Inter artistic, Intertexual and comparative ratios in Khandidani poetry

Khandidani is a kind of poetry that has an inseperable connection with visual arts and graphic. Mehrdad Fallah, as an Iranian contemporary poet, has been focusing on the written / performatic aspects of poetry rather than the utterance in poetry. Fallah has introduced Khandidani as ‘’rediscovering writing and writing signs’’  which converts to a ‘’scene- poetry” In the process of reading and seeing the poem. In the other hand, the interacting of language and image, in the course of predetermined relations, makes the final form of poem on paper or monitor.The fundamental hypothesis of the present paper, is that the original idea of khandidani, was first and foremost, influenced by the world poetry, and in particular by Guillaume Apollinaire, who has paid attention to writing form of poetry, art of painting, and style of cubism. Beyond this, if we look at classical Persian poetry,we find that some Khandidani techniques, have a background in the acrostic (mesostich( as a figure of speech. In this paper, the inter artistic, intertextual and comparative ratios that have led to the formation of the idea of Khandidani in the mind of Mehrdad Fallah, will be analyzed, and also clarified how the process of reading and seeing on the both sides of  the poet/ reader will be occurred. In adition to this, the process of reading and seeing will be analyzed in Khandidan.