Persian miniature

A Persian miniature is a small, highly detailed painting on paper.

These works serve as book illustrations or standalone pieces. Standalone pieces are often kept in a special album called a muraqqa. This art form is a significant genre of Persian art. It is closely related to the Western Medieval and Byzantine traditions of illuminated manuscripts. While Persian wall-painting is also well-established, miniatures are better preserved. Because of this, they are the best-known form of Persian painting in the West. Many important examples are now held in Western or Turkish museums.

Creating a miniature involves a collaborative process within a workshop.

The work was often divided among several skilled artists. A main painter would first draw the outlines of the scene. Less senior painters would then color in the drawing. In some traditions, a third artist might specialize only in painting faces. This division allowed for high levels of detail. Beyond the main scene, artists added illumination. Illumination refers to non-figurative ornamental decoration. This decoration appears on borders, panels, or as frontispieces. These designs often reflect patterns found in Persian carpets or book covers.

Persian miniatures follow specific visual conventions. The lighting is always even and lacks shadows, a technique known as chiaroscuro.

Surfaces like walls are shown frontally or at a 45-degree angle. This can make buildings appear hexagonal to modern viewers. Artists often use "cutaway" views to show interiors through windows. To create a sense of depth, artists use recession. They indicate distance by placing figures higher up in the picture space. Landscapes often feature high, undulating horizons and rocky outcrops. These specific landscape elements were derived from Chinese art conventions.

The style of the miniature changed over time. Early miniatures were horizontal and placed in the middle of text. In the 14th century, the vertical format was introduced. This change may have been influenced by Chinese scroll-paintings. The vertical format became standard for luxury court manuscripts. Later, the focus shifted from illustrated books to single album miniatures. This happened after Shah Tahmasp I stopped commissioning large illustrated books in the 1540s. This shift allowed non-royal collectors to purchase representative samples of different styles.

The history of this art form is deeply connected to global movements. Miniature painting became a significant genre in the 13th century. It received Chinese influence following the Mongol conquests. The tradition reached its highest point during the 15th and 16th centuries. Persian miniatures were the dominant influence on other Islamic traditions. This includes the Ottoman miniature in Turkey and the Mughal miniature in India. For example, the Mughal prince Humayun took Persian miniaturists to India. This helped establish the Mughal miniature tradition after he gained his throne.

The pigments used in these paintings are quite special. Most are mineral-based, which helps them keep bright colors for a long time. One major exception is silver. Artists used silver to depict water. However, silver can oxidize over time, turning into a rough-edged black. The figures in these paintings often have youthful faces. They are usually shown in a three-quarters view. These faces often feature plump, rounded lower faces. This look was intended to portray Central Asian or Chinese features rather than typical Persian ones.

The scale of these works varies greatly. Some manuscripts are as small as modern paperbacks. Others are much larger. For instance, a Shahnameh from Tabriz dated to approximately 1585 stood 53 cm high. The Shah Tahmasp Shahnameh was 47 cm high. While most miniatures are small, some works are exceptions. The "Princes of the House of Timur" was painted on cotton. It is much larger than most standard miniatures. These works remain vital links to the history of Islamic art and craftsmanship.