Sheybani got the chance to learn about Iranian folklore and the country's landscape at a young age when traveling with his grandparents as a child, which later influenced his painting.
After graduating from the Faculty of Fine Art (Rome, Italy) and returning to Iran, he decided with his friend Ziapur to travel around Iran. Ziapur quoted in (Zendeh-Rood) that they traveled through the desert of southern Iran through Kohnouj, Jiroft, and Beshagard on camelback. During this journey, they traveled in low heat and worked on their sketches and drawings in high heat. Together, they researched and sketched decorative motifs of mosques and shrines. They compiled sketches of the architectural design of houses, doors, and knockers. They collected regional costume motifs and patterns from dishes and crockery of each region they traveled through.
Later, Sheybani incorporated his travel-related sketches and drawings into his paintings of southern Iran which display significant technical strength. Each painting's design and composition combine to showcase an unmistakable technical mastery that binds them together and reveals a potent unity of the theme “Ziapur”.
The hot and muggy atmosphere of Iran's southern coastal region is depicted in detail using a vibrant color scheme. Sheybani conveys this heat in the painting of the two women with jars in their heads by employing a variety of intensely hot red hues. The use of dark skin tones on his subjects with their nude bodies and even the texture of their clothing fabric all conjures up images of the oppressive humid heat of the sun. His works immortalized the southern sun into a sinister melting stone. He depicted the golf storm in a way that made the wind feel tangible. The rebellious and firm lines in the paintings make the subjects look resistant to the hardship of their everyday life. These paintings focus on the southern region's distinctive architectural design and home façade. They are engaging and merit more study at least on two levels. First, he highlights the façade architectural style appropriate for the climate of that region in his paintings. The second is how he uses the wall ventilator openings as decorative elements for the houses. Although these two examples can be of special consideration for inspiration, there are other examples for more information and under standing. His powerful portrayal of the conditions of women in Iran in his painting entitled The Graveyard, also known as Shabe-Haft or Chador, one of his best-received paintings, earned him the praise of Simin Daneshvar and Jalal Al-e Ahmad, the high-profile literary figures of the time. They published the painting in a monthly literary and art periodical, Nagsh-o-Negar No. 5, Bahr 1338/Spring 1959, p. 29
