Modern Iranian painting shares both commonalities and distinctions with traditional schools of painting. The focus of this research is the "horse motif" in the works of Abd al-Samad and Farshchian, examining, comparing, and analyzing this motif from the perspective of Gérard Genette’s transtextuality in the works of these two artists. The aim of this study is to explore how these two artists employ this motif, the manner in which they depict the horse in their paintings, and the distinctions and commonalities in their works through the lens of Genette’s transtextuality. Additionally, the differences and similarities between the horses of Abd al-Samad and Farshchian, as well as the merits of Farshchian’s horse designs compared to those of Abd al-Samad, are examined. This research is theoretical-applied in nature, adopting a descriptive-analytical method based on theses and scholarly articles. It elucidates the significance of the horse motif in the works of both artists. The findings suggest that in the works of both artists, the "horse" serves as a prominent symbol and a shared subject. Furthermore, elements such as quantity, the number of works, subject matter, symbolism, and the innovation of new themes distinguish Mahmoud Farshchian’s works from those of Abd al-Samad.
Research Objectives:

A comparative study of the horse motif in the works of Abd al-Samad and Farshchian.
An examination of the distinctions and commonalities in their works through the approach of Genette’s transtextuality.

Research Questions:

What are the differences and similarities between the horses of Abd al-Samad and Farshchian?
What are the merits of Farshchian’s horse designs compared to those of Abd al-Samad?