With the presence of Iranian artists in the court of the Mughal rulers in the subcontinent from 1549 AD, a new form of mughal painting was created, combining two Hindu-Persian styles, which has left significant works. The present study investigates the effect of Iranian MINIATURE paintings on Pakistani MINIATUREs (1947-2021). After the independence of Pakistan and India in 1947, Pakistani artists, for political reasons, sought to create a new art form in which little influence of Indian art could be seen. In this way, the efforts of Pakistani artists to achieve artistic independence were accompanied by the influence of Indian and Iranian Muslim art during the mughal period, and thus created the basis for an independent artistic identity. For this reason, by studying the works of painting in Pakistan, one can clearly see the impact of Iranian painting on Pakistani painting in different periods. The purpose of this study is to identify and to deeply understand the richness of the impact of Iranian painting on Pakistani painting and to study the artistic elements in their MINIATUREs, so the research and the focus are based on the following questions: What elements of the Iranian style are there in new Pakistani MINIATURE art? How are these elements represented in Pakistani MINIATUREs? Are Pakistani paintings influenced by Iranian paintings in terms of expression?If we consider the painting styles related to Tabriz, Shiraz, Herat, Bukhara and other places to represent the main traditional styles of Iranian painting, after the Muslim invasion of the Indian subcontinent, these styles crystallized into a new art form, mainly from Iran. They entered this area. Of course, the styles inspired by Iran, along with the developments of Morian art in the third century BC and the developments in the mughal arts in the sixteenth century AD, quickly and dramatically changed in each case under the influence of Indian artistic environment and taste. Perhaps the main reason for this artistic exchange is the strong interrelationships between the two regions in antiquity and also after the middle ages. It was the Islamic civilization of India or other neighbouring civilizations that had considerable resistance to change, so it is not surprising that the Iranian spirit, which was still evident throughout the Indian subcontinent, stemmed from much older influences than Islamic influences. These influences were later reinforced by many of the Mughal kings and rulers of India due to their friendly relations with Iran.Another major factor in the direct impact of Iranian MINIATURE art on the subcontinent was the migration of prominent artists from Iran to India after the establishment of the Safavid rule and the spread of Iranian painting and MINIATURE art in the subcontinent. Therefore, the aim of this study, which uses the descriptive-analytical method, is to understand the depth and richness of the impact of Iranian art on Pakistani art as part of the subcontinent and to study the artistic elements in their MINIATUREs.For this purpose, first, a summary of mughal MINIATURE art before and after the arrival of the Muslims in India is given, then the contemporary MINIATURE art of Pakistan is studied by analyzing the works of two contemporary Pakistani artists from a selected list of Pakistani artists after independence. The present study is important because unfortunately today only a little recorded evidence of Pakistani MINIATURE art remains, so the study of traditional Pakistani MINIATURE art can be a basis for recognizing and preserving this art for the use of other artists in future researches.it can be estimated that the new art form, known as contemporary painting or neo-MINIATURE, began in the 1970s and quickly gained special popularity in the international art scene. Among these artists is Zuhur al-Akhlaq, which created a new aesthetic design and concept in MINIATURE painting. Iranian painters also played a very important role in the development of mughal art. Based on findings, the influence of the Iranian style was so profound that over the centuries, many traces of it can be seen in contemporary Pakistani MINIATURE art. In addition, evidence of the Iranian style in modern Pakistani MINIATURE art, shows how neighbouring countries can influence each other over time, which can accept various changes, but not completely disappear. It can be said that Iranian MINIATURE art has significantly influenced the contemporary MINIATURE art of Pakistan. Contemporary artists, in particular, have used elements such as atmosphere, composition, colouring and performance styles of Iranian paintings, but there are significant changes and themes in their works, including the use of myths, and various symbols, even subvert the themes in order to induce a new meaning and concept of the achievements of these artists. Contemporary Pakistani artists have shown with their works that despite the current perception, Iranian painting has many capabilities for expressing contemporary themes and preserving valuable art of their ancestors.

Introduction: Iranian MINIATURE painting, as a significant artistic discipline in Iran, has been the subject of study since the 19th century, fueled by the growing interest of Western collectors and experts. Like all forms of painting, writing the history of this discipline relies on recognizing its characteristics and analyzing various artworks. Therefore, it is essential to explore the development of this branch of art history and revisit the foundations of what is often accepted as obvious today. This study aims at understanding how Western art historians have identified and interpreted the distinctive features of Iranian painting. By focusing on Western publications from 1876 to 1930, it examines how the diverse specialties of scholars influenced the production of this body of historical knowledge. The main question revolves around how the characteristics of Iranian Painting were identified, systematized, and explained within the context of Western art historyResearch Method: With a developmental goal, this qualitative research is based on literature review and library data collection. It describes, analyzes and interprets data found on the characteristics of Iranian MINIATURE in primary sources Western publications. Findings: The historiography of Iranian MINIATUREs in this period has shifted from explaining visual features (such as the use of bright colors) to expressing qualitative features while the approaches of «objectification» and «artistic masterpiece» are present in all of the aforementioned studies regarding Iranian MINIATUREs. Conclusion: This study demonstrates that understanding the characteristics and history of Iranian MINIATUREs during this period is influenced by the diversity of specializations of its contributors.

Iranian Moslem painters have observed the divinely world through the world beauties; aimed at finding out the worldly instances and understanding the eternal realities. These beliefs have affected the portraiture in Iranian traditional painting; therefore, despite of the western painting, the Iranian painting has been rarely served the creation of the iconography. Regarding the above mentioned points, the portraits in Iranian traditional painting are unique, while they have been painted based on specific patterns. This methodology led some researchers to a fault judgment; so that they have observed the portraits as similar and rigid ones. However, the Iranian traditional portraiture has been affected by different social factors. In this article, social development indicators, from the Sassanid to the Safavid era, has been studied and the major developments in portraiture has been analyzed. Iranian artists, in addition to applying traditional rules and patterns, they also experienced their own personal styles. Turning towards western art, made artists to ignore the traditional method of portraiture, as a result, this kind of art changed its direction towards realism. In this article the historic, descriptive and comparative methods have been used.

In contemporary times, due to social-cultural conditions and the idea of modernity and reflection of Western culture and art, Iranian painters refer to past painting so that revive Islamic Iranian identity and culture. Hossein Behzad is as the most significant contemporary painter of this period of time. This research which aims at study Hossein Behzad's MINIATURE painting in contemporary times, using Gadamer's hermeneutic concepts with a descriptive-analytical approach and collecting information by using library resources, admittance is answered the question how much the painter's artwork of this era fit into Gadamer's hermeneutic theory. In this regard, he talks to the art of the Safavid period, and consider that the whole truth is not with him. Therefore, he enters elements of the Safavid art into his era, which entails a struggle between tradition and modernity. Since the thought of modernity and the reference to western art after the constitutional revolution in Iranian art and culture has proceeded, artists in the thought of reviving the identity of Iranian Islamic art have brought past MINIATURE paintings, especially paintings of the Safavid and Herat schools, to revive traditional and national arts based on their contemporary art and culture, which is in accordance with Gadamer's hermeneutic theory. In other words, Hossein Behzad, according to Gadamer's modern hermeneutic theory, based on his prejudices, which is the result of the semantic horoscope of his time, talks with the art of painting in the Safavid school and with its Iranian Islamic influences. He corresponds to the semantic horoscope of his time, which has western influences, and finally creates an image that belongs to the time, culture and social conditions of his era and the formation of the style that belongs to him and his age. He paid attention to the anatomy and perspective and the principles of naturalism, which was immaterial in the Safavid school MINIATURE paintings, and applied in a way that did not harm modern contemporary art and adapted to the horizon of his time. He appreciated the style of Reza Abbasi, who, to some extent, ignored the principles of Mongolian style from Iranian MINIATURE painting and at the same time paid attention to design as an important part of painting. Meanwhile, we found the concepts of Gadamer's hermeneutic, that it can describe and expand in contemporary MINIATURE painting, especially Behzad's artworks. The artist talks to the semantic horizons of Safavid period, and he is with the semantic horizon of our time, the age of conflict between tradition and modernity, create the artwork. The contemporary painter, referring to the past painting, especially the Safavid school, elements of Iranian art, bring that era to the pictures of his time. It is adapted and created by the semantic horizon of its age. Gadamer argues that the interpreter interferes with the prejudices that fit his own period in interpretation. As well as texture and social and cultural context are also effective in creating the work, this is important in contemporary MINIATURE painting in the compilation between traditional and western elements.

Literary-artistic texts are better known and decoded in the context of their formation. Codes of artwork are seriously affected by the semantic roots from which the work develops. That is why a text in different periods has different implications. The story of Joseph is one of the stories that has been considered in the sacred texts of the Torah and the Qur'an, art, literature and mysticism of various eras, and over the years, artists, poets, and moviemakers have paid much attention to it. Joseph's narrative has been expressed in a special way in each period in accordance with the paradigm of time and with the effects that the author has had on the narration in the context of its formation, and in recreating the work, different sub-narratives have been used in creating the text, and it has considered the use of the story, the theme or the representation of a sub-narrative of a section of the narrative in various arts and media. This study intends to examine Joseph's narrative in an intertextual manner in literary, artistic and religious texts, as well as cultural, social and historical influences, the author's personal life in narration, and myth analysis in different periods of creation, and the expression manner in each media. In the narrations mentioned from the story of Joseph in different texts, the various relations of the texts in terms of form and meaning are mentioned, which is called intertextuality. But what is considered today in the field of literary criticism and theories as intertextuality, is not simply the expression of the relationship between texts. Intertextuality expresses the relationship and intersection of texts in different cultures throughout the history of human life, which are influenced by each other due to the nature of social life and cultural proportions and interactions. The creation of new texts with new approaches exposes them to the "reading" of other generations, and in fact it is the intersection and connection of texts that leads to their evolution. Narratives on art, literature and love have made a great contribution in the relationship between culture and the depth of society and people, as well as the fusion of different nations and cultures with each other, and love in this narrative, as a comprehensive theme for creating art and literature and creating interaction between the dominant culture of the time and the people, is of interest. Joseph's story has a religious origin and is introduced in the holy books of Judaism and Islam, and has since been widely discussed in religious and mystical interpretations, as well as art and literature. This research aims to: 1-Identify the considered elements and the components used in Joseph's narrative in different periods of recreating the narrative in the media and used in that time and culture (literature and visual arts) and to 2-Identify the similarities and differences of this narrative in different literary, artistic and sacred texts, studies the intertextuality of this narrative. It seeks to answer the following questions: 1-How have the context of time, community culture and the type of creator's attitude influenced how the narrative is presented in the context and the use of the sub-narratives? 2. What are the similarities and differences of this narrative in different literary, artistic and sacred texts? The research method is descriptive-analytical with a comparative approach and the collection of materials is documentary. In data analysis, the use of narrative and sub-narratives in each medium were examined separately and then matched with each other. This research aims to discover the changes and differences in the narratives of Joseph and the pattern of narrative of Joseph in different times, and to look at this romantic myth in the cultural context of the time of recreation. Then, the intertextuality method is used to analyze the myths and to match the texts with each other. In the analysis method, first the religious texts and their processing method are examined according to the narration, and then these processing methods, in each of the sources of Torah, Qur'an, Haft Awrang, Behzad's drawing and Farshchian's paintings, are analyzed and matched. The results show that the use of sub-narratives, changes in narrative style at different times, the effects of society on narration at different times, the influence of the author and the pattern of time on the effect and its impact on society make it widely used in the arts, especially in the contemporary arts. The expression of this narrative and the use of sub-narratives have varied over time and according to socio-cultural requirements. While emphasizing the essence of the story (Qur'an and Torah ), artists have considered factors such as the interaction between society and myth, change in society and culture and its impact on the artist's perspective, and have incorporated various sub-narratives into each art form.

This study examines and analyzes the visual structure of several Persian MINIATURE paintings that depict spaces resembling certain techniques in world cinema. Artistic techniques and cinematic styles are interconnected subjects, and this research explores how Persian MINIATURE techniques—such as simultaneity, image-making over realism, the absence of emotional reflection in faces, and the subject’s direct gaze at the viewer—have been employed in cinema. The study aims to provide a deeper understanding of these techniques for filmmakers, artists, and those interested in artistic creativity. Using a qualitative and quantitative analytical approach, the research synthesizes three intertwined processes: description (what), evaluation (how), and analysis (why). Through this inductive method and scientific approach, a comprehensive picture of the techniques shared between Persian MINIATUREs and cinema emerges.Research Objectives:Examine select structural elements of Persian MINIATURE painting and the interpretive principles governing them in works by prominent Persian miniaturists.Analyze the qualitative and quantitative details derived from the three intertwined processes of description, evaluation, and analysis.Research Questions:What are the structural elements of Persian MINIATURE painting and the interpretive principles governing them?How do the qualitative and quantitative details derived from the three processes of description, evaluation, and analysis manifest?

Iranian painting, as a cultural heritage and a symbolic and spiritual asset, requires effective and appropriate educational conditions. This research aims to examine the role of MINIATURE painting in the higher education of traditional arts, evaluate the challenges facing the MINIATURE painting course, and propose solutions for its enhancement within the undergraduate curriculum of handicrafts.   The authors have employed a comparative approach to analyze this course alongside others within the higher education system, enriching the findings. The summary of these findings indicates that the current state of the MINIATURE painting course is inadequate for several reasons. These include a mismatch between the allocated time and the course objectives, overly extensive content that combines both illumination and MINIATURE painting, a lack of emphasis on the crucial topic of design, weaknesses in course description writing, and misaligned assessment methods with the course goals.  Another significant issue is the excessive parallel efforts that separate MINIATURE painting and illumination from handicrafts, along with the overall low priority of this course in the undergraduate handicrafts curriculum. To address these shortcomings, the research presents suggestions and solutions for improving the course or potentially replacing it with a more suitable option that aligns with the program's objectives. These recommendations are structured coherently as a revised course description and a preliminary proposal.Research Objectives:To identify the challenges of MINIATURE painting education in the undergraduate handicrafts curriculum.To propose solutions and recommendations for enhancing the current situation.Research Questions:What are the strengths, weaknesses, and inefficiencies of the MINIATURE painting course in the undergraduate handicrafts curriculum (according to the guidelines of the Ministry of Science, Research, and Technology)?What suggestions and solutions can improve the current state of MINIATURE painting education in the undergraduate handicrafts curriculum?

Iranian paintings beside Iranian literary texts, play an important role in Art of this country. In so many cases we have seen different sorts of effects done by accompanying painting beside literature. In poring over these paintings, a kind of reciprocal and adherent viewpoint is apparent between literary passages and drawn pictures, which all shows the inevitable features of conventional Iranian paintings. getting this viewpoint, is involved to getting all the aspects of Iranian literature and also Iranian culture, unless, no judgment over these paintings is acceptable. It means, they are not distinct but also not dependent. Relation between Art and Literature caused a close relation between different aspects of these two styles. it means whatever is indeed, and whatever is belonged to painting, has some common angles with its literary artwork. The way of illustrator's handling literary matters such as literary symbols - is one of the outrageous features of Iranian conventional painting which some of them have more transferor power than others, and plays more significant role in texts and pictures. We really can not choose some painting as " the betters" but some of them rarely are really similar to what we call "the best" the best of our dreams . the best of what we expect to be the best... In this study, it has been tried to outline some of these common symbols and through a symbolistic consideration a sort of review and revise on two conventional Iranian paintings titled as" Farhad is carrying Shirin and her horse on his shoulder "and" Shirin and Farhad's date on Bistoon mount" has been done. These two special artworks are chosen due to their significance in symbolism of Iranian culture and Iranian literature. The style which painter has chosen and the effect of literary text, speech symbols, the way in which these symbols has entered to mentioned paintings and also similarities with their literary peers in studying these paintings were considered. How the painter managed different subjects, how he did this composition, and how he considered all the aspects in their best situation.In this study, common allegories are also separated, tried to be realistic, studying different subjects from the outer angle, far from all the fanatic beliefs. beside being Iranian, it is tried to have a greater view on these symbols and criticize them somehow and appreciate them in another way! The field of research on these paintings was so bigger than everybody expected. It took so much time to distinct paintings from each other, classify them by period and emphasize on worth-mentioned points! It is tried to become near to the main expected questions which have been asked before or by reading this essay would be questioned. the answers are all tried to be sufficient  for the amount of this case and also the preparation for summarizing what is necessary to tell is done. Eventually, it's mandatory to mention some key points of this study in brief.paintings and their similarities with their literary peers in studying these paintings were considered. It means, a kind of mutual study is done and progressed to cover all the needed aspects of this subject.

Persian MINIATURE was showing itself as dynamic during dialogue with “other” visual traditions (Specially Eastern ones). But it seems that meet renaissance painting was a kind of “encounter” to a strange matter for it. The most substantial part of this encounter is incompatibility of whose perception of space. Since that the conception of space is related to basic principle of representation. What this paper has focused on, is “the reason” of this encounter. With the help of philosophical approach this paper is trying to answer the question. So is to shed light on metaphysics foundation that make possible rise of conception of space in both side. By using the conception of “the mathematical” in Heidegger philosophy, it is shown that how ascend of modern metaphysic was lead to quantitative perception of space in renaissance painting, and at the other hand how using a qualitative perception of space in Persian MINIATURE opposing to modern perspective of space.