Iranian painting has an inseparable connection with Persian literature as well as national and religious themes. Evidence of this claim can be found in the existence of valuable illuminated manuscripts preserved in museums in Iran and around the world, each of which was created on the basis of one of the esteemed texts of the Persian language and national or religious subject matter. Khayali-negari (imaginary painting), as one of the branches of Iranian painting, is also closely linked to Persian literature, and its themes are often centered on the lives and deeds of national and religious heroes. Owing to the popular origin of khayali-negari and the direct contact of its artists with the general public, these painters paid special attention to the desires and interests of ordinary people.
The present article aims to identify the reasons behind the tendency of khayali-negari painters toward epic, hero-centered, written and oral literature, as well as religious themes. It seeks to answer the question of whether this inclination toward literary, national, and religious themes in khayali-negari is similar to that seen in Iranian miniature painting, or whether other factors have contributed to this tendency. The research method of this article is descriptive-analytical, and the examples used were selectively chosen from among the most prominent works of coffeehouse painting.