........................................ ......................................... 23 The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism Bagh-e Nazar, 21(136), 23-32 / Oct. 2024 Persian translation of this paper entitled: الدینهای کمالای نگارهبندیه ترکیبک درهای مشترژگی وی دره بازناس نظریات آن براس سینمابندید و قاب بهزا is also published in this issue of journal. DOI: 10.22034/bagh.2024.454836.5596 Received: 22/09/2024; accepted: 14/08/2024; availableonline:22/08/2024 Original Research Article Shared Features in the Compositions of Kamaluddin Behzad’s Paintings and Cinema Framing through the Lens of André Bazin * Payam Foroutan Yekta 1** , Solmaz Amirsadeghi 2 , Mahdi Mohammadi 3 1. Assistant Professor, Peforming Arts Department, ,College of Fine Arts, University of Tehran, Iran. 2. M.A. Student, Department of Islamic Art Studies, Art Studies Department, Faculty of Art Studies, Sooreh University, Tehran, Iran. 3. Assistant Professor, Department of Islamic Art Studies Department, Faculty of Art Studies, Sooreh University, Tehran, Iran. Abstract Problem statement: Nowadays, one of the most significant theoretical subcategories in art falls under the comparative study. This area of study delves into the similarities and differences across approaches, techniques, and artistic flows. From time to time, it has also generated original outcomes. This article employs the lens of André Bazin to reconcile the two different fields of arts, Iranian painting the essential components of cinema, by mixing two seemingly disparate cultural, geographical, historical, and even media-related approaches. This study focuses on frame and framing in visual arts and film. The authors of this study have attempted to scrutinize the framing employed in Kamaluddin Behzad’s writings and in cinema media to find the similarities and shared perspectives between the two. Research objective: While readers may find the association between these two areas a little peculiar, thoughts of André Bazin, a movie theorist can shed light on understanding the concept and shared elements. The current study aims to support the assumption that some Iranian-Islamic artists have a modern, cinema-like worldview. Research method: The present study which is a fundamental and qualitative research uses a conceptual model. In carrying out this study, the authors used the library method and comparative study. Conclusion: The results of the study show that great similarities are shared between framing in cinema (from Bazin’s point of view) and many of Behzad’s works. Therefore, his paintings can be analyzed and evaluated with a completely cinematic approach. Simply put, Behzad had a kind of cinematic vision and taste. Keywords: Framing, Cinema Media, Painting Media, Kamaluddin Behzad, André Bazin. * This article extracted from “Solmaz Amirsadeghi”’s master thesis entitled “Shared Features in the Compositions of Kamaluddin Behzad’s Paintings and Cinema Framing through the Lens of André Bazin” which is done under supervision of “Payam Foroutan Yekta” at Faculty of Art Studies, Sooreh University, Tehran, Iran in 2023 ** Corresponding author: +989121022204, payamforoutan@ut.ac.ir Introduction Once the shamans of Chauvet Cave 1 started painting animals, they possibly did not imagine that thousands of years later, some scholars would associate their works with animation, even going further and regard them as the earliest animations ever. Similarly, for analogous examples in Iran, we