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  One of the most important characteristics of Iranian paintings is their connection and unity with Persian literature, which resulted in the formation of common language and similar subjects in these two art fields. However, since the Zands Dynasty, especially their late era, a certain divergence occurred between painting and poetry due to the weakness of literature and the fact that the painters were more influenced by the European art. While focusing on the benchmarks of the poems of the return era, and the Royal Court portrait paintings, this study strives to examine the common aesthetic connection between these two fields of art through performing historical, descriptive, analytical and comparative study, and achieve the response to this question that Which factors were effective in the formation and flourishing of the literature and painting during the reign of Fath Ali Shah Qajar and how and to what extent are their common aesthetic links? The painting and poetry of this era managed to achieve flourishing thanks to the supports granted by an art-lover king, i.e. Fath Ali Shah Qajar. Due to the policies of the Shah during his 37-year reign against the arts, a suitable basis was provided for the alignment of these two fields of art in a new and different manner (notwithstanding the occurred divergence) so that the painters act independently in choosing their subjects, and do not refer to poetry so often, while trying to take benefit from poetical descriptions and literature aesthetic criteria, and represent the same through a human-oriented vision.

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Any discourse constitutes of several propositions and discursive formations that are created by focusing on the political, cultural and social conditions of each era. During the rule of Fath- Ali Shah Qajar (1772- 1834), the dominate literary review discourse; which is considered the very traditional discourse, was formed based o the perception system that was governing an era in which, the royal court was recognized as the producing institute of the mentioned discourse. The main purpose of this study is to investigate the role of the literary discourse of return in images specific to Fath Ali Shah Qajar with regard to the political, social, epistemic contexts and the system of knowledge or spirit of the time.
If we admit that until then, Iranian painting and Persian literature have been more or less intertwined; it must be said that as the literary discourse of this period was formed, visual norms in FathAli Shah’s portraits also changed and new features emerged that were not unprecedented in past centuries. In the present study, the authors have attempted to examine how literary discourse led to the formation and influence of king's icons in court, based on Michel Foucault's theory of discourse as a methodological model and an interdisciplinary approach.Studies show that during this period poetry and poetic descriptions continued to be a source of inspiration for painters.Therefore the images of the King became more unrealistic and his aura of holiness grew larger. The king's body also became more intangible and metaphorical.