Statement of the problem: Coffeehouse painting, an independent movement of Iranian folk painting, is a manifestation of self-taught art and reflects the cultural and religious identity of the society. Despite numerous studies on the history and themes of this art, examining the components of self-taughtness in its visual structure has received less attention.

Research Objective: The present study was conducted with the aim of systematically recognizing and analyzing the components of self-taughtness in coffeehouse paintings and gaining a deeper understanding of the artistic and cultural characteristics of this movement.

Research Method: This is a descriptive-analytical and developmental study. The samples were purposefully selected from the works of four prominent coffeehouse painters to cover the diversity of religious, epic, and folk themes in them. The research method is a combination of content analysis, case study, and hermeneutics. The data were qualitatively analyzed and the components of self-study were extracted and included escape from reality, multiple narratives, expressive expression, variable perspective, and classical disproportions, and organized in a table.

Conclusion: Analysis of the works showed that Qahveh-khaneh painters, relying on lived experience and individual creativity, deviated from classical rules of perspective and proportion, and instead utilized hierarchical perspective and expressive approaches. The simultaneous presence of multiple narratives, changes in viewpoint, symbolic and exaggerated use of color and light, as well as the disregard for natural proportions in figures and space, indicate a departure from reality and a tendency towards expressive representation.