Studying the geometric structure of the painting depicting the killing of Arjasab by Esfandiar in Ruain Dej. (Shahnameh Baysanghori version, 833 AH)

Geometry has been one of the most important factors in the design of works in Iranian painting. As an identifying element, it has become the foundation for a distinctive characteristic in Iranian painting. In Iranian painting, a unique visual language is observed, which emerges from the interplay between form and content. This visual language is organized based on geometric relationships and proportions. In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting "The Killing of Arjasab by the Hand of Esfandiar in Ruyin Dej." The aim is to uncover the geometric structure underlying this painting. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting. For this purpose, the main research question is: What is the geometric structure present in the painting under investigation? Has the painter purposefully used geometry as a theme in the painting? The comparison and test results indicate that:1. In the painting depicting the killing of Arjasab by Esfandiar in front of the fortress, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2. The artist has reconstructed the geometric structure of the space by reducing the visual elements to basic shapes such as circles, triangles, squares, and pentagons. This is achieved through emphasizing geometric purity and utilizing a limited color palette.3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.