Fortune-telling of the book of omens during the sixteenth/tenth centuries in Iran and also during the Ottoman reign was a common and admired method of foretelling in the Safavid and Ottoman court. At first, artistic manuscripts such as the Shah Tahmasepi book of omens emerged followed by a copy of this illustrated manuscripts that was ordered by the minister of Sultan Ahmad the first “Qalandar Pasha” to be presented it to the Ottoman Sultan. In this current paper which is written in a descriptive and analytic approach strives to compare the form, content and concepts applied in the two omen books of Sultan Ahmad the first of the Ottoman era and the Shah Tahmasepi book of the Safavid era. The results show that the artistic traditions of the book of omens related to the first century of the Safavid era both in terms of appearance and structure and also in regard to conceptual and content matters have influenced the Ottoman book of omens; in other words, Ottoman artists have been highly influenced by Persian artists in creating such unique works of art. This influence is so strong that even Shi’ah concepts applied in Persian omen books have been imitated into Ottoman art. This occurred during the strong religious conflict that that was present between the two Islamic powers of the region; hence this commonality could be due to the some degree of alliance between the two Sultans of Shi’ah and Sunni.

Tahmasebi Falnama is one of the illustrations of the Safavid era that contains topics such as concepts of Shi'a and the interpretation of good and evil, which is due to the submission of the Ahl al-Bayt. This manuscript was illustrated during the reign of Shah Tahmaseb. Shah Tahmaseb with the help of Shi'a scholars and the guidance of the greats such as Mohaqqeq Al-Karaki and Mohammad baqer Majlesi considered that one of the best ways to convey religious concepts was to recite texts and editions to Ahl al-Bayt's images. Therefore, he provided grounds for Shi'a development by supporting artists. Shah Tahmaseb intended to reinforce Shi'a thoughts and insights all over Iran through Shi'a concepts and imams’ visualization especially Imam Ali (as). This article answers these questions; What are Shi'a concepts in Tahmasebi Falnama figures? What are the signs and symbols of Imam Ali(as) guardianship in the manuscript? To answer these questions the following objective was considered: Identification and analysis of Falnama figures based on Shi'a concepts and signs of Imam Ali (as) guardianship. This paper used the library method and collecting subjects and analysis of Shi'a figures and symbols in the descriptive method.

Tahmasebi Fālnāmeh is one of the few Iranian works of art that bring together information from various sources and Iranian-Islamic ideals (Shiite and Sufi). The multiplicity of sources shaping the content of this book has led to the production of a work that is variegated and hybrid in its application of visual elements. Since artistic imagination is a crucial factor in the embodiment of reason in the tangible, it is possible to study how meaning is shaped in works of art through techniques inspired by the analysis of imagination. In this paper, one of the methods of imagination-oriented analysis proposed by Gilbert Durand has been adopted to analyze an illustration in Tahmasebi Fālnāmeh. The research data was obtained by observing and decomposing the image into its components. Also, the information required for analysis was also attained from library research before applying Durand’s imagination method of analysis. The results indicate that the artist of the illustration has drawn on all twelve structures explained by the Durand to express the theme of immortality in his portray of Resurrections Day.

The Shiite painting of the afterlife judgment from Tahmasbi's Falnama was written and painted in (967-962 AH) by order of Shah Tahmasb Safavi in Qazvin city. During his reign, Shah Tahmasab tried to stabilize Shiism. The iconologic reading of the Shiite paintings of Tahmasbi's Falnama can refer to the hidden meaning and values of the society of that period. The iconology approach deals with the content of the artwork in the context of a civilization. Erwin Panofsky (1892-1968) presented this approach in a methodical way and expressed three levels of meaning ( Pre - Iconographic Description , Iconographic Analysis , Iconological Interpretation ) for reading the artwork. The main purpose of this research is how to analyze the iconology of the afterlife judgment painting from Tahmasbi's Falnama with Erwin Panofsky's opinions and The secondary goal is to investigate the values of Shah Tahmasab's period, which the painter consciously or unconsciously reflected in the painting . Therefore , it is looking for answers to these questions : With its iconographic reading, the painting was influenced by what historical and religious texts ? What institutionalized values and beliefs of the society are reflected in the afterlife judgment painting ? This research is conducted in a qualitative and comparative - analytical manner , and the method of collecting materials was done in a library manner and with an iconological approach. Finally, it was concluded that due to the importance of establishing Shiism in Qazvin city, in the center of the painting, the role of establishing justice by Imam Ali on the Day of Judgment has been emphasized. Shah Ismail has been transformed in the form of the Prophet and Shah Tahmasab in the form of Hazrat Ali and has been depicted in the expression of succession, righteousness and justice; Also, Shah Tahmasab has used art and the position of a religious-mythical figure in people's belief to implement the laws he established in prohibiting sin and establishing his Shiism and legitimacy. This research is conducted in a qualitative and comparative - analytical manner , and the method of collecting materials was done in a library manner and with an iconological approach. Finally, it was concluded that due to the importance of establishing Shiism in Qazvin city, in the center of the painting, the role of establishing justice by Imam Ali on the Day of Judgment has been emphasized. Shah Ismail has been transformed in the form of the Prophet and Shah Tahmasab in the form of Hazrat Ali and has been depicted in the expression of succession, righteousness and justice; Also, Shah Tahmasab has used art and the position of a religious-mythical figure in people's belief to implement the laws he established in prohibiting sin and establishing his Shiism and legitimacy.

One of the most important manuscripts related to the Safavid period are the Falnamas. Although the fortunes are among the first copies formed in Qazvin School of Painting, The drawings depicted in it have a high study value and cognitive style.The Paintings in the fortune-tellers, which are depicted under different themes, are kept scattered in collections abroad. One of the Paintings of the fortune teller that was formed in Qazvin painting school by a person named Mohammad is related to Imam Zaman And is kept in the Topkapi Museum. This Painting has a meaningful multi-layered structure Thus, the question that arises in this research is that What layers of obvious and hidden meanings are there in the painting related to Imam Zaman in Tahmaspi's Falnama? In the present study, an attempt has been made to: Using descriptive-analytical method as well as collecting Documentary method was used ,The image of Imam Zaman in Tahmaspi's fortune -telling should be read according to the iconology model and analyzed in three related stages. As a result, fortune-tellers were used to predict misfortunes. The level of people's belief in divination and prophecy in the Safavid period was high and because it was outside the custom of Islam, The painters decided to include images with religious and sacred themes in the fortune-telling drawings To justify their work. In reading the falnamas, there has been an attempt to reveal the meanings of The good and the bad of the future affairs That In the painting of Imam Zaman by analyzing the three stages of iconology, images, signs and also writings, which include verses of Persian poetry in Nasta'liq script and Arabic verses of the Holy Quran. An attempt has been made to grasp the existing concepts From the image as an image copy of a horoscope, it is a kind of herald of hope and the establishment of justice and the eradication of oppression and evil.

The paintings of Falnama in Safavid period are important in several different aspects. Considering the fact that Falnama is one of the first manuscripts of Qazvin painting school, its paintings has great research value in terms of stylistics. Another important point is related to the intertextual relation of paintings with their multitude texts of their age, which shapes different themes in certain direction. In addition, the art of painting in contrary to its traditional function, in book designing and illustrating literary texts, used for a different function. Therefore, the paintings of Falnama, in terms of semantics, composed of multi-layer structures. What are the implicit and explicit semantic layers in paintings of Safavid’s Falnamas? This is the main issue here. Dispersed Falnama are the most widely reproduced and recognizable of all extant illustrated versions. Of its thirty known folios, one was published as early as 1913, but it remains unclear how any of them arrived in Paris, where they initially came to the attention of collectors. The Belgian dealer George Demote seems to have been responsible for disseminating several, if not most, of the folios among private and public collectors in the first decades of the twentieth century. Except for Four Lions Devour Zaynab, the folios of the dispersed Falnama represent some of the largest known Persian paintings and measure about 59x44.5 cm. By or before 1913, they were removed from their surrounding margins, which would have further increased their size. The varying degree of Surface damage suggests not only the illustrations were frequently used but also perhaps they have been separated for some time. The text-image relationship of the dispersed Falnama, however, demands an ordered sequence, since each illustration is linked conceptually to a facing text, and viewing the pair side by side is critical for understanding the full meaning of the augury. Furthermore, all pictorial Falnamas with related textual auguries appear in codex form, even if the text and images are not Contemporaneous, as is the case of the Ahmed I Falnama and the Dresden volume. Although it is impossible to determine at this time when the folios of the dispersed copy were separated and the reasons for this alteration, circumstantial evidence suggests that they, too, originally were bound, allowing the seeker to view text and image together. The style of the illustrations indicates that the dispersed Falnama probably was created between the mid-1550s and early 1560S, The Scale and treatment of the figures, the more simplified compositions, and the looser, more spontaneous brushstrokes depart from Works created in Tabriz. This paper tried to analyze Falnama’s images (Tahmasbi version, dispersed) with an iconology approach. A discriptive-analytic method used to analyze the images in three steps. The result of this study showed that the existence of religious and Qur'anic themes in the paintings of dispersed Falnama, and their abundance compared to other themes, is intended to make the perception that this book is in accordance with the tradition of Istikhareh, and therefore it is unobstructed in Sharia law. Along with that, other beliefs revived through non-religious themes of images.

New temporal structures in Cinema are considered a special kind of storytelling and narration in cinema that can be contrasted with the simple narratives of classical cinema. In such works - also known as cinematic modular narratives - the filmmaker intends to challenge the viewer, arousing his/her imagination and curiosity. The multifaceted space, Split screen and the simultaneous presentation of diverse narratives and the infinity of qualitative and non-linear place and time can be considered to be the components of Iranian painting.. It is noteworthy that these features were represented properly in the paintings of Tahmasebi era (Shahnamah and Falnamah) and these components can be identified in new temporal structure films. This study aims to investigate the characteristics of new temporal structure films and compare them with Iranian painting with an emphasis on the paintings of the Safavid period. The main question of this paper was: "What are the common features of new temporal structure films and Iranian painting?" Night on Earth and Timecode Films, and Shahnamah and Falnamah Tahmasebi were used as the sample. A descriptive-analytical and comparative research method was employed in this study and data were collected through written documents and observation. Findings suggest that features such as creation of complex space, simultaneous presentation of events, multifaceted and multi-level space, lack of focus on a single character, and multiplicity of characters present in the new temporal structure films are similar to the paintings of Shahnamah and Falnamah Tahmasebi.

Monotheistic and Abrahamic religions have promised their followers the Day of Resurrection, which is the time of reckoning for all. In the holy books of these religions, there are many verses and propositions about the manner of resurrection and the quality of reward and punishment, as well as the details of the resurrection of humans on the Day of Resurrection. The story of the dead coming back to life, the resurrection, and heaven and hell are among these themes. In the Christian religion, in different eras, this event has been tried to be depicted in different ways based on the religious texts in the Bible and the interpretations of the elders of this religion. However, in the Islamic world, such an approach has been more limited, and only in a few famous paintings resurrection scenes have been depicted following the verses of the Holy Quran and religious traditions. The following article examines and compares two works with the theme of Doomsday. The Mahshar Desert (Doomsday Desert) painting by Tahmasabi's Falnameh is based on Quranic verses and Islamic and Shia traditions and the painting of The Last Judgment by Fra Angelico is based on the themes of the Bible and Christian beliefs. Falnama Tahmasabi's Mahshar desert painting and Fra Angelico's painting of the afterlife judgment are two examples of similarities in terms of the system of visual signs and the history of their creation. The above-mentioned Falnama painting is the only work among Islamic works with resurrection themes, similar to the paintings of the Christian world. On the other hand, each of these works was created based on the religious texts present in their religion, and here, between these texts and visual works, there are hypertextual relationships that can help to investigate the reasons for these similarities.The hypertextuality approach is a part of Gérard Genet's theory of transtextuality, which examines the influence and inspiration between a text and an earlier text. A hypertext is a text created from a previous text (pretext) during a transformative process. According to Gerard Genet's multitextual approach, verses of the Qur'an and Shia traditions, as well as statements from the Testaments about the resurrection and the day of resurrection, are considered as the pretexts and important sources of the mentioned paintings.The Mahshar desert painting is one of the 50 horoscope paintings available in the Dresden library. This work was created in the Qazvin school in the 16th century by the order of Shah Tahmasb Safavid and in the royal workshops. Horoscope books became widespread with the rise of the Safavid dynasty in Iran, especially Shah Tahmasb, along with the expansion of Shiite thought, and several prominent fortune-telling books were also illustrated . In this painting, Prophets and divine saints are drawn at the top of the image, next to the Tuba tree and the water fountain, watching the Day of Judgment and the establishment of justice by God's will and by Prophet Muhammad(PBUH) and Imam Ali (SAW). The close angels are also holding this scene; from the angel carrying the scales and the one playing the trumpet, to the agents of doom. On the left side of the picture, you can see heaven and heavenly homes, and at the bottom of the picture, hell is drawn, and in the middle of the picture, people are waiting for divine judgment with their deeds. This picture is unique because it includes all the parts of the resurrection.The second work is the Last Judgment painting by Fra Angelico, which was created between 1432 and 1435 and is currently kept in the San Marco Museum in Florence, Italy. This painting was created for the Camaldolese Convent Santa Maria del Angeli monastery in Florence. In this painting, the mighty judge invites the believers with his right hand and guides them to heaven, and with his left hand, he rejects the damned and shows them hell. Three rows of angels surround Christ. Below his place, an angel is holding a cross and two other angels are playing trumpets. The Virgin Mary, John, the apostles, and fourteen other saints are placed in two rows on both sides of Christ, like the assessors of the judge. In the lower part of the painting to the left of Christ, the cursed people are driven to the seven pits that correspond to the seven deadly sins. Deep in the abyss, a demon named Lucifer devours three damned souls. All the inhabitants of hell are naked, but the damned who have not yet crossed the threshold of death are clothed. On the right side of Jesus, the redeemed are seen, some kneeling and giving thanks, others being greeted by angels.the research questions of the present study are: 1- What are the similarities and differences between the two paintings mentioned with different pretexts?  2- What role did different pretexts have in creating two paintings with a similar theme? The current research aims to analyze the two mentioned artworks, based on the degree of influence of their pretexts, using the theoretical foundations of Gérard Genet's Hypertextuality. This analysis will lead to a recovery of the scope of the influence of the two Islamic and Christian arts on each other. The lack of attention to the religious concepts in the works of art and the similar themes among the artistic representations of Abrahamic religions indicates the necessity of conducting this research. The current research is descriptive-analytical with a comparative approach and data collection was done through a library.By comparing the textual symbolic system with the visual symbolic system, between the studied paintings and their textual and verbal pretexts, it is obvious that the mentioned paintings, in most parts, follow their pretexts exactly. In a few parts of Falnameh's painting, some text topics have been transferred to the image in a transformed form. In addition, the visual signs of these two works were matched based on the equal verbal signs in the pretexts, as well as equal visual elements. These tables provide the possibility of evaluating the existence of a relationship or the impact of one of these works on the other.The results of the investigations show that despite the existence of many similarities between the mentioned paintings, due to the similarities of their pretexts with each other, it is not possible to issue a definitive verdict about the influence of these two artworks on each other.What shown on the comparative tables illuminates that in each of the two works considered in the current research, the hypertext is relatively consistent with its verbal and cultural pretexts, and both works adhere to their religious foundations to a large extent. On the one hand, there is a lot of correspondence between the visual signs of the Mahshar Falnameh desert and the last judgment of Fra Angelico, based on the verbal signs in the pretexts. On the other hand, the elements and signs in the two works are in complete agreement with each other and there is merely a slight difference between the composition of the two works of art. In addition, the presence of a Tuba tree above the work of the Mahshar desert, and the way the judges, Prophet Muhammad(PBUH) and Ali(SAW), stand in the middle of the painting is different from the painting by Fra Angelico.In the comparative studies that took place in this research between the hypertexts and their pretexts, it was found that despite minor differences, the many similarities between the works show the similarity of the narratives of these two religions about judgment in the afterlife. Paying attention to comparative studies between works of art with common religious themes can be of interest to art scholars in future research. The results of these studies can lead to the discovery of intertextual relationships and artistic influences, in addition to emphasizing equal pretexts.

Falnamas are a collection of books on the manners and the instructions of fortune telling. Based on the available evidence these Falnamas have had a long life and were specially evolved during the reign of Shah Tahmasb the second king of Safavid dynasty. During this historical period, illustrated falnama as an artistic genre evolved in the other territories such as in the Ottoman and the Indian courts. Therefore, this article uses a descriptive-analytical approach to examine how Iranian painting of Safavid era influenced Khalili’s Falnama. Khalili falnama as a magnificent piece is one of the manuscripts that well show the influence of Iranian culture in the court of the Qutbshahi sultans of Golconda. By the time of producing its illustrations,  a very close relationship were established between the sultans of Qutb Shahi and the safavid court of Iran, especially in the politics and finances, while the common Shiite religion and doctorine played a dominant role. This Falnama produced in the first quarter of the seventeenth century in the court of Qutb Shahi sultans in Golconda (1512–1687), more than half a century after significant Iranian Falnamas. The illusrtration of this book fortune-telling are a combination of Shiite, religious, historical and mythological stories that derived freely from many different sources, such as the Qur’an, poems of Nizami and Jami and books like the Qisas al-Anbiya and the Siyer-i Nebi. Illustrated pages such as ‘Ali Fighting at the Gates of Khaybar”, “Prophet Muhammad’s Night Journey and the Aqsa Mosque”, “The Prophet Salih and his miracle of the she-camel” and “Shah Tahmasp and His Army in Battle”. The style of its miniatures has clearly and to a significant degree borrowed from Iranian Safavid-era court painting, especially the Qazvin and Tabriz schools, and is very much influenced by Safavid Falnamas in many ways, both visually and structurally. Also the history of ethnicity, patriotism and interest in the Shi‘I religion are among the factors that influence this Falnama and form a strong connection to Iranian culture and the Shi‘I religion. some of the elements in the figures, like the clothing features, the coherent use in throne color, famous hats of Gezelbash, etc signify the influence of Iranian painting traditions. However, due to the geography, time, type of illustration and style rules, government conditions and the prevailing intellectual space and the tastes of the clients in each historical period, there are differences in style of the miniatures of this manuscrip, Such as, features of the Deccan native style, especially the presence of a footnote under the miniatures, which is derived from the common Indian tradition; and Despite the executive similarities in the method of painting with the Iranian court painting tradition, the colors are dull, thin and spiritual. In a way that the basics of the visual culture of Deccani’s court can be seen through its miniatures.

This paper is an effort to understand the Iranian everyday life through the so-called family magazine's omen pages. Reaching the structure of these contents and understanding the social and cultural context of this phenomenon, we analyzed the omen page of the "Khanevanede Sabz" magazine, titled "month to month with happiness secrets". We applied the "global-local" approach and discourse analysis insights of Teun A. Van Dijk to interpret the contents. The findings illustrate that at first, the omen sentences include generalizations, tautologies, positive thinking, restating trivial axioms and fatalism. At the second step, omen contents depict reader's everyday lives through matters such as providence, describing problems, qualifying characteristics, communications, and love relations according to the basic knowledge of their social and cultural contexts.