The Comparison of Appeal of the Praised One in Khorasani Style (Manouchehri Damghani and Farrokhi Sistani) with the Paintings of the Eighth Century AH

Art of expression partakes diverse fields and is one of the most comprehensive and concurrently the most interesting type expression is manifested in art, the use of which undoubtedly has a significant impact on the production of quality and luxurious artwork since art is a form of expression and expression is also a practice of art. Meanwhile, in the study of poetry, as an artistic phenomenon, the first phenomenon that attracts the attention is the poet's artistic expression. Works of art, including poetry, act as a prism that presents a diverse perspective from each angle, and the collection of these perspectives provides a general and comprehensive depiction of the prism. One of the significant feature of poets is their relationship with elders and courtiers as for means of encouragement and support, hence, in the poems of such poets, the association between the poet and the praised one is clearly perceived. Among them, poets such as Farrokhi and Manouchehri have addressed “the praised one” in their poetry. This article intends to study and apply the artistic expression of poets such as Farrokhi and Manouchehri in the request for admiration from “the praised one”; moreover, the comparison of such appeals in poetry with the paintings of the eighth century AH is also focused upon. The category of request and appeal, which is one of the sub-branches of lyrical literature, has appeared in the poetry of the mentioned poets in various means and in their poetry they have expressed this feature in an artistic and diverse manner. In this regard, an attempt has been made to study the poems of mentioned poets in order to extract, study and analyze the varieties of material and immaterial requests and appeals towards the praised one.

1. Examining the appeals and requests of the praised one in Farrokhi and Manouchehri poetry 2. Studying the reflection of the status of the praised one in the paintings in the eighth century AH (focusing on the study of Farrokhi and Manouchehri poems)

1. What are the similarities and differences between the appeal of poets such as Farrokhi and Manouchehri from the praised one? 2. Is it possible to find examples of the appeal and request of poets from the praised one in the paintings of the eighth century AH?