The fine arts, which are somehow related to the visible discourse, are mixed with the literary discourse, in such a way that it is considered an inseparable part of it, such as the Greek dramas before BC and the symbolic prosecutors that the artists depicted on the walls of the palaces. All these elements along with the literary discourse have gone through many stages until it has reached the photographic image and cinematic discourse. This discourse took its narrative functions from the art of the novel and it is based on the visual image as a scenario technique which is taken from the literary style and the sequence of events in the narrative discourse. On the other hand, we find the approach full of technical techniques, which has especially involved contemporary novelists. And over time, the narrative text came to the attention of cinema critics, and in the case of photographic images, the influence of the novel on the cinematic text can be clearly seen, and this influence coincides with the appearance of images in newspapers, magazines, books, and the like. And on this basis, the Arabic novel was not affected by this approach, so that some novelists have used this type of style in their narrative discourse, a style in which the visual image and its techniques have had a significant impact on it, such as Zahran Al-Qassimi. who put the visual discourse at the service of the literary text in such a way that he depicted the simple life in the Omani villages in the shade of nature and in his novels sometimes the characters see magical mountains and plains in different seasons of the year. And once again, it describes how to live in the villages and portray the events that are taken from the culture of forgiveness of the Arab society. This research, relying on the descriptive-analytical method and the cognitive application approach, aims to express the hidden connection between Zahran Al-Qassimi's novels and the visual image, and to show the effect of fine arts techn