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The narrative literature in Iran has always been one of the main sources of inspiration for many arts. In the meantime, the contribution of visual arts and drama is more than other arts. Accordingly, painting and cinema create the strongest link with literature, and in a fruitful effort, they offer valuable literary materials in a new garb, tailored to the needs of the day and in the form of a new media. Undoubtedly, in this transaction, the theme is also evolving due to the capabilities and features of the destination. Such developments, if intelligently and consciously recognized by the artist and the critic, are not only not considered shortcomings, but can also be added to the original value of the theme. With such a necessity and purpose in the present research, we try to examine the developments of the media and, of course, the sign of the narrative of the "passage of Siavash of Fire" from literature to painting.
This research is descriptive-analytic and based on Prop's pattern. The results indicate that the frequency of the role of the special features of the story varies according to the characteristics of the destination media (painting). In fact, the artist painter based on his artistic taste emphasizes the consequences of the story, which is not very frequent in Ferdowsi's narrative.
 

Keywords: Painting, narrative, Prop, Tahmasebi Shahnameh, Siavash, Symbolism

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