Abstract:
Structural similarities and differences in the visual expression of two artistic methods, i.e., tea
house painting and comic strip art as new and emerging branches in the contemporary world are
very significant. Comic is the art of narrating themes via images. Comic strips are parts of history,
momentary memories and without an extensive burden of semantics that helps the reader's or
viewer's imagination to go through in the desired directions. It is actually an art that highlights the
story and executes it according to its own taste with sounds, whistling and self-made sound effects.
Folklore or tea house paintings are parts of peoples' culture which contain the affection of people.
This school has been established in tea houses, which is a meeting place for the poor and middle
class, and has gradually become popular. It is not very clear when the first tea houses were
established in Iran, but they certainly existed during the reign of Shah Abbas Safavid. In these tea
houses, all classes, public and official people, and sometimes the king himself, would attend. In the
field of tea house painting, the beliefs and boundaries of iconography as well as religion and
traditions are the main forms of the image. On the other hand, the illustrated story is analyzed
separately with the topics in terms of lack of spiritual thinking and only by the functions of two
areas in recognizing visual relationship for the audience and the society. This study performed a
comparative study method by collecting information through library.
Machine summary:
Various research has been carried out in the case of painting in a fantasy style and comic books, which their content and objectives are expressed in brief: Techniques on making images and creating attractiveness in comic have been addressed in the work by George Remy (Hergé) stories such as (Tintin and Milo) translated by Mohammad Ali Sepehr Afghan in 2011; (Illustration) authored by Farshid Mesghali in 2014, in which the author examines the types of illustrations and compares them in this book, concluding that they should guide illustrators and students in order to get acquainted with different audiences; (Comic Art 1) written by Scott McCloud and translated by Ramin Rahimi in 2015 where the author addresses the importance and method of implementation; (Comic Strip Analytical History) translated and compiled by Mehdi Torabi Mehrabani in 2009; (Iranian paintings from past to date) written by Rooein Pakbaz in 2011; (Painting in Tea House) written by Hossein Mir Mostafavi; a selected woks of Ahmad Khalili and Professor Mohamma d Farahani in 2008; an article entitled (Painting and Painters in the Qajar era) by Reza Afhami, Ali Akbar Sharifi Mehrjardi in 2010, as well as an archive of manuscripts, Mehr book of the month, review of Qajar painting from three perspectives and that the reader can collect and understand the Qajar style.