The Role of the Rhetorical Devices of Quotation, Allusion, and Adaptation in the Artistic Expression of Contemporary Islamic-Iranian Miniature Painting (with an Emphasis on Illustrated Shahnameh of the Academy of Arts)

In the interaction with Persian literature, Persian painting has consistently drawn upon the expressive capacities of verbal rhetorical figures to elevate its visual language. In this context, the visual translation of literary devices such as Tazmin (quotation), Talmih (allusion), and Eqtebas (adaptation) goes beyond a mere reference; rather, it functions as an intertextual tool through which the miniaturist integrates Quranic and narrative concepts with national epics, ultimately forging the essence of the “Persian Islamic Art Identity.” This approach has persisted into the contemporary era, where artists have sought to transcend traditional paradigms by employing these devices to reflect modern concerns. Aiming to explore how miniaturists utilize these rhetorical figures and their impact on artistic expression, the present study conducts a purposive analysis of seven paintings from the “Illustrated Shahnameh of the Academy of Arts” collection in modern Persian painting era. Methodologically, this research adopts an interdisciplinary approach utilizing a descriptive-analytical method. The findings reveal that these three literary devices manifest within the artworks via two primary mechanisms: the use of “textual inscriptions” (representing the visual manifestation of quotation and adaptation) and the creation of “evocative imagery” (representing visual allusion). Ultimately, the results demonstrate that the pivotal role of these devices in artistic expression lies in the generation of a multilayered visual language. This language effectively synthesizes the myths of the Shahnameh—serving as the Iranian component—with Islamic beliefs and contemporary historical events, thereby substantiating the emergence of the “Contemporary Islamic Persian Painting” school.