Introduction
The Khavaran Nameh, a religio-epic masnavi composed by Ibn Ḥusam Khusfī in the 9th/15th century, represents a valuable exemplar of this text‑image interaction. Inspired by Firdawsi’s Shahname and imbued with Shiei content, the work poetically recounts the heroic deeds of Imam ʿAli (pbuh) and his companions. The significance of the Khavaran Nameh lies not only in its literary and doctrinal dimensions but also in its illustrated manuscripts, which visually reflect religious and epic themes. The present research aims to analyse and juxtapose the text of the Khavaran Nameh with selected miniatures from this copy, investigating how epic and religious concepts are visually represented. To this end, three paintings from the manuscript are evaluated in terms of narrative content, pictorial structure, and their correspondence with the verses of the original poem, in order to assess the degree of text‑image concordance in the said copy. A comparative study of text and image in illustrated works enables an inquiry into the visual re‑creation of literary themes and an analysis of the artists’ stylistic devices, thereby underscoring the role of miniature painting in conveying meanings and fostering a dialogue between art and literature. Accordingly, this research pursues two objectives: (1) to examine the text‑image relationship in the illustrated Khavaran Nameh (the copy preserved at the Golestan Palace Museum), and (2) to identify the modes of representing literary concepts through visual means. It thus addresses the following question: How is the correspondence between text and image achieved in the miniatures of this illustrated copy?

Methods
The present study is fundamental in nature, conducted through a descriptive‑analytical method with a comparative approach, and its data have been gathered via documentary research. The research corpus comprises 15 miniatures from the illustrated Khavaran Nameh, which have been qualitatively analysed and compared; the results of three selected paintings are presented in the main body, while the remaining cases are assessed in the appended tables.

Results
An examination of the miniatures in the illustrated Khavaran Nameh reveals that Imām ʿAlī (pbuh)—as the central protagonist of the narrative—constitutes the most pivotal element shaping the pictorial structure of the work. In the majority of the paintings, the compositional arrangement, the positioning of figures, the directional flow of events, and the symbolic depiction of the Imām are all orchestrated so as to direct the viewer’s gaze toward him. This indicates that the illustrator, much like the poet, endeavoured to sustain and visually project the pre‑eminent status of Imām ʿAlī as the principal hero of the story. His presence across most miniatures—whether in battle scenes or in non‑combative gatherings and events—underscores his central role in organising the visual narrative. Through devices such as a central placement, larger figural scale, the orientation of glances and movements of other characters, and the use of visual markers like a fiery halo, the painter emphasises the Imām’s prominence and sanctity. These features enable the paintings not only to narrate events but also to reflect the spiritual and heroic stature of Imām ʿAlī. Conversely, regarding the forces of evil (the enemy), the majority of the examined samples display pictorial characteristics that highlight the painter’s emphasis on the triumph of good forces (Imām ʿAlī and his companions) over evil forces (the adversaries) through a narrative‑visual antithesis. Furthermore, in most instances, the visual‑narrative space is situated within the battlefield.

Discussion and Conclusion
Concerning the degree to which the painter adheres to the verses of the Khavaran Nameh, the analysis of the miniatures indicates:
· Character‑text correspondence is achieved to a considerable extent, primarily focusing on the visual representation of the attributes of Imām ʿAlī and his companions.
· Action‑text correspondence is realised at the highest possible level, with the painter referencing the majority of the concepts contained in the poem.
Space‑text correspondence has also received considerable attention, and, within the constraints of pictorial exigencies, a relatively complete visual rendering of the setting has been achieved.
· The overall correspondence between image and text within the studied corpus demonstrates a maximal adherence of the visual elements to the literary content, indicating the painter's fidelity to the verses of the Khavaran Nameh—to the extent that the majority of concepts alluded to by the poet are visually articulated. Nevertheless, the painter has exercised creative liberty in rendering scene details, selecting the visual perspective, and choosing the narrative point of view.
In sum, the findings of the present research indicate that the miniatures of the Khavaran Nameh, through a measured integration of narrative elements, complementary components, and epic motifs, have succeeded in presenting a coherent visualisation of the story; while remaining faithful to the text, they simultaneously demonstrate the expressive capacities of Persian miniature painting.