جستجوی مقالات مرتبط با کلیدواژه "miniature" در نشریات گروه "هنر و معماری"

The history of Islamic art and architecture of Iran has pictorial and visual documents, which have special and unique characteristics. One of these documents that can provide us with important information about the representation of past architectural spaces are miniatures. After the Herat period, the art of painting and miniature making was transferred to the Safavid sultans under the same conditions. In general, in Isfahan, the influence of European art was gradually felt in the court of Shah Abbas. This effectiveness was done in several ways: European works of art imported to Iran and direct contact with European artists living in Isfahan. In this way, the imaginary Iranian miniature painting was accompanied by a bright shadow and perspective and complete punctuation, and its objective and earthly aspect was overcome. In Safavid miniatures, the main theme is the glory and beauty of this period. The subjects of the miniatures are mostly centered around the courts of sultans, nobles, beautiful palaces, beautiful landscapes and scenes of wars. In order to understand and then to read the architectural spaces in the past based on these miniatures, it is necessary to first know the characteristics and principles governing them and then, using the principles governing the architectural space, to investigate how space is created in the works of the creators of this art. The Persian poetry and mysticism are widely known to be the main foundations of miniature painting.  The integration and use of miniature can be observed in masterpieces and significant manuscripts such as Shahnameh and Khamsa of Nizami. In some of these books similarities between the representation of created works, both in terms of subject and the type of images, are evident. These similarities are sometimes manifested with no change or alteration, while in some cases they are portrayed with hints of creativity. The realistic representations in accordance with the apparent features of object is not considered a sign of transcendence in Persian miniature, but alterations of the matter and going further beyond that, surpassing the outward layer and finding its reality are significant in the art of any artist. Thus, in general, the reality of creation by the painters is not measured with sight or other senses. The purpose of the research is to represent the architectural features, including the structure of the architectural space and the elements used in the paintings of the palaces of Tahmasbi’s Shahnameh. In this regard, the research question is raised as follows: How is the structure of space and architectural elements represented in miniatures? The research method in this research is of descriptive-analytical type and information gathered in it is by using library and internet sources. The selection of images is based on the subject under study, i.e. the representation of architecture in palaces in the miniatures of Sultan Muhammad and Mir Musavvir from Tahmasbi's Shahnameh, and the findings were represented after they have been analyzed using qualitative analysis and tables. The necessity and importance of research is based on the fact that painting, as one of the main sources, can be effective in representation of architectural features. The findings of the research show that Iranian painters have depicted them by following the existing principles in Iranian architecture and knowingly, by using conventional miniatures methods. Also, they have tried to represent palaces in their pictures by using the principles in architecture, namely the spatial structure of architecture, which includes spatial orientation, hierarchy and fluidity of space, as well as architectural elements, which include integrated and decorative elements. Moreover, in terms of the difference between the ways of representing architecture in the miniatures of these two painters, there is the principle of fluidity of space and the principle of symbolism, both in the structure of space and in the architectural elements of palaces.

Justice is one of the main issues of Iranshahri political thought and a universal concept. In Iranshahri's thought, justice is the explanation of a political situation based on which the social order coincides with the cosmic order. This idea of justice as the establisher of social order is the main function of Kings. Regulating the relationship between the King and the subjects was one of the most important issues of justice. But, the realization of this function required the benefit of the Iranian race and recognition of the sacred cosmic order by the King. After this recognition, the king acquiring the wisdom of the just king could be possible. Acquiring this knowledge was possible only through the education of the king by the wise minister. Also, for the continuation of the political system, it was mandatory for the successor of the king, to be trained by a wise minister. Therefore, the role of the wise minister as well as his method of Andarzname was important. Andarzaname was an instructive expression of political wisdom in the context of the story and includes an important aspect of the history of Iranian thought. The aesthetic requirements of the Andraznamei method shape many artistic and literary works of Iran. Therefore, the most important updates of Iranshahri political thought have been formed in Persian arts and literature. Therefore, it is necessary to pay attention to the tradition of Andarzname and the political aspects of that, to be able to understand many subtleties of the works left over from Iranian art and literature. to what was mentioned, it is noteworthy that during the Timurid era, the issue of realization and continuity of justice in society was considered an essential principle for the rulers. Justice of the king is emphasized in many texts of this period. Also, it was common to adapt or to reproduce a copy of the important texts of Andrzanameh, with the aim of transferring knowledge and political wisdom. On this basis, Khamsa of Nizami was considered in this era. The copy of Or 6810 preserved in the British Royal Library, which was one of the products of the court library of Sultan Hossein Baiqara, is one of the most exquisite copies of Khamsa of Nizami, with a collection of Iranian arts. Also, this version contains a painting with the subject of the Khovarnaq Palace painted by the artist Kamaluddin Behzad. Considering the importance of Khamsa of Nizami and the art of painting in the Andrazname tradition, it is important to consider the various aspects of the manifestation of justice in this painting as one of the prominent works of Iranian art.  In this painting, the subjects are building a palace for the king. As noticed, the relationship between the subjects and the king was one of the main aspects of the concept of justice, which is depicted in this painting. Therefore the aim of this article is the cognition of relationship between the concept of justice and Iranian painting. The research method is descriptive-analytical and historical. The method of data collection is documentary and library research. In this article, the Miniature of the Khovarnaq Palace is analyzed as a case study. Based on this, in this study, the question was raised: what is the relationship between Khamsa of Nizami's account of the building of Khovarnaq Palace and its depiction by Kamaluddin Behzad with the necessity of establishing and continuing justice during the reign of Sultan Hossein Baiqara? The necessity and importance of this article are also in the study of Iranian art as a subject with multiple aspects. On one hand, it is important to examine the socio-political aspects of Iranian art, and on the other hand, how to find the relationship between socio-political aspects and aesthetics. The obtained results show that the painting of the Khovarnaq Palace building is one of the works of the Andarzname tradition and reveals the necessity of the ruler's attention to the establishment and continuation of justice. In the context of the narrative of Khamseh of Nizami and considering the historical events during the rule of Hossein Baiqara, several layers of meaning are formed when facing this image. In this painting, with the beauty of repetition, the shape of the bricks, the color of the palace, arrangement of the workers, an image of justice is brought to Sultan's attention. Also, the need for the Sultan to pay attention to the continuation of justice, the relationship of educating the successor of the king, and maintaining the community's jobs becomes a central aspect. In another layer of this painting, the issue of maintaining the jobs of professors and artists is also raised. By objectifying the most important aspects of justice in Iranshahri's thought, this painting has made justice in Armanshahr its main subject.

The belief and nature-oriented thinking that are evident in the art and architecture of Iran have been manifested more prominently in Iranian miniature painting than in any other artistic branch. The presence of nature and its elements can be observed in decorative and applied arts, in simple and geometric forms, and in romantic, mystical, heroic, and festive motifs and narratives. Various flowers and plants are always present in Iranian miniatures, depicting gardens, flower-filled courtyards, and orchards with water and various birds. The combination of a star-filled sky with the moon and the sun represents a blend of the real and imaginary world; a part of which is reflected in Byzantine mosaic art, with some of these works clearly showing the influence of Iranian miniatures. The coloring and use of natural symbols and signs in Iranian painting and Byzantine mosaics have their roots in naturalistic thinking and rituals, examples of which can be found in the museums and art centers of Europe and Asia, as well as in the Mehr and Anahita temples in Iran. The most prominent examples of Byzantine mosaics can be seen in the churches of San Vitale, Sant’Apollinare, and the holy sepulchers in Ravenna, Italy, the apse of the Church of San Clemente in Rome, and the Church of Hagia Sophia in Istanbul. The interplay and continuity of the Mithraic ritual in Christianity and Zoroastrianism have shaped the art and culture of both Zoroastrians and Christians in a way that combines new beliefs with ancient cultural and artistic traditions.

In the contemporary era, many painters have attempted to revive the Iranian identity and release Iranian miniatures from the influence of the West on this art. Hadi Tajvidi is one of the most prominent painters who tried in this field. After several centuries of hiatus in Iranian miniature, he started to renew this art. He also founded the Tehran School of Miniature by using the characteristics of authentic and traditional Iranian art. The most prominent feature of Tajvidi’s works is adding perspective to the miniature and creating bright shadows in the facial parts. This resulted in a realistic evolution of face painting in Iran. Moreover, the face coloring in his works is uniquely modern Iranian, setting them apart from those of other artists. Many contemporary painters have clearly drawn influence from Master Tajevidi’s style in their works. This research studies Tajvidi’s works based on Gadamer’s philosophical hermeneutic point of view, which explores the questions of what, how, and the criteria for understanding cultural phenomena to read the works of this artist in a descriptive-analytical way. Hermeneutics is a science that deals with the process of understanding a work and examines how to receive meaning from various phenomena of existence, including speech, writing, and works of art. From Gadamer’s point of view, hermeneutics is to understand the issues that happened in the tradition, which covers a wide range and includes all the phenomena that do not have a linguistic nature and can be interpreted by language. In this way, in his opinion, art can also be considered a linguistic event, and the artwork can directly speak and communicate with the audience. This text explores how Hadi Tajvidi’s works align with Gadamer’s hermeneutic theories in contemporary times. The findings indicate that Tajvidi’s art resonates with Gadamer’s concepts, as he engages with the art of the past, dialogues with it, and integrates it with the contemporary semantic horizon. This interaction has resulted in a revival of authentic Iranian miniatures and a renewed focus on Iranian identity and culture.

The methods arising from the tradition of political advisory in Iran, having their roots in ancient times, were continued during the Islamic Middle Ages and made it possible to shape the advisory aspects of Iranian artworks. During the reign of Sultan Hossein Baiqra, due to the political conflicts in the court, the continuity of the government and the establishment of the order of the court was especially accompanied by the necessity of distinguishing friends from enemies in the court. However, according to historical documents, numerous reports of Sultan Hossein Baiqara's negligence in choosing agents and his mistake in distinguishing friends from enemies have been recorded in the form of a risk for the continuation of the government. It seems that Kamal al-Din Behzad, who had a special position in the court of Sultan Hossein Bayqra, using his closeness and influence on the sultan, chose the illustration of Dara and Ramehdar (Herdsman) to admonish the sultan and to correct his mistakes in governance.This miniature, which is a leaf from the copy of Bostan Saadi dated 893 AH, in terms of the topic of the story selected from Saadi and also in terms of the artistic subtleties used by Behzad, teaches the importance of distinguishing friend from enemy in governance. The illustration of this miniature is such that, in contrast to the conventional images of kings, which show their power, fighting, or pleasure-seeking images, it depicts a lonely king among herds and herdsmen in such a way that he is receiving advice from the herdsman. Therefore, according to the fact that Sultan Hossein Baiqara's error in distinguishing friend from enemy is emphasized as a political problem and this phenomenon is taken into account in the subject and the way of illustration of miniature of Dara and Ramehdar, in this research, Dara and Ramehdar as an advisory miniature Has been studied.In this research, the question was raised: in what aspects and parts of this miniature did Kamaluddin Behzad achieve his advisory goals and what was his visual tool? The purpose of this research is to know the visual possibilities of the tradition of political advisory and the methods and visual tools to achieve this goal in the form of Herat school miniature. Therefore, this research is important and necessary to examine Iranian art as a subject with multiple aspects. In this research, on the one hand, it is necessary to examine the political-social aspects of Iranian art, and on the other hand, how to find the relationship between the political-social aspects and aesthetics is important.In this study, the descriptive-analytical and historical research methods and the method of data collection are documentary and library. In this article, the miniature of Dara and Ramehdar is analyzed as a case study. The sample selection method was purposeful and data analysis was done qualitatively. First, based on documents and library sources, the political necessity of the formation of this miniature from the Bostan Saadi version, during the reign of Sultan Hossein Baiqara, was studied. Considering the political necessities identified in this era, and the advisory qualities of Saadi's story, based on the theory of Iranshahri's political thought, the qualitative analysis of this miniature was carried out using the semiotics method of the tradition of political advisory and the concept of justice.The obtained results show that Kamaluddin Behzad, in illustrating the miniature of Dara and Ramehdar, by paying attention to advices Saadi, has embodied an advisory image in the context of the tradition of political advice. This miniature, which was depicted in a version of Bostan Saadi and for Sultan Hossein Baiqra, emphasizes the importance of establishing order in court affairs. On the other hand, Behzad, using various artistic arrangements and portraying Dara in the clothes and headgear of Sultan Hossein Baiqra, has rearranged the advice of Saadi about his contemporary conditions to point out the similarity between the behavior of Dara and Sultan Hossein Bayqra. In this miniature, instructions such as the supervision of subordinates and the importance of distinguishing friends from enemies are given attention, which seems to have been related to the necessity of eliminating the disorder in the court of Sultan Hossein Baiqara.Also, in this miniature, the selection of elements, composition, and quality of illustration is such that Sultan Hossein Baiqara's mistake in distinguishing friend from enemy, which appeared in Qeshlaq Marv, is reminded of him. The depiction of Sultan Hossein in this miniature shows the distinction between his behavior and his royal position as the main person responsible for establishing the overall order of affairs and the highest position in the court and the land. According to Saadi's poem and the behavior of Sultan Hossein Bayqra in the administration of court affairs, the elements of this picture depict the Sultan's presence in the meadow in such a way that he is embodied as the cause of disorder, astonishment, and confusion of his subordinates, in a lower position than his subordinates.

Erwin Panofsky, a prominent art historian, introduced the concept of iconology as a methodical approach to interpreting and decoding artworks. This approach involves delving into and establishing connections between the visual elements of an artwork and its underlying linguistic foundations, cultural concepts, and ideologies. Iconology, as proposed by Panofsky, goes beyond simply analyzing the formal aspects of an artwork. It seeks to uncover the deeper layers of meaning embedded within the visual representation. By analyzing the visual elements related to the linguistic and cultural context of the artwork’s creation, iconology reveals the complex interplay of symbols, metaphors, and allegories. By using iconology, scholars and art historians can achieve a more thorough understanding of the significance of an artwork. The systematic approach of iconology allows for a nuanced analysis that goes beyond surface-level observations. It enables exploration of the complex interconnections between form, content, and the cultural context. The current research aims to investigate the artistic contributions of Nizamuddin Sultan Mohammad Tabrizi and sheds light on the animal painting technique called the “Gereft-o-Gir method” during the Tabriz Safavid era in Iran. Animal paintings, characterized using the “Gereft-o-Gir method,” were widely employed in Persian art and held significant symbolic value. These paintings symbolize the eternal struggle between opposing forces, with one ultimately prevailing over the other. In mythology, they represent the battle between good and evil, lightness and darkness. The “Gereft-o-Gir method” is a unique painting style in which artists depict scenes of animal combat in a symbolic, imaginative, and sometimes mythological manner. This research employs a descriptive-analytical approach to address the inquiry into the hidden meanings embedded within the animal fighting depicted in Sultan Mohammad’s paintings. Specifically, this study focuses on a case study of the painting titled “Rostam Sleeping while Rakhsh fights a Lion” found in Ferdowsi’s Shahnameh (The First Labor). By analyzing the visual details, symbolism, and cultural context of this particular artwork, this research aims to uncover the underlying messages and allegorical representations. The investigation seeks to decipher the intricate narrative and symbolic significance behind the depiction of animal combat, exploring its connection to the broader cultural, social, and mythological frameworks of the Tabriz Safavid era. Furthermore, this research contributes to a broader understanding of Nizamuddin Sultan Mohammad Tabrizi’s artistic legacy and his unique approach to animal painting. By examining his works through the lens of the “Gereft-o-Gir method,” scholars and art enthusiasts can gain insights into the artist’s creative process, his symbolic language, and his engagement with the prevailing cultural and ideological currents of the time. This study uses Erwin Panofsky’s approach (Iconology) to analyze the paintings. The study’s conclusions demonstrate that Sultan Mohammad was able to convey the epic tale of the Shahnameh (The First Labor) symbolically and metaphorically through the creation of this artwork. He instills ideas that go beyond the story’s surface level by using characters such as the horse (Rakhsh), lion, snake, and trees. Rakhsh’s battle with the lion symbolizes the struggle between good and evil, while the sudden appearance of the snake on the tree represents the ongoing conflict between demons and divine forces. In general, Sultan Mohammad portrayed complex ideas appealingly by fusing natural and animal features, appealing motifs, and the linguistic framework of the Shahnameh.

The drawing of Zahak is one of the subjects that have been the focus of painters.  In many Shahnamehs, including the Shahnameh of Tahmasabi and Rashida, this issue is depicted in a different way. The purpose is to compare the pictures with the text and with each other. Gerard Genet is one of the theorists who has researched in the field of narratology, he is one of the structuralists and has offered a comprehensive plan for examining narrative texts. In his theories, he has paid attention to examining three aspects of speech, i.e., tone, time, and mode. The main question in this article is how the story of Zahhak was represented in the two paintings of Tahmasabi and Rashida with the title of tie up Zahak according to Genet's point of view. In this research, the elements and components of the story and narration have been used, which include background color, characters, point of view, theme, atmosphere and time, and how they are placed in the body of the story and visual narrative as influential components. The research method was descriptive-analytical and library sources were used to collect the materials. From the results of the research, it has emerged that the sequence of time in the story is based on the events, but in the paintings it is formed based on the removal and highlighting and the use of the text of the poem to connect the events by the painter. In the image to tie up Zahak in the Shahname of Rashida, the painter has limited himself to one scene, but the image in Shahname of Tahmasbi has depicted several events, which has contributed to this sequence. On the other hand, several narrators are used in the text of the poem, but the limitations of the narrator are seen in the above images. In terms of aspect or angle of view, it is also open, it is in the hand of the poet, but the angle of view in the pictures is different from that of the poem due to its visualization. Each of the images has the possibility to show more events due to the focal length. In this regard, Tahmasabi's Shahnameh has shown more details and more figures due to the focal distance, which has caused more action in the events.

The connection of miniature with other arts has provided interdisciplinary studies, especially comparative and inter-textual studies. Inter-textual studies have adopted different theoretical approaches in their historical course. This has led to the expansion of the scope of studies. These theories can be seen in topics such as Bakhtin's dialogism, Yulia Kristeva's creative intertextuality, Roland Barthes' and Michael Rifater's and Genie's reading intertextuality, as well as Gérard Genet's trans-textuality. In this sense, examining the inter-textual relationships of different arts in a period can help explain the influence and effects of these arts.Among the arts that flourished in the Safavid period, we can mention the reverse painting on glass and the miniature. Despite the closeness of time and their historical and artistic importance, the influence and effects of the works of art belonging to each have not been studied. The art of reverse painting on glass was a decorative art, and after becoming prominent in European countries, it moved to Asian countries and entered Iran in the Safavid period. Iranian artists found a particular ability in this art, gave it a native color and flavor like miniature, and popularized it. Iranian miniature flourished during the Safavid era with the formation of different art schools concurrent with the political and social developments of the time.Despite the closeness of time, the influence and effects of reverse painting on glass and the miniature of the Safavid period have not been adequately studied. Also, its investigation and the relationship between different pictorial texts with an inter-textual approach can lead the way in better explaining these relationships. Therefore, the current research aims to investigate the inter-textual relationships in the mentioned artworks of the Safavid period based on Michael Rifater's theory and tries to answer the main question of what inter-textual relationship exists between the art of reverse painting on glass and Safavid period miniature. As one of the prominent figures in inter-textuality, Michael Rifater was inclined towards reading inter-textuality. Therefore, in Rifater'sopinion, the reader is the central axis and builds inter-textuality.The research method is descriptive-analytical, and the information was collected using library and internet sources. The research findings show that according to the reviewer's opinion and the central role of the audience in reading the text, there is a possible inter-textuality between the reverse painting on glass and the miniature of the Safavid period. The reverse painting on glass of this period shows the influence of other visual texts while maintaining its unique characteristics.

According to the political thought of Iran Shahri, achieving justice in the social system was one of the main issues of the Middle Ages in Islamic Iran. In this political thought, justice was designed as a means of aligning social order with the sacred order of the cosmos. During this period, as a result of Iranians' confrontation with Turkish and Mongolian traditions, special aspects of various dimensions of the concept of justice were formed in Iranian culture, society, and artistic works. Based on tribal traditions, the power that was based on the sword was one of the most important components of the formation of the courts of Turkish and Mongolian rulers. One of the results of this approach was disorder and political instability at the level of the court and society. In the Timurid period, political changes resulted in the significance of the position of divan-salar and the emergence of competition between Timurid emirs and Iranian ministers to gain divan positions. These competitions were among the factors creating instability and disorder at the court. One of the measures taken to deal with such tensions was the use of miniature art in the context of political admonition tradition.

The research method is descriptive-analytical and historical in terms of fundamental goals and nature. The data collection method is documentary and library-based. In this research, a miniature with the title of “The Poet’s Praise of the Robber-Chief” was analyzed as a case study. The sample selection method was purposive, and the data analysis was done qualitatively. First, based on library documents and sources, the political necessities of the formation of this miniature from a manuscript from Sa’di's Gulistan during Shahrokh's reign were examined. Based on the identified political necessities during Shahrokh's era and the political advisory qualities of Sa’di's work, from Shahri's outlook, a qualitative analysis of this miniature was undertaken in relation to the political advisory tradition and the concept of justice.

Research Findings ‎:

Given the entry of emirs into bureaucratic affairs, the illustrating of the “The Poet’s Praise of the Robber-Chief” by Iranian artists from the Baysunghur library was a significant action. The subject of this miniature was based on the tenth story of the fourth chapter of Sa’di's Gulistan, entitled “On the Benefits of Silence.” In this story, Sa’di briefly portrayed how through the presence of a deceitful ruler, the disruption of the righteous social order and the disturbance in the system of epistemology occur. From Iran Shahri's perspective, when foreign rulers are falsely placed in the position of sovereignty, the court becomes a source of oppression, and the order of all affairs becomes disrupted by lies. Accordingly, Sa’di, by presenting two attributes of the “praiser” for the poet and the “thief” for the military commander, portrayed a situation of disorder of meanings and a disruption of the function of individuals emerged as a result of the oppression of the rulers. Through creating an interaction between the praising poet and the robber-chief, Sa’di emphasized the role of the deceitful rulers and highlighted the astonishing consequences of the contemporary oppression by referring to the nudity of the poet, wild dogs, and frozen stones.In the examined miniature, considering the similarity between the robber-chief depiction and the Timurid emirs' portrayal, this miniature gave a tangible representation of the past in proportion to their contemporary time and created a contemporary admonition. The drawing of facial features, clothing, sword, boots, and turban depicted for the robber-chief had a noticeable similarity to how these elements had been depicted in other miniatures of this period reflecting the characteristics of Timurid emirs. Attention to the decorations and details of the luxurious clothing for Dezdadan also added to the necessity for the reflection on this miniature. Based on this, in this miniature, thieves were depicted with clothing and faces similar to those belonged to Timurid emirs. By observing this miniature, it could be imagined that a poet, before what was depicted by painters, went to the palace of the holy city with the intention of praising the ruler living there; however, instead of receiving a reward, his clothes were stolen by the robber-chief, who falsely took his place in the palace. As a result, with the presence of deceitful emirs, this holy palace also lost its authority in order and righteousness and became a place for the residence of oppressors. Based on this, it can be concluded that in addition to the defined elements of military commanders, equating him with Timurid emirs, the depicted location for his presence in this miniature was not a ruin or a room in a remote village suitable for thieves, but a place equivalent to the government palace and court.

The miniature of the poet’s praise of the robber-chief is an example of political advisory art that emphasizes the importance of establishing order in the court and justice in governance. Iranian artists from the Baysunghur library created this miniature based on Saa’di's political advisory poem, representing contemporary political realities and confronting Turkish and Mongolian traditions present in Shahrokh's court. The artists depicted the disorder of the times and the transformation of roles and functions through the portrayal of astonishing elements such as stones, dogs, praising poets, and the clothing and the palace of the robber-chief. The miniature also highlights the role of Timurid emirs in the court and their similarity to Dezdadan. Through the continuation of Sa’di's role in political admonition, the artists also criticize the inappropriate behavior of praising poets in the court. The entry of Timurid emirs into bureaucratic affairs during Shahrokh's reign was considered a factor in disrupting the court's order from Iran Shahri's view. Therefore, depicting thieves with clothing and faces similar to Timurid emirs in this miniature can be seen as a critique of their behavior. Finally, this process highlights the role of artists from the Baysunghur library in reinterpreting and presenting Iran Shahri's political thought principles through political advisory art.

In describing Iranian painting, especially with religious and metamaterial subjects, the emphasis is always on introversion, the mysterious world, the mystery and the sacred realm of these works. But, despite the transcendent nature of these paintings, the human aspect and social contexts of the formation of these works should not be neglected. Because these paintings, in addition to the mission of expressing the truths of heaven, such a cultural atlas, also reflect the ideological space, historical context, political ideas and social contexts of their time and connect the two areas. Accordingly, the main issue in the present study is the study of resurrection-themed miniatures in the Safavid era and the realm of their rule and also their technical and content analysis from different and abandoned aspects. The aim is to identify the Safavid dynasty and to recognize its aesthetic patterns and dominant paradigms through the thematic miniatures of the resurrection. The method of research is descriptive and content analysis with the approach of social semiotics of the image, and information is collected through documentary sources and direct observation. The question is how the transition from visual structure to meaning has taken place in the miniatures of the event of the resurrection of the Safavid era? The results of the study showed that the semantic implications of the Qur'anic miniatures of the Safavid era can be found on two levels; first, as a translation of the Qur'anic text and concepts in explicit and implicit layers, and then, through research into the context of the production of works, in order to understand the hidden and indirect social meanings. The work of art is always a reflection of the social and cultural conditions of its time, and its form and content are the product of attachments to the artist's belief system, and the work belongs to a specific way of thinking or reflects the cultural and ethnic affiliations of the history and land in which it was produced. Applying the theoretical framework of social semiotics of image showed that this method is an effective tool in reading and multifaceted analysis of Iranian painting and can address the above issues. This method reveals the formal and textual meanings of the images, the textual layers and the social references of the images through formalistic study and syntactic structure of the images, modeling from the sources of their signs, and then cataloging and analyzing the existing explicit and implicit meanings. The finding is due to the dominant discourse influences in this period. In other words, the constant presence of mixed meta-maps and narrative representation in the visual form of all these works and sources of common signs such as vector, information value, framing and visualization of images, resulting from the prevailing discourse space and uniform social pattern in this era. Shiite discourse, the most important elements of which was Mahdism and Promise, with the intelligence of its custodians to legitimize the political structure, also infiltrated symbolic systems such as painting to use it as a propaganda tool to advance the diplomatic goals of Safavid rulers. Therefore, by using the tools of social semiotics analysis of images and by passing through visual structure, common sources of signs can be found in paintings influenced by the Safavid Qur'an, which proves the establishment of the same pattern in these paintings, and based on their effectiveness can be identified and interpreted from dominant discourse. It also explains that the main motive for creating these paintings depends more on the political spirit of the time than on the doctrinal goals, and in other words, reveals their self-creation; this means that at first glance, images seem to be a tool in the service of religion, but in fact they are a tool for political-propaganda exploitation and legitimation of the institution of power. In matters related to the hereafter, what is primarily discussed is the belief in the issue of resurrection and the principle of resurrection as one of the principles of Islam, but what is evident in the analysis of the context, reference to the social context of these images and even the choice of scene is a directional choice to convey the ideological message of text producers. For this reason, we encounter the primacy of the Shiite-oriented vision over the main narrative and the promised metaphorical atmosphere of the resurrection, which is influenced by social conditions and discourse conflicts of the first half of the Safavid period. The government was established with the intention of establishing political unity in Iran. The sources of semiotics, syntactic structure, and overall visual presentation in these paintings played a role in highlighting religious goals and political discourses, but the subject and content of concepts, has played a more significant role in motivating the creation and illustration of images in conjunction with the dominant discourse of society.

The nature of narratology in the field of picture, since it has a distinctive appearance compared to other visual areas of the narrative, is clearly different from other fields. The difference between a pictorial narrative, such as a painting or a miniature, and literary or cinematic narratives is in the momentary nature of its presentation. In such a way that there is no time sequence in their narrative. In a general definition, narratology is the study of narrative and narrative structure, as well as the methods that affect human perception when faced with it. The origin of narratology goes back to Aristotle's theories about the science of speech. Nevertheless, it is accepted that modern narratology was initiated by the Russian formalists, especially Vladimir Propp and Mikhail Bakhtin's theories of heteroglossia, dialogism, and chronology, first introduced in his book; The Dialogic Imagination: Four Essays (1975). In general, the narrative has been proposed as a description of two separate events, and theorists have been discussing the form and context of narratology for a long time. Meanwhile, Tahmasbi Shahnameh is one of the most well-known collections of narrative paintings in Iranian culture and art, which has a strong link with the classical literature of Iran and expresses the stories and events of the Shahnameh in the form of pictorial narration.Tahmasabi Shahnameh illustrations are one of the examples of visual reading of the Shahnameh narration in the form of pictures. In this research, it identifies the path of transformation between pictorial text and literary text of Shahnameh through the narratological analysis of one of Tahmasbi Shahnameh miniatures titled "Zahhak: The legend of the Serpent King", and since one of the most used motifs in this illustration is the horse, therefore, this article emphasizes on this motif. In this article, taking into account that the essence of narrative studies is in the field of imagery, which is different from other visual fields of narrative, an attempt has been made to analyze and examine the image of Zahhak Mardosh, emphasizing the role of the horse motif. Zahak Mardosh's painting of Tahmasabi Shahnameh, which belongs to the Safavid period, is one of the examples of visual expression and narrative painting. Due to the abundant use of the role of the horse in this painting, the role of the horse has been emphasized in the analysis of its visual narrative. In this picture, which refers to the tying of "Zahhak" in a cave, it represents the story of "Zahhak: The legend of the Serpent King" in Ferdowsi's Shahnameh from the perspective of visual media. The fact that a story can be told in different media is one of the basic claims of narratology, and in this article, he tries to analyze the visual narrative of this picture by examining two active and responsive elements in this picture. In general, visual narration originates from the assumption that individual images are capable of evoking stories or implying meaning, but for storytelling in the strict narratological sense, a specific path must be determined, which can be achieved by creating semantic bases from two factors: the active and responsive. Therefore, in order to find semantic implications during the analysis of the narrative of visual expression, attention should be paid to this issue. So far, the studies on the visual format of narratives have been limited to studies on the structural composition and coloring and the relationship between the components of the visual elements of the image, and less attention has been paid to the concepts of the semantic implications of the images based on the theories of narrative theory. Considering the few studies in this field, the necessity of research in this case requires that more attention should be paid to the discussion in this field. In this way, the purpose of this article is to study the narrative role of the horse in the painting of "Zahhak: The legend of the Serpent King" by using visual cognitive narrative analysis to identify the two elements of the active and responsive parts and to identify the signs of the pictorial narrative and to find the visual semantic implications of the text of this story in this painting. This article is focused on the different way of expressing the visual meaning of this painting with the literary text of Shahnameh. It should be noted that since one of the most widely used motifs in this painting is the motif of a horse, the motif of a horse is considered one of the important visual elements in relation to the semantic implications in the narration of this story. The nature of this research is of a basic type that has used the descriptive-analytical research method and examines the role of the horse in the painting of "Zahhak: The Legend of Serpent King" in the Tahmasbi Shahnameh. The aim of the research is to identify and analyse images and how they relate to the narrative text in Ferdowsi's Shahnameh. In addition, in the context of the destination, a picture with the same title is considered in the Shahnameh of Shah Tahmasab. Finally, they are compared in two different mediums of Iranian literature and painting. The research questions are: To what extent are the signs of the pictorial narration of the Miniature of "Zahhak: The Legend of the Serpent King" in Tamasabi Shahnameh compatible with the expressive signs of the Shahnameh? How has the meaning transformation in the process of transforming the text of this narration into a picture in the miniature of "Zahhak: The Legend of the Serpent King"? In this way, in the first part of this article, the analysis of the visual narration of the story of "Zahhak: The Legend of the Serpent King" is discussed, and then, the perception of semantic implications from the visual media in this image is examined. In the other part, the structural analysis of the narrative is done, in order to analyze this image, hypothetical lines have been drawn in connection with visual elements and the relationship between these elements has been identified. In this way, two active and responsive parts were defined and the position of each element in these two parts was determined. Therefore, the layers of Shahnameh narrative in this painting are extracted based on two components: active and responsive part. In this way, in the narrative analysis of "Zahhak: The legend of the Serpent King", two active and responsive factors were identified, which are simultaneously with the narration of the story, these elements, which are parts of the trajectory of "Zahhak: The legend of the Serpent King", with the constant variable of the visual expression of the story, which is the role of the horse. They have established a close relationship. In such a way that in the visual reading of the components of the composition of the picture from the painter’s point of view, the main core of the picture is drawn on top of the picture, in a way that dominates the role of other elements. The role of horse motif has also been introduced as an active factor in the story line of this narrative, which in the study of composition and colouring of this motif role, has connected with the responsive elements which are the scenes of the story. Therefore, the role of human elements has been introduced in this picture as a part of the responsive elements. The results show that in the representation of hypothetical vectors in the illustration of "Zahhak: The Legend of the Serpent King", this miniature is divided into two active and responsive parts, which connect the components of the picture horizontally, vertically or diagonally. Therefore, the horse motif as an active factor gives shape to the components in the image. In the end, in extracting the layers of Shahnameh's narrative in pictorial form, in addition to the represented visual elements of the story, attention has also been paid to the type of interactive elements in the form of two active and responsive agents.

The Ilkhanate head of state due to their attendance in Iran, needed to legitimize themselves by any means conceivable. One feature of this legitimacy has been the protest of the power and potential aptitude of this people and their elected head of state to govern and wage war. Consequently, in this period, legitimacy is shaped based on the origin of power and "power" seems in the center of attention of historical books and Shahnamehs. Therefore, not only is the writing of historical books a tool for the legitimacy of the Mongols, but also the miniature and illustration of these books has been very operative in this direction. One of these books is Jami al-Tawarikh by Sheikh Fazlullah Hamedani, which will be studied as a case study with the approach of the concept of Foucault power. By means of the concept of power discourse, Foucault introduced a new technique for historical and social analysis and is now one of the most practical thoughts for genealogical analysis. In this regard, first Foucault's theories of power and discourse are scrutinized and on this basis the evolution of the place of power in Jami al-Tawarikh is inspected.Now this investigation intends to answer this main question based on library studies and descriptive-analytical method 1- Rendering to Foucault's theory of power, how did the power and dissertation of the Ilkhanate head of state give the impression in drawings of Jami al-Tawarikh? Based on this study, it was found that the exhibition of power in Mogul art in Jami al-Tawarikh has been in line with political issues and the presentation of the king's power, and history and art have been used as a tool to show power in political discourse.

Royal Portraiture is one of the last Iranian miniature styles which more or less can be considered a Synthesis Style of Iranian and European elements. This style was inspired by Westernization, but underwent important changes during the Qajar era. In this research, one tries to analyze and interpret one of its ruptures that occurred in the era of Mohammad Shah. The main issue of the present project is to study the ways this rupture and its consequences were occurred in Qajar visual culture. For this purpose, first, the main features of Royal Portraiture before and after the Fath-Ali Shah era were identified and then, the ways of the occurrence of this rupture were described. After that, based on Michel Foucault’s thoughts on the concept of the technique of power, the consequences of this rupture were examined. In this project, which was based on qualitative and analytical research method, after conducting studies, the result obtained from this study shows that the rupture of the Royal Portraiture was taken place in representation of body figure and in the discourse of chronology. The consequence was that, this rupture as a technique of power-record, in addition to reproducing this discourse, replaced metaphorical logic with realistic language in visual culture.

Figures of Aja'ib al-Makhluqat (creation wonders) written by Shams-oddin Muhammad Bin Ahmad Salmani Tusi and illustrated tiles of Salam hall in Golestan complex have images focusing on wonder creatures. By studying these figures it's recognizable that there are similarities between these images. The similarities and shape connection between works of two periods, make them suitable case studies for surveying such creatures. Purpose of this project is identifying visual and pictorial quality of some Iranian miniature visual elements by surveying the connection between the figures of Salam hall and Aja'ib al-Makhluqat. Based on this, this article attempts to find answer to this question: What kind of visual connection is there between figures of wonder creatures of Salam hall and Aja'ib Al-Makhluqat? This project is fundamental and adopts the descriptive-analytical and comparative method. Information and sources are based on library and field studies. Research on selected figures shows that miniaturists had used visual expression, they also contain creation of atmosphere and symbol, pictorial elements, snout, wing, tail, etc., visual elements, color, form, and texture, composition, triangle and circle. These have similar pictorial and visual qualities. The difference in terms of coloring is limited and tiles themes in Salam hall has a more dynamic character compared to Aja'ib al-Makhluqat figures. These images are categorized into 4 groups: 1- Strange creatures(combined) and dragon 2- hybrid animals (having natural parts of animals) 3- animals mixed with strange creatures 4- human mixed with animals. The figures of Tusi Aja'ib al-Makhluqat, mentioned in the text, are depicted from wonder creatures in terms of pictorial qualities they are unique. It's probable that the book is written in Nastaliq script by an Iranian calligrapher in 10th century AH.in Ottoman Turkey.The book has 181 images in different sizes and represents unique symbolism in all Iranian versions. The red leather cover of this book is not contemporaneous with the manuscript and probably dates back to the 13th century AH. Salam hall, which is located in the north west of Golestan complex next to Khalvat Karim Khani, is the first royal and state Museum of Iran founded by Naser al-Din Shah. Wonder creature tiles of Salam hall are in octagonal, circle, and one in hexagon frame with warm colors of brown, partly yellow, and red with blue ultramarine background. These pictures attributed to the second half of the 19th century. The frequency of the tiles frame shapes with wonder creatures of the Salam hall in Golestan Palace This Project has chosen 5 images over 181 images of Aja'ib al-Makhluqat, 5 images over 31 images of Salam hall according to wonder creatures and pictorial similarities categories. To answer the proposed question in the research, the selected images will be matched together. In the same vein, the desired topics of case studies of Tusi Aja'ib al-Makhluqat and Salam hall By observing selected images, we find that there is a wide variety of figures, types, and themes in glazes tiles of Salam hall in Golestan complex which are mostly combinations of traditional and western manners of painting and that's why the integrity and unity of Tusi's Ajaib-al-Makhluqat figures cannot be seen in them. In other words, the combination of Iranian painting qualities with western manners and principles has resulted in a kind of contrast and dualism. Colors are mainly warm and earthly. This quality and tendency to naturalism and realism has made an earthly atmosphere in figures of Golestan complex compared to Tusi's Ajaib-al-Makhluqat and Safavid period and before and they are rather envisioning of corporeal world than spiritual and utopian world in former samples. On the other hand, the existence of noticeable and precious samples such as tiles of Golestan complex contradicts with what is supposed in Qajar period tiles. Generally, based on found results, these creatures in terms of visual and pictorial qualities have a wide variety in combination and fusion that each combined member can symbolize something. Wonder creatures are reflections of truths that exist in the real world and in Qajar period had been widely used due to spread of imaginations, fantasies, magic, and spells. In Tusi's Ajaib-al-Makhluqat, creatures are depicted from old tales, legends and religious stories.

The way Fereydoun sits on the throne, or sitting royally, shows his special and even extraterrestrial position. The characteristics of the king's throne, the clothes and tools that he wears, as well as the position and composition of his drawing, can all be a sign of the sensitivity that the painter has towards the first person of the story centered on Fereydoun. This research has been done with the aim of identifying and classifying the way Fereydoun sits in the pictures of the Shahnameh of Shah-Thamasbi in the composition of the mentioned pictures and to identify and identify the pictorial features resulting from these elements in the pictures. In order to achieve the results of the main question of this article, it has been compiled as follows: 1- What visual characteristics does Fereydoun's position and sitting position on the king's throne have? In this research, the linear analysis of the king, the throne, the scepter, and the placement of the king in the composition of the painting have been discussed, and after the description and analysis of the data, the researchers have come to the conclusion that out of the nine paintings examined, the type of sitting of Fereydoun on the royal throne It is meaningful and corresponds to the content of the text (the unique character of Fereydoun in the Shahnameh). Generally and specifically, the king's throne is divided into two important categories: two-part and three-part thrones. Also, in most paintings, the figures of the king have crowns and luxurious clothes, and in the hands of Fereydon or his assistants, a cow-headed mace is seen, which is a symbol of his kingship. The composition of Fereydon's placement in the painting also attracts attention and has a central state. All of these cases show the lofty, important position and have the divine meaning.After describing and expressing the pictures, from the data of the previous sections, the three main keywords of this article can be respectively; He examined the throne, the body of the king and its composition:After examining the images, it can be concluded that we are facing two important categories of royal thrones, and all the examined thrones in these nine images are composed of the following components: 1. Sitting room 2. Support 3. Crown above the bed support 4. Platform under the bed 5. Chair 6. Roof above the bed or canopy.In the studies carried out on the pictures, Fereydoun is sitting on the throne, except for two pictures (lamentation over the death of Iraj, handing over the royal throne to Manouchehr) who is sitting on the ground. In the painting "Lamentation over the death of Iraj", Taj Fereydoun falls from his head due to the grief of the death of his child and is sitting while holding Iraj's head In the painting "Handing over the royal throne to Manouchehr", he is sitting on the carpet next to Manouchehr, which is a confirmation seal of Manouchehr being the king. At the beginning of his reign, Fereydon held the gauser mace in both hands. One of the most important identifying features of Fereydon is the cow-headed mace. in his hand, this mace is one of the symbols of Far Kiani, in the next eight images, the mace is in the hand of one of his attendants.

In the Safavid period, along the growth of other arts, carpet was manufactured as a valuable product, by support of the patrons, while the period was known as the golden age of design, pattern, color and carpet production. Above all, the Persian painting, applying the illustration of dominant literary subjects, is constantly known as one of the fields, suitable for an artistic challenge. Shah Tahmasb’s Shahnameh is a highly influential issue in the realm of painting of Iranian historical periods which has been performed by the most professional artists. The present illustrated versions of Persian painting embody different concepts that have been elaborated by taking advantage of prevalent elements of the daily life. Shah Tahmasb’s Shahnameh which is known as one of the jewels of Persian painting of the mentioned period, having an expanded variety of unique features, is a proper domain to represent the artistic issues in a gorgeous way, and besides, the carpets play an important role in the composition and decoration. As a conclusion, the Persian carpets in the different versions of shahnameh, are considered as part of subjects, applied by artists in order to make relevant illustrations and are alike the elements of their own periods. However, it seems that illustrations of some existent illustrated carpets in the Shah Tahmasb’s Shahameh have their own principles in Iranian paintings.Shah Tahmasb’s Shahnameh is considered as a magnificent art work of early Safavid Miniature School (Tabriz II).  Interwoven by the two main miniature schools of Herat and Turkmens, this masterpiece includes 258 illustrations. The main design elements of each illustration in Shah Tahmasb’s Shahnameh include natural scenery, battle and festivity scenes, mythical tales, Iranian architectural buildings and carpets.Abundance of the carpets that are figured and illustrated in the mentioned version of Shahnameh, and also the historical period of it, which are supreme factors in the production of handmade carpets, demonstrate the importance of them. Therefore, the main issue in the present research is to conduct a study on the total pattern of illustrated carpets in Shah Tahmasb’s Shahnameh and to scrutinize on the figures and elements used in it which have been performed in order to reach a collection of categorized data about the carpets in terms of the structural aspects of design and illustration in Iranian carpets. At last, it will present a possibility to have a comparison on the outcomes of this research, on the carpets of the Safavid period. Thus, these are the main questions of the research:What are the features of illustrations and elements in the represented carpets of Shah Tahmasb’s Shahnameh?How are the diversities and categorizations of designs in the represented carpets of Shah Tahmasb’s Shahnameh?The research method is descriptive-analytical with the pattern and design morphology approach and the data are analyzed qualitatively. The information about the identification and historical background of the illustrations of Shahnameh is gathered through library research. The study cases totally include 80 samples, out of which 14 samples in five categories (3 samples in the category of Overall Flower carpets, 2 samples in the category of Lachak Medallion, 3 samples in the category of Medallion, 3 samples in the category of Panel patterns and 3 samples in the category of patternless field designs) have been purposively selected for the analysis.   According to the general categorization and features of each rank, the details and compounds have been considered and analyzed in the whole studies, and analyses are based upon the rules and principles of Iranian carpet which is adherent to the traditional designing principles of Iranian art. To have more understanding and observation about the mentioned carpets, the linear patterns of all the samples have been prepared and all the analyses are based upon them. The results demonstrate that the carpets available in the Shah Tahmasb’s Shahnameh are under the effect of a desire to fantasy and enthusiasm of the Turkmens school (which appears in Overall Flower carpets) and the original and meticulous style of Herat (demonstrated itself in framed carpets and Kufic margins). Generally, the carpets illustrated in the Shah Tahmasb’s Shahnameh are the fruits of imagination of the artists who their main concern was to represent the chief concept that they were focusing on, which is to illustrate different topics of Shahnameh beside the reflection of magnificence of the art protectors. Above all, the general construction of carpets conforms to those that remained from that period. The value of the carpets is so predominant, beside the other arts like music, architecture, handicrafts and etc. The illustrations are committed to the carpet weaving traditions of Iran and they construct significant parts of the illustrations, related to the dexterity of the artist, as if they have a decorative function and they cannot be assumed as remained carpets from the Safavid era.

Kamal ud-Din Behzad was the most excellent and skilled Iranian painter who radically changed Iranian painting. In Behzad’s paintings, emotion and reason are delicately and artistically balanced so that they never go out of the general aesthetic framework of Iranian painting. David Hockney is also one of the most important painters of the 20th century. He is considered one of the greatest artists of contemporary English origin, who started creating oriental art with a view influenced by oriental painting. He says about the art of the East that we Westerners have limited the space to one point of view and look at it through an open door, while the Orientals have entered the unlimited space into their art. In this research, by using comparative studies of the works of these two artists, I seek to analyze and examine the color and content as well as the points of commonality and difference in the works of these two artists. This research shows that Hockney’s favorite color is blue, and he drew two people in most of his paintings. The subjects of Hockney’s works have a domestic and private aspect, but the issues of Behzad’s works have a social and conceptual aspect. In Hockney’s works, it is as if everything is still and soulless and as if inner peace is hidden in the images of faces. In Behzad’s works, everything is alive, moving, and dynamic, and all this dynamism and movement in Behzad’s works are derived from his Islamic worldview. Behzad’s works are derived from Iranian-Islamic art and combine Iranian painting and his Islamic thoughts. Among the similarities between the works of these two artists, we can mention the lack of dimensions in Iranian painting and the presence of multi-dimensional space in Behzad’s works, the use of pure color surfaces, the creation of separate color plans, and the importance of the symbolic aspect of color, the design of color rhythm and the creation of the illusion of distances by using It can be mentioned from the color.

During the rule of the Ilkhanate, miniature was one of the highly valued arts to the extent that royal library-workshops were formed and precious books and texts such as Shahnameh were illustrated and illuminated a number of times. This led artists and art custodians express valuable themes and concepts through miniature. This study aimed to recognize and examine miniature and its influential elements and concepts in the Ilkhanid period in order to answer why and how different themes such as religious and ritualistic concepts have been expressed in the miniature works of the period. In this regard, texts and works remaining from the Ilkhanid period were studied and analyzed, recognizing the discourse of Iranshahri thought. The findings indicated that religious concepts in a manuscript such as the Demotte (Great Mongol) Shahnameh were traceable implicitly with regard to Iranshahri thought. This was a historical-descriptive-analytical study and the data were collected through library research.

The emergence of literature in the field of painting shows the deep and ancient connection between these two fields. The seven military figures are known as a source of inspiration for painters in creating paintings. On the other hand, in dealing with military text, painters use the poet's imagination in addition to their artistic and visual imagination and depict it. What and how this process is explained in matching the image with the poems of seven military figures. In this research, a comparative study of the story of the White Dome of Seven Soldiers with four images of the White Dome from four different periods has been done, relying on Gerard Genet's transtextuality perspective. Since the perceptions of the poet and the painter are different when faced with the text in its general form, but the coherence and continuity of the texts cannot be denied, in this research, we intend to compare the reading of each with the method of transtextuality and open the way. Let's question the transtextuality of Genet in the reading of paintings. With the premise of referring to the text of Nizami's poem, the artist uses three methods intertextuality: the presence of verbal signs in the image. Transtextuality: the interpretation of poems by the painter and his method in creating the painting. More textuality: He has used the imitation of the verbal system in the creation of the visual system in two forms, change and imitation in the creation of his works.

Garshasp-nama is a poetic and agonistic story about the adventures of Garshasp ancestor of Rostam, which was written by Asadi Tusi, a poet of the 5th century. There are 39 complete and incomplete copies of Garshasp-nama, few of which are illustrated. The purpose of this essay is to introduce the British Museum version with the number or.12985 and the date of writing 981 AH/1573 AD and explore the visual structure and formal characteristics of its paintings to gain more knowledge of historical and abandoned Iranian documents and knowledge of the visual culture of the past. This illustrated sample has 8 illustrations that have the pictorial and stylistic characteristics of the Qazvin school. The present article tries to answer the question, what are the formal features of the index and the common aspects of the paintings? The descriptive-analytical and historical research method was conducted in a qualitative and inductive way. The results of the study showed; the illustrations of the edition are depicted in two themes of war and banquet, which are more prominent in the development of the theme and artistic expression due to the epic theme of the work. Although in contrast to the characteristic feature of Asadi's poems in describing the scenes of marvel, we are faced with the cautious and naturalistic approach of its writers. The centrality of the hero's character in the image and his facelessness, attention to the richness and color effects as well as the proportional composition are the most important common visual features of Garshasp-nama's paintings.