«رنگ انار» اثر سرگی پاراجانف

It sounds like there are connections between the visual style of "The Color of Pomegranates" and the traditional Armenian art (e.g. painting) found in places like the Vank Church in Iran. Parajanov's use of imagery resembling Armenian two-dimensional paintings could indeed be a deliberate choice to transcend the dichotomies like temporal and spatial, past and future, and even material and spiritual, emphasizing the timeless and universal nature of the film's themes. By employing this technique, Parajanov may be inviting viewers to engage with the film on a deeper, more symbolic level, moving beyond conventional storytelling to explore broader concepts of identity, spirituality, and artistic expression.