Introduction: The close relationship between literature, particularly poetry, and the visual arts in Iran reflects a long-standing interaction shaped by historical contexts and artistic developments. This relationship is especially evident in the works of Hakim Nizami, who, while narrating moral and didactic stories, also addresses social and political issues of his time. One of the notable narratives in Makhzan al-Asrar (The Treasury of Mysteries) is the fourth discourse, entitled “In Compliance with the Peasants.” Owing to its expressive content and powerful narrative, this story has attracted the attention of painters throughout history. In the illustrated version of the tale, the story of an oppressed old woman forms the central theme of the painting. Bent under the burden of hardship and injustice, she symbolizes the suffering of her time and represents the voice of the oppressed. The manuscript was transcribed by Mahmoud Neyshaburi, and its illustrations were produced by Sultan Mohammad between 945 and 949 AH. The resulting work presents a remarkable synthesis of text and image in which movement functions as an essential element in the perception of time and space. During this artistic period, particular attention was paid to the depiction of courtly life, costumes, and decorative coverings. A significant feature of these illustrations is the deliberate use of line, which plays a crucial role in conveying movement. In visual art, movement directs the viewer’s gaze through the composition and establishes a visual path across the narrative. Through the careful arrangement of forms and lines, different components of the image become interconnected within a coherent structure. Iranian painters were also highly skilled in creating a sense of internal movement, guiding the viewer from the outward appearance of forms toward deeper layers of meaning. This approach reflects broader cultural and philosophical concerns regarding existence and human experience. To evoke visual movement, artists employed a variety of design elements and manipulated color relationships to generate dynamism within the composition. At the same time, the human eye naturally seeks balance and stability. This interaction between movement and equilibrium creates a visual tension that attracts the viewer while encouraging contemplation of the work’s deeper meanings.

Purposes & Questions: This study aims to examine the role of movement in the painting of Sultan Sanjar and the Old Woman by Sultan Mohammad and to investigate its contribution to the overall composition. The main question addressed in this research is: What effect does the element of movement have on the composition of this painting?
Methods: This research adopts a descriptive-analytical method within a qualitative framework. A selected illustration from Nizami’s Khamsa was analyzed to examine the relationship between movement and composition. The study focuses on the structural organization of visual elements and their role in directing the viewer’s perception throughout the image.
Findings and Results: The analysis demonstrates that the composition is organized within a rectangular framework structured according to principles of the golden ratio. This compositional arrangement contributes to visual harmony while supporting the narrative content of the image. The artist’s careful juxtaposition of primary and complementary colors creates strong visual relationships that guide the viewer’s eye across the composition. The use of curved lines, circular forms, and diverse geometric shapes further reinforces visual movement and strengthens the coherence of the pictorial structure. The findings also indicate that movement does not arise from a single visual element but through the interaction of multiple compositional elements. Color relationships, directional lines, spatial organization, and rhythmic repetition of forms collectively guide the viewer through different areas of the image. These elements establish a visual sequence that enhances both narrative clarity and aesthetic unity. As a result, movement functions not merely as a formal characteristic but as a structural principle that organizes the entire composition. In conclusion, the relationship between movement and composition in this painting enriches the visual experience and reinforces the narrative content of the work. The dynamic arrangement of visual elements contributes to the expressive power of the image and reveals the artist’s ability to integrate aesthetic and narrative concerns. Examining these interactions provides a deeper understanding of Sultan Mohammad’s artistic strategies and highlights important aspects of Iranian painting during the Second Tabriz School. The study ultimately demonstrates that the effective use of movement is one of the principal factors contributing to the lasting artistic significance of this masterpiece.