The strategies of Afghan women painters in recreating and reviving the miniature visual tradition in contemporary painting

In recent years, Afghan women, unlike in the past, have played a major role in the history of the country's art and have played an important role in determining the current and future direction of the country's art. How this large, emerging and influential population of women contemporary Afghan painters in the history of art in this country interacts with modern art introduced to Afghanistan since the 1300, and , on the other hand, having a history of visual tradition, both before and after Islam was the starting point of the present research. . The question is: What are the exclusive strategies of women contemporary Afghan painters, relying on miniature features, to recreate and revive miniatures in contemporary painting? This article draws conclusions using a descriptive-analytical method using library resources and archives of works by contemporary Afghan painters. It turned out that contemporary Afghan male and female painters, relying on the miniature structural aspect, have devised strategies for using miniature features, combining them with the basics of modern art. But some of these strategies for recreating and reviving miniatures can be seen in contemporary Afghan painting, only in the works of female painters, like the application of the visual tradition of breaking the frame in the miniature, along with the division of the work into smaller frames, in the works of "Nadima Yousefi", the use of contemporary objects such as flags or Internet Small Faces in miniatures in the works of painters such as "Saleha Vafa Javad" and "Soghra Hosseini"., and the change in the color of the halo around his head, in the works of "Homeira Mastoor" and also the use of painting basics, to present the genre painting in the works of painters such as "Zahra Bagheri" and "Hanifa Jafari".