understanding of his influence, which he strategically leverages when necessary. Moreover, while Sadiqi's critiques of others were at times harsh, his deliberate concealment of opinions regarding certain individuals suggested a calculated control over his behavior, indicative of his self-awareness.
The study contends that Sadiqi's self-awareness and intelligence were instrumental in shaping contemporary modern painting art. Traditionally, Persian painting revolved around narrative-driven illustrations, characterized by a plethora of motifs and a rational, imaginative atmosphere. However, amidst religious reforms in Iran, the exodus of painters from the court led to a democratization of art patronage, resulting in a proliferation of painting genres and styles. This transition from elaborate, narrative-driven illustrations to single-page paintings marked a shift towards audience’s deeper engagement and reflection.
In this period of artistic flux, Sadiqi and his contemporaries played a pivotal role in shaping modern Persian painting. Sadiqi's treatise on painting emphasized the importance of capturing both form and meaning and advocated a closer resemblance to nature in artworks. His artistic evolution mirrored this ethos as his works progressively embraced natural elements and techniques, such as perspective and shading, borrowed from the Western art. Notably, Sadiqi's reconfiguration of traditional painting formats and incorporation of natural elements facilitated a closer alignment between art and reality and elevated Persian painting to the new heights of realism and human-centric expression.
In conclusion, the study posits Sadiqi Beg Mosavver as a central figure in the emergence of modern Persian painting. His self-awareness and artistic innovations served as catalysts for transformative change within the artistic landscape of the Safavid era. Through his visionary approach to painting and his profound understanding of artistic expression, Sadiqi left an indelible mark on the Persian art, ushering in an era characterized by heightened emotional resonance, narrative depth, and humanistic sensibility.

Understanding the connection between verbal texts and the visual artworks based on them, is important in interpreting, explaining, and understanding these works of art. The concept of intersemiotic translation, which means the interpretation of verbal signs using signs of non-verbal sign systems, can be an efficient solution in studying the mentioned connection. This study, seeks to achieve the mechanisms of the intersemiotic translation process and the influencing factors in the creation of visual artwork from verbal text. Hence based on a descriptive-analytical method, with the comparative study of two visual artworks based on the same story, the main mechanisms in the process of intersemiotic translation are proposed. By comparing the painting of Joseph and Potiphar's Wife by Kamaluddin Behzad and the sequence of the Youssef Prophet TV series with the same story, in response to the question of what are the common mechanisms in the intersemiotic translation process, The four mechanisms are presented: repetition, creative reproduction, creative innovation, and deletion. In addition, in response to the question of what are the influencing factors on the intersemiotic translation process, Intertextual relations, the artist's creativity, and the medium of the created artwork are considered as the most important factors influencing the above four mechanisms. The two artworks in this study, which have been analyzed based on library information, are based on the same story, but they are very different in terms of artistic type and historical period. This selection helped to understand the visible and hidden aspects of the problem. Finally, it is necessary to mention that the results of this study and the proposed mechanisms can be used as a method in similar studies.

Geometry has been one of the most important factors in the design of works in Iranian painting. As an identifying element, it has become the foundation for a distinctive characteristic in Iranian painting. In Iranian painting, a unique visual language is observed, which emerges from the interplay between form and content. This visual language is organized based on geometric relationships and proportions. In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting "The Killing of Arjasab by the Hand of Esfandiar in Ruyin Dej." The aim is to uncover the geometric structure underlying this painting. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting. For this purpose, the main research question is: What is the geometric structure present in the painting under investigation? Has the painter purposefully used geometry as a theme in the painting? The comparison and test results indicate that:1. In the painting depicting the killing of Arjasab by Esfandiar in front of the fortress, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2. The artist has reconstructed the geometric structure of the space by reducing the visual elements to basic shapes such as circles, triangles, squares, and pentagons. This is achieved through emphasizing geometric purity and utilizing a limited color palette.3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.

Following figures, buildings are the second most efficacious visual element in Persian painting. Even in the oldest paintings in which landscape was not expressive of the space, there used to be a building to organize the space in three dimensions. In the historical path of Persian painting, buildings had this role in all periods because Iranian artists used to illustrate stories in some of which a building, such as a royal palace, garden, fortress, castle, an alcove, or aula was a location of the fictional events.
In Persian painting, buildings are not only locations in which the stories take place, but they also narrate the unwritten parts of stories or as Stephen G. Nicholas (1989) argues, they uncover “textual unconscious”. Having some features such as being crowded or vacant, having one or multi floors, and simple or complicated plans, buildings can inspire viewers with different perceptions of spatial structure, some of which do not proceed with the written texts.
Based on the three-dimensional Cartesian coordination system, representation of buildings can expand the picture space along the three dimensions. It increases the height by depicting multiple floors. It opens the field of view through arrangement of the rooms and halls side by side, and enlarges the width of the scene, as well. In addition, it develops depth of the scene by placing the represented figures inside and outside the buildings. By doing so, several picture planes are formed in the scene; so a viewer understands the depth clearly.
While representation of buildings provides many visual facilities for painters, it also troubles them in case of displaying the 3rd dimension on the sheet. Since a building is a hollow and polyhedron geometric volume (especially cubes or cuboids), and since it needed to be displayed on the two-dimensional paper, painters were in need of applying some methods to create visual errors for the viewers, so that they could perceive the third dimension. Persian painters used to untangle the troubles of these methods since the medieval era.
This research, based on the idea about buildings’ roles and visual facilities, probes the functions and consequences of representations of buildings in Persian paintings, and shows how Iranian painters used to fabricate the illusive 3rd dimension to place the visual elements on three axes: height, width, and depth. Although some scholiasts believe that Persian painting is a two-dimensional art and Persian painters used to avoid displaying perspective deliberately, scrutiny of master artworks reveal Persian painters’ endeavor to display picture space, especially the 3rd dimension. As it were, same as we know about efficiency of three-dimensional representations based on the coordination system, Persian painters were experienced in efficiency of the buildings’ representation to expand the three-dimensional space. Clearly, it does not mean that Persian artists used to adopt Cartesian coordination system to organize the picture space. However, it can be argued that they could understand it either intuitively or based on their contemporary scientific achievements.
As it has been mentioned before, Persian painters, similar to the renaissance guild mates, used various methods to display the picture space; these methods were not the same as those used by the renaissance artists. This difference should not cause modern viewers to assume that Persian painting was two-dimensional art. Persian painters never established the vanishing point. Therefore, the modern viewers fail to perceive a three-dimensional space in Persian painting. As a result of this many questions emerged, some of which arise from the fact that modern art researchers have neglected to compile the history of Persian painting’s evolutions of methods and techniques, especially about picture space. The present research tries to address some of these questions that are listed below.

When did the first attempts of displaying the picture space take place in Persian Painting and which manuscripts contain them?
What were the roles of different Persian painting schools in legislating, changing, and confirming the rule of representation of the picture space?
What were the main challenges in establishing the methods of displaying the three-dimensional space?
What visual facilities were produced as a result of the establishment of these methods?

To shed light on Persian painting’s rules and styles in representing the picture space and to answer these questions, I analyzed around 100 illustrated Persian manuscripts, created between 12th to 16th centuries and selected more than 400 paintings each including a building (e.g., a castle, palace, mosque, etc.). To analyze the picture space in these paintings, I focused on the expansion of the space along height, width, and depth, based on which I answered the research questions. The results of this research are as follows:
The Expansion of Height: Displaying multistorey buildings is one of the most reputed methods to expand the height. Persian painters used to draw a two/three-storey building for this purpose and sometimes break the picture frame to continue the picture, especially since Ilkhanid era onwards. By doing so, the view could be stretched to the top of the paper, and beyond the frame.

In addition to the expansion of height, multistorey buildings had other functions in Persian painting. Two of the most frequent functions are inspiring symbolic concepts and presenting inverted height. In some paintings, dating back to the 15th century, several angels can be seen on roof-tops and other creatures arranged on the lower floors. Based on the verses surrounding these painting, viewers could recognize this arrangement as a symbolic representation of the chain of beings. Similarly, some multistorey buildings in the 15th-16th century paintings do not represent height. Buildings in these paintings which have been drawn based on the plans of the old hammams (bath houses), were arranged vertically in a way that the top floor (i.e., an apodyterium) represented the proceeding room and the entrance to the building. In this type of arrangement, drawing one room (i.e., a tepidarium) under the other does not represent a basement, but a sequential order. Therefore, in these paintings two-storey buildings do not show a real height.

The Expansion of Width: Since pre-Mongol period, to give viewers a sense of width, Persian painters used to display several rooms side by side. Other innovative methods were added/created during the following eras. One of the most creative methods was placing a building at the far right/left side of the picture frame, as if the picture frame was interrupting the continuation of the sight and preventing the viewer from seeing the rest of the building. This way, the width of scene could be recognized wider than what the painter actually had drawn on the sheet.
The Expansion of the Depth: Persian artists used to display the depth of scene based of two principles in painting that are as follows:Arranging Picture Planes: The oldest illustrated manuscripts reveal that their painters knew organizing picture planes and adjusting the distance between them will display the depth clearly. Having multiple sides (i.e., outside/inside and back/front), buildings provided great opportunities for the creation of depth. By placing some figures behind a window, through which those people looked at the main scene, Persian artists could communicate a sense of depth to their viewers.
Representation of a Building's Volume: Persian artists, especially since Ilkhanid period, started the first efforts to draw a three-dimensional building. Between the 13th and 16th centuries, Persian painters gradually overcame difficulties in displaying buildings’ volumes. The most important achievements and methods in this path are as follows:

Lateral, vertical or climbing staggering;
Multidirectional walls;
Interior space of buildings;
Hexagonal and octagonal plans;
Trapezoidal façades inside the buildings;
Separated interior space created by non-load bearing walls;
A combination of all methods.

Periods of Iranian painting, including realistic and academic painting, were postponed after the advent of modern painting in Iran. Copying the works of their predecessors, which was one of the prominent methods of these masters of painting, was highly condemned and persecuted. Hence, even with the emergence of new approaches to contemporary art and postmodernist practices such as “appropriation”, there is still much resistance to accepting and understanding such works. What can be deduced from the study of the works of Iranian artists from ancient times to the present day is that before modernism, using images of the past and copying the works of past masters have never been reprehensible in Iranian art, but has facilitated the way for mastery and becoming an artist. From the prominent traditions of Iranian art, from painting to the school of Kamal-ol-Molk, re-drawing on the images and works of former artists has always been important, and in this way, the methods of artists have always been different. Some made exact copies and remained faithful to the original work; One of the notable points in this matter is the fact that the artist's copy and signature are not covered, which is one of the approaches of postmodernism in owning and “appropriation” of a work. This study, by studying the copied works in the two periods of Persianization and then the period of Kamal-ol-Molk and the school of Kamal-ol-Molk, has examined the possible similarities with the “appropriation” approach in these works.In order to reach our goals of research, here, we have formulated two main questions: (1) why and how the painters from these periods have made copies of their predecessors’ works?  and (2) is it possible to have a new interpretation of their works as a way of modern concept of “appropriation”? What was lost was the presence of signs of the application of the goals and functions of the appropriation approach in these works. Therefore, according to the personal signatures of these artists on the copied works with similar methods of appropriation and keeping them in museums, it is possible to have a new approach to such works.This research has been formed by studying, reviewing and collecting the works of Westernization as well as the works of Kamal-ol-Molk and his students. The research method was descriptive-analytical and the method of collecting data and materials is that of desk study. In this research, the collected works have been analyzed with the approach of copying and matching with the original work of previous artists, and the presence of some functions of appropriation in these works has been investigated. For this purpose, a number of original works have been brought to better understand the audience. In this way, the methods and functions used by this generation of Iranian artists have been well visible and debatable and studied. It was not possible to present all the found and existing works in the history of Iranian art in this short article, therefore we have studied only a few that were in line with the objectives and division of the research and had the most similarity with the methods of appropriation.What can be seen today in contemporary art can be a follower of painting, Westernization, or the methods of Kamal-ol-Molk and his students. Therefore,  appropriation and the use of previous images have never been a new and fresh idea in Iran, and designing and making continuous copies from generation to generation from the work of prominent masters have been the method of work of all Iranian artists. Adapting and looking at pre-existing and popular images have always been commonplace, and as we have seen, repetitive forms and themes have been repeatedly represented and copied in Iranian art without detracting from the value of the old work or deeming the new work worthless. What is important is to keep all the copied works in museums and private collections of the world, although the idea and original design of none of these paintings, drawings and designs are from the artist himself, but like the original work, they have sought their luck and glory in the world. Iranian artists have unhesitatingly exploited and represented the works of former and Western artists to recreate them. What emerges from the study of the works in this study is the clear evidence that the methods of these artists are similar to the functions of the approach of appropriation in contemporary art. It seems that these artists had come to believe that in order for Iranian painting to continue, it is necessary to explore the world of European painting and to give it a chance to enter into dialogue and interaction with the world of Iranian painting and open a new path for Iranian painters. Perhaps it can be said that these artists understood the importance of appropriation for the continuation of painting in Iran.

In today’s world, many artistic texts are produced with the appropriation approach and based on rereading the previous known works. Although these contemporary texts borrow the previous texts and provide a new reading of them, in fact they reproduce their society’s discourse, i.e. the contemporary discourse different from the past work’s discourse, hence creating a new meaning of the previous work in the framework of the contemporary discourse. Accordingly, numerous texts have been created by Iranian and non-Iranian artists with appropriation of Iranian paintings, particularly from its peak period, i.e. the Timurid and Safavid eras (9th and 10th centuries). Kamāl ud-Dīn Behzād is the most well-known Iranian painter who lived in the Timurid and Safavid eras, with works extensively read in the past and today. Behzād is one of the few Iranian artists praised both during his life and after his death owing to the creation of pure and innovative paintings aligned with his society as well as his special view of the world around him.Looking at the same characteristic of Behzād, Soody Sharifi, a contemporary artist with many texts taken from Iranian paintings, has reread some of his paintings with a critical approach and accordingly discussed some socio-cultural issues in Iranians’ past and present history, two rereading works of Sharifi in the Maxiatures series are among which.The present research is aimed at analyzing the discourse of Behzād’s Timurid paintings, Sharifi’s contemporary texts, and the link between them, as well as answering the questions below:1. What discourse of their society do each of these paintings and texts reproduce?2. What is the link between Behzād’s paintings and Sharifi’s texts based on their discourses and historical distance?The research is conducted with a fundamental goal and by an analytical-comparative method. The hypertextual reading of paintings and texts is with the approach of Fairclough’s critical discourse analysis and based on an interdiscourse adaptation. The data and images of paintings and texts have been collected by taking notes from library and internet sources. Moreover, data analysis is qualitative.Decoding and deeply understanding artworks, particularly those connected with each other, increase the necessity and importance of addressing these texts with a discourse approach, and achieving this goal depends on knowing the artistic traditions, society, history, and culture in which the artist lived and initiated creating art.According to these research results, Sharifi has considered Behzād’s paintings as historical documents of the reality of Iranian’s past society and traditions, and in their appropriation, given her familiarity with their literary-artistic background, cultural-social context, and past traditions, she has paid attention to the paintings’ theme and content along with taking a formal structure with a cultural-critical approach. Through these appropriations, Sharifi has addressed the tension between old and new values or traditional Islamic society and modernity to challenge the Iranian contemporary Islamic culture in connection with the relationship between men and women, the women’s position, and the youth’s confusion.

In his exposition of the internal faculties, Ibn Sina considers the imagination to be indebted to association and describes imagination as the factor of creativity and actual perception; because it perceives and at the same time, undertakes an action through manipulation of the forms and meanings. Faculty of imagination can heed the particular or universal affairs in order to manipulate the forms and meanings. This faculty needs a spiritual ascension in the light of Active Intellect for perceiving the intelligible and if the perceiving soul becomes substantially connected with the Active Intellect; he would be able to see the intelligible forms present by himself. After seeing these immaterial images, the manipulation done by the imagination will be an intelligible and abstract quality. The significance of the subject becomes further clear when the soul and the faculty of imagination are for the Muslim miniaturist. Religious perspective and the social mission of the miniaturist restrict the circle of manipulations of the faculty of imagination and do not accept any extension of imagery for conveying the meanings. Among these cases, one can refer to the painting of “Zakarya Hiding inside the Tree”. Which sensory and intelligible qualities have inspired the imagination of the painter in drawing the compound images of the faces of the persuaded figures? This research uses a descriptive-analytic method to argue that the painter’s imagination is illuminated by the light of Active Intellect which gives it an intelligible quality. Under the guidance of intelligible imagination, the persuaded figures have been drawn with compound human-animal images so that they can not only sensibly reflect the non-sensory rather to serve as a reflection of the intelligible quality of the non-sensory. From this perspective, human form and animal nature have been reflected on a human body.

Over thousands of years and depending on different traditions, values, and even geographical environments in different parts of the earth, people have been raised who have different beliefs about their existence. Different understandings of human position have led to the emergence of different cultures. Iran and Greece were the origin of civilization. The culture of these two countries has important differences and therefore they have created different arts. For example, the artworks of ancient Greece, due to the humanism and rationalism of this European culture, usually tend towards naturalism. while the artworks of ancient Iran, due to the different views of this Middle Eastern culture towards humans and the world, are often abstract. From around the 5th century, a breaking in European culture, the Middle Ages began. In the Middle Ages, because of the dominance of Christianity, Europe moved away from humanistic culture. After these developments in European culture, art moved away from Greek naturalism and moved closer to Middle Eastern abstractionism. One of the most important signs of medieval painting in Europe is lacking perspective, like Middle Eastern paintings. From around the 15th century, it became necessary to change the painting methods. Because after the Renaissance, all aspects of life gradually changed, and painting could not remain unchanged. The Renaissance, which was the result of the return to humanism and the values of ancient Greece and Rome, also needed its own paintings; paintings that are in harmony with the values of humanism, including naturalism and rationalism. In other words, humanism, which was the ruling spirit of the Renaissance, turned perspective into a problem for the painters of that period. Finally, a group of geniuses solved that by using scientific rules. Due to the stability of the fundamental values of Iranian culture, classical Iranian painting has had almost constant characteristics from ancient times to the Islamic period. One of the distinctive characteristics of Iranian painting is the lack of perspective. Iran’s culture, both in ancient times and in the Islamic period, has had different values and may even conflict with humanism. Therefore, the use of the perspective technique, which seems to be a reflection of humanism in painting, cannot be justified in Iranian painting. In the end, regarding the use of perspective in new Iranian painting (The works of artists such as Hossein Behzad), it is necessary to remember that although it is unreasonable to expect the technique and form of Iranian painting to remain unchanged throughout history, the use of perspective in this art is not justified. As explained before, perspective is a reflection of humanist values in painting, and these values - good or bad - do not have a presence among the basic values of Iran’s mostly traditional culture. The inconsistency of the use of perspective with new Iranian paintings becomes more apparent when we pay attention to the subject of these paintings, mainly taken from ancient Iranian literature and epics. Ancient Iranian literature and epics generally guide people to follow traditions and make them afraid of the consequences of breaking traditions.

Extensive research has been carried out till now on the Persian painting, but there are still some facts and matters to be reexamined and evaluated more beyond the common schools of art.There are some rare examples of paintings in this respect which are worth studying from different viewpoints. Created in different manners and styles, such artworks have their origins in the ideals and norms related to heroes and champions of Iran. Having originated from historical and epic beliefs and events, some of these paintings adopt a theatrical approach and are narrated by some special storytellers. Regarding distinct themes and styles, we can categorize such paintings under the “popular art”. This art is sometimes naïve and simplified and some other times severe in the form of protest art, and occasionally replete with hints and symbols. In this way, the artist moves towards popular life, drawing inspiration from it.In this article it’s been tried to studyand discover the influential factors of the formation of some unusual styles in different centuries after Islam.Furthermore, the cultural movements as well as epic, historical themes of the Shahnameh and the influence of East art would be evaluated to obtain the desired results.

Geometry has always been one of the crucial elements of designing the structure of works in Iranian art and architecture. Due to its semi-abstract nature, geometry and mathematics are consistent with the origin of Islamic art (the world of forms). The abstract structure of geometric motifs presents a complete and pure effect of abstraction in comparison with plant motifs and slimes. These abstract motifs evoke inner and mental concepts. Due to its sacred approach, this feature has created an abstract nature of form and space that manifests the inner truth of objects. It seems that geometry in the traditional arts of Iran has become a unique quality framework for traditional Iranian arts due to its shape structure and special content as an element of identity making. This paper answers the question, how is the relationship between geometry and visual structure created in the covert layers of “the battle of Kay Khosro and Afrasiab” painting ? The research method used is descriptive-analytical with library and documentation data collection. Investigations on this painting shows that geometric relationships and rules based on order, balance and harmony have been applied in the arrangement of the composition of this work. By using the golden division in setting the picture frame, the painter has succeeded in placing the elements of the picture, like the group of warriors, soldiers, trumpets and horses.The painter recreates the architecture of the space by reducing the visual elements to the most basic shapes (circle, triangle, pentagon) and bringing these shapes closer to geometric purity, and a few main colors on the surface of the image and pure structural elements and it has been used in finding the key points needed for the placement of image elements. Furthermore, the painter offers an effective tool for creating dynamic spatial experience by using a covert grid infrastructure of diagonal carrier lines instead of the generally accepted horizontal-vertical spatial order. The result of the comparisons and investigations show that 1- In the studied paintings , the artist has discovered an exactly calculated organization of geometric and systematic elements of linear and formal relationships and presents it on the basis of pictorial and visual basics. 2- Through reducing the visual elements to the most basic shapes (circle, triangle, square, pentagon) and bringing these shapes closer to geometric purity, and a few main colors on the surface of the image, the artist recreates the pure structural elements of the space architecture. 3-The painter has adopted the traditional drawing techniques, mathematical proportions and numerical relationships in placing the elements of the painting.

The horizon line is the most important element in landscape paintings and demarcates the sky and the ground. The horizon line organizes all the visual items in, both the sky and the ground sections in the picture, logically. Although drawing the horizon line is a common method in painting nowadays, analyzing pre-Timurid illustrated Persian or Arabic manuscripts revels that the artists did not know about the efficiency of the line at the beginning in 11th century. Therefore, in these paintings, both on the ceramics and in the Persian or Arabic illustrated manuscripts, the visual elements are observed suspended and weightless. Up until late 14th century when Ilkhanid School emerged in Tabriz, Persian painters used to test various drawing styles to find and regulate a specific method that enabled them to arrange the visual elements in the areas of sky and ground and eliminate the suspension and weightlessness in the space of their paintings. They invented several methods that particularly have survived in the illustrated Arabic and Persian manuscripts. These illustrated manuscripts enable us to discuss the innovative methods of Persian painters. Including the sky line, the basin level, the frame-level and the ground line are the most frequent methods used in these manuscripts. Finally, in the 14th-century-Tabrizid manuscripts, the horizon line appeared. Achieving this appearance, the Persian picture space both in the ground and sky expanded logically; as a result, the visual elements in these spaces started to seem more grounded and as if possessing weight; diverse visual levels were arranged on the ground and the vertical perspective emerged. This article focuses on the details of those primitive methods mentioned above, which led to the appearance of the horizon line and the results of this. The article analyzes more than 30 illustrated ceramics and 300 paintings in 40 remarkable manuscripts from the 11th to the 14th centuries and concludes that: In the sky-line method, a blue curved part was used in the highest section of the painting as the sky. In some paintings, a line near the picture frame in the lowest section of the painting made the second part represent the ground. Between two parts, the largest segment of the painting used to get located where in all the visual elements look undecided and pending. In the basin-level method, the most important part of the painting is a basin that is represented by a blue surface decorated by plants and rubbles. Other visual elements are arranged around the basin. In the frame-level method, the lowest part of the frame picture, as the ground level, carries the visual elements. In this method, the biggest part of the painting forms an unaffected background. Because of this background, the represented space does not have any perspective. The ground-line is the most practical method. In this, the narrow surface, almost colored dark green, a little above the bottom line of the frame picture plays the role of the ground and caries all the visual elements.

The hunting motifs of Bahram Gur's painting are considered as the themes with "religious" and "mythical" essence in "Iranian painting". Despite numerous researches on paintings related to Bahram Gur's hunting, these works have so far been less studied in terms of the possibility of representing religious concepts and mythical beliefs. These works are mainly based on literary texts related to the Islamic period, especially "Ferdowsi's two narrations" in "Shahnameh" and Nezami in "Haft Peykar" and some lesser-known sources. These sources have narrated events related to "Bahram Gur" in the context of history, but not exactly in accordance with historical facts. The reason for this is the influence of the literary texts of the Islamic period on the literary features and Sassanid historiography, that is, "mixing with Iranian myths and legends and magnifying the heroism". This means that the efforts made in the historical and literary texts of this period can also include an indispensable part of life and events related to Bahram Gur. Therefore, it is expected that in illustrating the works of the "painting in question", in addition to historical narratives in related events, the manifestation of his religious aspects and myths in the structure (form and content) can be observed and followed in a more specific way. Therefore, the research has been done with the purpose of filling the gap of existing studies and giving insight into the relationship between the religion and myth with the selected paintings. The research questions are: 1.what is the relationship between "religious concepts and mythical beliefs" as a pretext, with "hunting motifs of Bahram Gur" in "Iranian painting" as the "final texts". 2. Which of the possible pretexts, religious or mythical, had a more important influence and place in the formation and richness of the theme of Bahram Gur's paintings? In this research, relying on the descriptive method using the "hypertextual" approach, the position of "religion and myth" in the content of selected works has been analyzed. Data collection was also done using library studies, documents and visual study of selected paintings. The combination of seven selected works in the present study includes: two works taken from Shahnameh by Ferdowsi, two works taken from "seven figures" by Nezami, one work from the history of Balami, one work from the collections of Amir Alishir Navai and one work from an unknown source. Results of the studies have shown that: Religion and myth have effective relationships in the formation of hunting motifs of Bahram Gur during the Sassanid period and then in the reproduction, and the continued presence of these motifs in Iranian painting. In the context of hypertextual and intertextual relations, the existing conditions have moved towards the transformation in religious pretexts and in mythical ones. Religion in concepts and generalities and myths in the form and descriptions of paintings, and in some cases with overlap, have provided the means to improve the quality of the works. According to the hypertext theory, the relationships towards transformation or homogeneity can never be considered as "absolute". For this reason, based on the studies conducted during this research, the general and "relative"  type of hypertextual relationships in the selected paintings  was determined, which were studied and summarized in the form of "tables and analyses". The divisions made in this table show that although religion and myth have each had approximately the same requirements for the effect (presence) on the examined final texts, in this case the transformations and effects of the presence of religion tend to decrease or even eliminate. This is the case, if the elements, concepts and beliefs related to myth, while expanding and increasing in the final texts, have shown a more noticeable and effective presence in the paintings. In addition, the study of visual elements and qualities in the selected works shows the attractiveness of the topic and the existence of repetitive elements and motifs related to this character. Repeatable patterns have formed a kind of uniform visual pattern by which the form and appearance of these works became closer to each other.  These features can provide the grounds for considering them in the form of generalities of thematic art in the forthcoming studies; that the religious and mythological foundation and essence should be sought in its components and elements.

Shirin bathing narrative of Khamsa Nizami was one of the literary subjects that many artists tried to depict in various periods and schools of Persian painting and created great works. On the other hand, it seemed those pre-determined and defined visual conventions were assumed for each subject or literary narrative, in the tradition of Persian painting. Also, painters in every era and school were faithful and committed to the same structure in their works. Due to their continuity, these conventions became a structural model in the same literary subject. This article aimed to find the overruling structural pattern of the "Shirin bathing" works in the Persian painting tradition. It sought to answer the question, what were the structural similarities and differences between the paintings with the "Shirin Bathing" theme? This study was done by the descriptive-analytical method with a comparative approach, which collected library information and viewed pictures directly. The method of data analysis was qualitative. The structural similarity of the illustrations of Shirin bathing's narrative includes "guidelines and the focal point of the picture", " eye movement track in the picture and visual form" and "the direction of the figures gaze". Painters have used two parallel diagonal guidelines that created a 90-degree angle with the diameter of the painting to embed the elements of the painting, especially the figure of Khosrow and Shirin. The eye movement track in the picture was coordinated with the visual triangle. Due to a group of images having axial symmetry with another group, the direction of the eye movement track on the works was different. The direction of Khosrow's look at Shirin was slanted from top to bottom, like other "pictures of glance" in the tradition of Persian painting. On the other hand, although the painters were less deconstructive in portraying this narrative, the paintings were structurally different from each other in the "frame proportions" component.

In Persian literature and poetry, the words painter and painting have been used many times and many writers and poets have used these words in their works. These words have been used descriptively and in the position of literary industries to describe the greatness and beauty of the creation of God or the Beloved, etc., and in some examples of Persian literature, the name of a particular painter is mentioned as the main character of the story and the painter is an influential character. The transition has become a process of literary narrative. The present article intends to study the painter's verbal iconography from the perspective of literature and literary narratives and while introducing the personality of the painter in these works, to study and describe their role, importance and place in the process of storytelling and narration. It should be noted that in this research, mainly mythical and fictional painters who do not necessarily have historical reality have been considered; Characters who are introduced as painters in prose and poetic literary works and have the profession and art of painting and are an actor and a fictional hero in the narrative. In this regard, the present article seeks to answer the question of what is the painter's verbal iconography in Persian literature and what painters have been described in Persian literature? The research method in the present study is descriptive-analytical and the method of collecting library information. In this research, Painters who have been introduced in the narratives and poems of poets and writers and have a key role in advancing the stories have also been studied. Findings of the research indicate that the painter and his imaginative creation have often been a source of inspiration for poets and Persian literature under various pretexts in the form of ima and reference to the image of the painter and even the name of a particular painter, and in some cases directly in the form of narrative Has designed the painter as one of the heroes of the narrative. In the literary examples studied in this research, we encountered the names of seven painters: Mani, Shapoor, Siavash, Khayal, Farhad, Shavor and Mehrab as key characters in the narratives. The painter in Persian literature is mostly from China, Rome and Iran, and the peak of the art of painting has been attributed to these countries. The painter is mainly a servant of the throne and is a shrewd and wise person, active and dynamic, world-seeing, resourceful, skillful and alert. He is very skilled and an artist in the art of painting, whose most important role is to introduce the lover of the story in narrative texts. It is to each other and in other texts it is the accompaniment of imagination and discovery of the beloved's face. In Persian literature, the painter is a kind of mediator of love, and since he is also the companion and advisor of the main characters, he causes carpentry with his expertise and solutions.

At the beginning of the tenth century, the first Safavid ruler, Ismail I, captured Shiraz. We know Little about the history of Shiraz in the first century of Safavid rule. The transfer of the city from the Aq Quyunlu to the Safavid dynasty appears to have been relatively calm. The sources report that the Sunni Sufi orders suffered from the Safavid takeover. Shiraz, before the takeover, had been a city of learning (Dar al-Ilm) and a center of Sufism. The Qizilbash, who had a crucial role in the conquest of Shiraz, was rewarded with critical posts and continued to maintain a monopoly over influential military positions for almost a century, the region of Fars was assigned to the Turkman tribe called the Zolghadr immediately after the Safavid conquest. Shiraz was a prominent manuscript production center from at least the Al- Inju period, being a home for the most noteworthy manuscripts in the history of Iran. Artists of Shiraz continued practicing the established art of local traditions of the art of a book in the Safavid period. The early Safavid rule’s style was rooted in the Aq Qoyunlu style. In the succeeding years, this style was eliminated and the Qizilbash style was established. Two artists in this realm seriously worked. The illuminator Ruzbihan and the calligrapher Mun’im al-Din al-Auhadi. It is known that these two artists collaborated in the production of the manuscripts. Ruzbihan muzahhib (illuminator) was one of the most noteworthy Shiraz artists of the first half of the tenth century. A new style following the Tabriz style more closely, developed in Shiraz attesting to increasing connections between Shiraz and Safavid capital. It differs substantially from the style favored at Shiraz during the first two decades of the century. Shiraz artists abandoned the old style and adopted the new. The old style completely disappeared within a decade and was replaced by the new one. Significant changes are evident in the proportions of figures and their garments, hats, the use of patterns, landscape features, and architectural elements. We named this style Qizilbash style of Shiraz painting school. A group of associated Shiraz artists and artisans appears to have taken the lead in the new style of painting. The manuscripts signed by them contain the most innovative features in the new style. The characteristics that gave distinctive shape to the new style all appear in paintings signed by an artist named Qasim. The paintings that carry Qasim’s signature established the fundamental factors for the new style. Contemporary sources refer to a Shiraz artist named Qasim. Sam Miza mentions Malik Qasim the painter of Shiraz. Doost Muhammad writes he was an able calligrapher and painter. Mustafa Ali Afandi also mentions a painter Qasim and refers to him as Qasim Iraqi (Tabrizi). Qasim’s new and distinct figures reflect traits used in Tabriz’s paintings. Murshid al–katib, known as Attar, was another famous Shiraz artist. He was a calligrapher and painter. The illustrations of the manuscripts he copied show many similarities to Qasim,s work. The manuscripts of the Shiraz school of the Safavid period witnessed an increase in the Tabriz features used by Shiraz artists. This article digs into the impact of these two styles of the Safavid period.

Although Abul Hasan Mostofi Qafari as the first painter in the succession of Qafari family painters is of significance importance, what makes him stand out even from other Iranian artists in the field of illustration is his dual life as both a historian and court secretary and an expert painter. This issue opens a new approach in relation to the explanation of his personality, thoughts and art. Therefore, it is intended to conduct an iconological study on his works in the range of modern qualitative-historical studies and by adopting an iconographic approach through the comparative study of the valuable historical text left by him (Golshan Murad) and other documentary texts. It is also intended to review and revise the existing comments and analyses related to his works while explaining the angles of his art and thoughts and analyzing the works left. In this way, it is specified that to what extent can the generalization of direct sensory perceptions based on personal undifferentiated experience be misleading and incorrect in the deviation of the hidden meaning in works of art.

Copying is one of the basic principles and important steps in the traditional teaching of Persian painting. In this imitation style, the artist has to be practicing and imitating the paintings of the previous masters, and can be allowed to manipulate or capture some elements in his own style after acquiring the necessary skills. This activity is the most common in all of the Persian painting schools and periods, and is described in the primeval treatises. Reza Abbasi, the prominent painter of the Safavid era and the founder of the Isfahan Painting School, has been copying the works of Kamal al-Din Bihzad, the prominent painter of the Timurid era, in a period of his artistic activities (1019 - 1029 AH / 1611 - 1621 AD). According to the latest researches, these works include four drawings with different themes. Of these four paintings, only three works included human figures, and the other one was specifically with the theme of the bird and flower. The total figures of these three paintings in the works of Kamal al-Din Bihzad and Reza Abbasi are 19 figures. Four human figures (traveler man, rural man, poet and Majnoun) were evaluated in order to investigate the formal diversity of the figures. These samples are selected by non-probability (selective) sampling method and the criterion of selection was the visibility of the whole body in the paintings. Although these paintings were signed by Reza Abbasi, that shows the originality of these works, unfortunately researchers have not paid attention to these works. Therefore, comparative study and analysis of these paintings with the works of Kamal al-Din Bihzad is very important in order to find out the influence that Reza Abbasi has taken from the previous well-known painter. Despite the other visual elements, figures have been drawn in a non-imitational way, and they were different from Reza Abbasi's figurative painting in comparison to Bihzad’s drawings. Therefore, the subject of this paper is the analytical study of the influence of Kamal al-Din Bihzad's works on Reza Abbasi's paintings, and the aim is to recognize the effects that Bihzad's paintings have had on Reza Abbasi's works. Also, the authors tried to answer this question: Which parts of Reza Abbasi's paintings have been influenced by Kamal al-Din Bihzad's works? This study was carried out through a descriptive - analytical method with a comparative approach. The information was collected through a documentary (library-based) method. The study focused on four sections: theme, form, position and the location of the figures in the composition. First, all figures were categorized based on their topic, then their proportions were measured based on the length of each head, and in the next step, the position and the way the figures had been arranged in the works were evaluated.This study shows that Bihzad's influence on the thematic diversity of the figures in Reza Abbasi's works is limited to public figures. It is possible to assume that the sudden change in his behavior and temperament in the second period of his artistic life, in which non-courtly tendencies were at a very high level, laid the groundwork for Reza Abbasi's tendency to select and draw public figures from Bihzad's works. Bihzad's influence on Reza Abbasi's figures is relatively less in terms of the visual qualities, and Reza Abbasi has acted in his own way in cases such as the proportions of each limb and each part of the body, elongation and height. On the other hand, Reza Abbasi has been completely loyal to Bihzad's works in the representation of the movements of the figures, curvature and flexibility in the limbs as well as the location of the figures in the composition. In these examples, the figures are in three positions: standing, sitting and lying, and the shape and position of the bodies are depicted the same as Bihzad's works. Another Bihzad's influence on Reza Abbasi is the angle of the display of the upper and the lower parts of the body as it rotates from the waist up to one side. This curvature of the body in Reza Abbasi's drawing has led to variety and movement in the limbs of his figures. The location and arrangement of the figures in Reza Abbasi's works is almost the same as that of Bihzad. The placement of the figures in the most important points of composition shows the emphasis and importance of the human beings. The importance of the human figure in Reza Abbasi's works is such that in copying Bihzad's works, he reduced the frame of the work up to the figures, or removed secondary figures and limited visual space to the main figure.

One of the methods of visual expression that presents a story and narrative by relying on a visual language called comic book and in part includes the two main categories of comic strip and manga Each of which is a collection of sequential paintings that in their way tell a story to the audience. Comic strips in the modern sense originated in the United States, and in contrast to them, manga originated in the East, especially in Japan. Among these, Japanese manga has a large audience in Iran today, especially among young people, which has led the country's artists to create comics with Iranian features, including the comic "Marz"., it seems that the Japanese manga, willingly or unwillingly, as a source of inspiration for the Iranian artist, creates effects that manifestations are reflected in the final Artwork by the Picture with some changes and transformations desired by the artist. Therefore, the question that arises in this article is: Based on what backgrounds have the visual elements of Japanese manga been used in the Pictures of the Iranian comic, and have they been transformed? And the purpose of this article is to trace the effects that the visual elements of the Japanese manga have created on the picture of the Iranian comics. This research is of descriptive-analytical type and has been done through library tools as well as a study on the collection of Japanese manga and Iranian comics. As a result, some manga features appear, such as the type of characterization, the inspiration for the Takarazuka Theater, the use of the Kiga style the Marz has been influential in the creation of the comic, and finally, the coexistence of the mentioned elements with the pictorial elements in Miniatur, has tried to create a native work.