A Persian miniature is a small painting, whether a book illustration or a separate work of art intended to be kept in an album of such works. The techniques are broadly comparable to the Western and Byzantine traditions of miniatures in illuminated manuscripts, which probably had an influence on the origins of the Persian tradition.

Although there is an equally well-established Persian tradition of wall painting, the survival rate and state of preservation of miniatures is better, and miniatures are much the best-known form of Persian painting in the West.
Miniature painting became a significant Persian form in the 13th century, and the highest point in the tradition was reached in the 15th and 16th centuries. The tradition continued, under some Western influence. The Persian miniature was the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey, and the Mogul miniature in the Indian sub-continent.
Though at various stages it has been affected by Chinese and Eastern influences, Persian miniature art has developed its own distinctive features. Iran’s miniature artists are recognizable for their emphasis on natural and realist motifs. Also worth noting is the Persian technique of “layering” perspectives to create a sense of space. For example, in the miniature piece at right, the variety of views is noticeable in the arrangement of objects: birds inhabit both the foreground and background of the piece, with the floral objects positioned in between. This gives the viewer a sense of three-dimensional space and the ability to focus on certain aspects of the piece to the exclusion of others. Content and form are fundamental elements of Persian miniature painting, and miniature artists are renowned for their modest, subtle use of color. The themes of Persian miniature are mostly related to Persian mythology and poetry. Western artists discovered the Persian miniature around the beginning of the 20th century. Persian miniatures uses pure geometry and a vivid palette. The allure of Persian miniature painting lies in its absorbing complexities and in the surprising way it speaks to large questions about the nature of art and the perception of its masterpieces.
The history of the art of painting in Iran, goes back to the cave age. In the caves of Lorestan province, painted images of animals and hunting scenes have been discovered.
Paintings discovered by W. Semner, on the walls of buildings, in Mallyan heights, in Fars, belong to 5,000 years ago.
Paintings discovered on earthenware in Lorestan, and other archaeological sites, prove that the artists of this region were familiar with the art of painting. Also from the Ashkanid era, few mural paintings, most of them discovered in the northern parts of Forat River, have been uncovered. One of these paintings is a display of a hunting scene. The position of riders and animals, and the style in this work reminds us of the Iranian miniatures.
In the paintings of Achaemenid era, profile work was preferred by the artists. The proportion and beauty of colors of this era are remarkable. The colors are shadeless, and have the same tune. In some cases, black stripes limited the colorful surfaces.
The paintings of “Torfan”, discovered in the desert of “Gall”, a region situated in the Turkistan province in China, belong to 840 to 860 AD.
These mural paintings exhibit Iranian scenes and portraits. Images of tree branches also exist in these paintings. The most ancient paintings of the Islamic period, are quite scarce, and were created in the first half of the 13th century.
China, perhaps since the 7th century, as an artistic center, has been the most important incentive for the art of painting in Iran. Ever since, a relation has been established between Buddhist Chinese painters and, Iranian artists. From the historic viewpoint, the most important evolution in Iranian art has been the adoption of Chinese designs and coloring that were mixed with the specific conception of Iranian artists. In the first centuries, after the emergence of Islam, Iranian artists began adorning books.
The preface and the margins of books were adorned. These designs were passed on to the next centuries, together with precise principles and rules, which is known as the “Art of Illumination.”
Paintings from the beginning of the Islamic period had the reputation of belonging to Baghdad school.
Miniatures of Baghdad school have totally lost the style and methods of the usual paintings of the pre-Islamic period.
These primitive and innovative paintings do not possess the necessary artistic stress. The miniatures of Baghdad school are not proportional. Portraits show the “Sami” race and light colors are used. Artists of the Baghdad school, after years of stagnancy, were eager to create and innovate. The particular views of this school, is in drawing animals and illustrating stories.
Although the Baghdad school, considering the pre-Islamic art, is to some extent, superficial and primitive, but the art of Iranian miniature, in the same period, was widespread in every region in which, Islam was propagated: Far East, Africa and Europe.
Among illustrated books in the Baghdad style, “Kelileh and Demneh” can be named. Images are painted larger than normal and are not proportional. Only few colors are used in these paintings.
Most of the handwritten books of the 13th century are enriched with images of animals, vegetables, and illustrations from fables and stories.
An example of the most ancient Iranian miniature is the drawings of a book called “Manafe-alHayvan” (1299 AD). This book describes the characteristics of animals. The natural history is mixed and narrated through the ancient fables in this book.
Diverse subjects of this book, require numerous images that are so important in familiarizing the reader with the Iranian art of painting. Colors are bright and laying step after the old style of the Baghdad school.
After the invasion of Moguls, a new school appeared in Iran. This school was totally under the influence of the Chinese and Mogul style. These paintings are all minute, dry, motionless, and pure, in the Chinese style.
Mogul emperors, after the invasion of Iran, were impressed by the Iranian art and encouraged the painters, initiating the former kings of Iran. Among the characteristics of the Iranian art which can also be observed in the paintings of Mogul style, we can enumerate, subtleties, decorative compositions, and fine short lines. The style of the Iranian paintings is linear and not dimensional. Artists in this field have demonstrated a particular creativity and genuineness.
Artists of the Mogul royal court honored not only the techniques but also Iranian themes. A part of their work consisted of illustrating Iranian literary masterpieces such as “The Shahnameh” of Ferdowsi.
Contrary to Baghdad and Mogul schools, more works remain from Harat school. The founders of the style of painting called the Harat school, were Teimoor’s ancestors, and the school was named after the place in which it was founded.
Art experts believe that during Teimoor’s era, the art of painting in Iran, had reached a climax. During this period, outstanding masters, such as Kamal-ul-Din Behzad, contributed a new touch to the Iranian painting.
Behzad, the greatest painter of the Harat School, expanded the delicate art of miniature. He invented new patterns for natural facts and portraitism which did not exist before his time.
During the Safavid era, the artistic center was moved to Tabriz. A few artists also settled in Qazvin. However, the Safavid School of painting was established in Isfahan.
The miniature of Iran, in the Isfahan of Safavid era, was detached from the influence of the Chinese out and stepped on a new road. The painters were then more inclined towards naturalism.
Reza Abbassi, founded the “Safavid School of painting”. The art of design during the Safavid era was subjected to a brilliant transformation.
Miniatures created under the Safavid School, were not exclusively aimed for adorning and illustrating books. The Safavid style is softer in form than those of the Teimoorian School, specially the Mongolian. Human images and their behavior are not vain and artificial, in the contrary quiet natural, and close to reality.
In Safavid paintings, the splendor and the grandeur of this period is the main attraction. The themes of the paintings are about the life in the royal court, the nobles, beautiful palaces, pleasant goodness, scenes of battles and banquets.
Humans are drawn in sumptuous garments, handsome faces and elegant statues colors are glowingly bright.
Artists paid more attention to generalities and, avoided unnecessary details, as used in Harat and Tabriz styles. The smoothness of lines, the quick expression of feelings, and condensing the subjects are the characteristics of the Safavid style of painting. Since the end of the Safavid era, perspective and shading, a result of the European style, appeared in the Iranian paintings.
Paintings of the Qajar era, are a combination of the classic European arts and Safavid miniature techniques. In this period, Mohammad Gaffari Kamal-ul-Molk, pushed forward the European classical style of painting in Iran. Under the qajars, a kind of painting known as the “Teahouse” painting found its place. This kind of painting is a new phenomenon in the history of the Iranian art.
Photo: A masterpiece of Iranian miniature featuring Fath Ali Shah.