• Calligraphy

• Miniature

• Tazhib

• Carpet

The 4th through the 8^th century is a period of rebirth, in regards to thought, reflection and art in Iran.  After a few centuries of silence and disillusionment with the formation of the Iranian government in various parts of Iran (west and north-west) specially, during the Sassaniad period poetry, thought and literature in the Farsi language is formed again.  This rebirth and renaissance has a great effect on the progress of Illumination and Calligraphy.  Growth of mythological epic writing and decorations brought them to keepsake; this evolution continues until the period of Ghajar (19^th Century), and until the time of change in functional portrayals of writing and Illuminations, which comes along with the constitutional revolution.


In research and root-findings of Illuminative portrayals, which has a fundamental connection with vegetable and plant portrayals of post-Islam (especially art during the Sassaniad dynasty) many similarities can be seen.  We face protuberant forms of inscriptions, dishes, and structures of post-Islamic portrayals.  Iranian portrayals are an appropriate collection of different arts, which Iranians have been creating since the time of Achamanian dynasty.  We acknowledge the cradle of portrayals from the Nile to the area in between the east and the Send river and the area of India in the west and Middle-Asia in the northern-east of this land; especially, Manichaen arts that for political-religious situations migrated Chinese Torkestan (Turman). In the next century, through the Turks and the Monghols, we face the further relapse of this portrayal in Iran.  The portrayals in discussion each have a historical and ancient cultural history, which have roots in branches of faith because of agricultural (earthy and nature) reasons.                   

In researching of this portrayal, discussion of sacred art and in specific terms the transference of lordship must be kept in mind.  For it makes the use of any depiction and color impossible.  The most fundamentally used depiction in Illuminations is the picture of Eslimi Paisley[vi].  It has a special likeness to the cypress tree, which in the Iranian culture is the grounds for he tree of life and longevity.  With this, we are faced with protuberant depictions such as:  Persopolis from the Ashkani and Sassanid arts.  Sterilization and transformation of natural portrayals of post-Islam are made in great speed.  The single shaped paislies have a curvature form that Mosakhni Halazuni[vii] on which Eslimi and Cathayian (flower, bud, and leaf) are placed.  This curvature has roots in Arabic and Sufi culture from the first centuries of Islam that attain themes of revelation, perfection and eternity within it.  From the 5^th century, we again face the specific forms of botany in shapes of a flower, bud and leaf, which is the cause of the same re-birth of thought.  Small circles (sings) transform into small loops that are positioned as small suns that shine in the text. The names of the verses that are written in gold color create the design of the inscriptions, drawn in rectangular frameworks with two small widths.  These simple frameworks quickly take their place in intricate ties that are formed on the edges of goblets, bowls, admiralty metal from Lorestan, Archimedean and Sassanied are depicted in repetitive and spiral forms.  Palm and grape like leaves are the original forms of these motifs.  The original color is gold as well, (the name of the Illumination means gold working).  The sizes of the inscriptions are proportional to the context of the writing (1^st century to 3^rd), the context of the Koran is devoid of complete frame working.  It is possible to say that Illuminations from this period are simple and without embellishment. The color of gold is a symbol of light and its radiance brings forth grandeur and gratitude.  In the ruling of Manicheans, gold is also used; with that token, later in Islam, it achieves great significance for construing.  The colors of blue, rusty green, black dark-red, white are placed besides gold. Lapis Lazuli is a valuable stone, and its finding and processing difficult, due to the great depth, Lapis Lazuli can hold all the colors within its consignment, thus, it is placed on the grounds of Illuminations. The color gold is placed on the branches, which along side of Lapis Lazuli causes a strong contrast.  In Cathian Illuminations, Lapis Lazuli is never used.   Alongside of the aforementioned colors for greater protrusion, the artist makes the forms and portrayals with uniform, equal and fine painting around the portrayals, which successfully enter a deeper sphere (with the color black). The essence of the sky blue in Lapis Lazuli is hidden, so that on domes it displays the earth and the sky.      

Changes in calligraphy, which fundamentally came along with speedwriting (due to the increased demand for publishing the Koran from the old western Kufic scripts), are slowly established. The Eastern Kufic scripts, which are thinner and more vertical than (piramuz, old teaching)[viii] and the appearance of the famous Seteh[ix] are both used for the writing of the Koran.  Thereafter, each find their own specific function. From the 4^th century to the 7^th, Sols, Mohaghagh, and Reyhan are the special handwritings used.  Writing with vertical and high Alef, in which special intricacies create springy shapes.  The created ties in this handwriting find itself needless of any ornamentation.  Illumination from this period is self-possessed and polished, with additional increase in the sphere of colors, especially Lapis Lazuli (perhaps because of Lapis Lazuli mind supporters in North-Eastern Iran). Due to the high volume of written Koran during this period, either on skin or on paper, the writing of the Koran is done in thirty distinct sections.  Primarily, in every section of the Koran, we are faced with an independent page or pages that are completely pure.  In them geometric divisions, reveal intertwining circles that create many stars within them.  The size of the forms get larger,  dangeh ghalam[x] and the sizes of the pages large as well.  In observation of the artist of this period, we see that the greatness of the page and the forms of Illuminations, increase the magnificence of the writing.  However, in no way do the movements of dimension of geometric frames of Cathaian and Eslimi portrayals get larger, yet precision, fineness is still at work.  Drawn lines (puzzles) colored, and seteh[xi] handles and knot working increases.  The suras and inscriptions begin to attain specific sections in the beginning pages.

               The gyrating Eslimi becomes more complete and in the case of Kufic writing, ornamentation is used for writing the heading of the Suras and titles.  With the use of Noskh (manuscript-wrting), its publishing is done faster and smaller.  Difficult writings and dignified labor finds its specialty on structures, dishes and drawn lines (Sols, Mohaghagh and Reyhan writing) that artist’s signature is used as their command of writing at the top of the Suras and pages.  In some aspects, from the sixth until the 8^th century, characterized Koran are written in Sarsetari, containing three lines: top, middle and bottom written with Sols writing.  In addition, in-between these thee lines in two squares a rectangle is created, written with finer Noskh writing.  In this form of writing four appropriate spheres for Illuminations are created that form vertical inscriptions.  The height of this style is in the 8^th century that roots from the tribal period.  From the characterization of Noskh writing (sarloheh)[xii] with inscription form of writing in the beginning of the Quoran, in a single page or two pages that face one another.  A half-orange crown is placed on top of it.  With the use of lead-red (an almost dark orange) cinnabar is characterized, and find their appropriate place on the edge of frames and toranj (citron).  The Sura’s table of contents are placed in the beginning of each re citation prayer of the Quoran and added to the glossary preceding the Surahs (8^th through 9^th century).  On the boarders of these Sarluheh, Sarafeh[xiii] portrayals are used for liquefaction, and decorative works. (9^th through 10^th century).

From the 8^th century, the formation of lithography is appropriated with the disposition of Farsi poetry and literature.  Writing with many turns that has wavy curves; writing which contains short letter in height and short elements [xiv] and is very appropriate for writing poetry and pros.  In the beginning of the book, either the Koran or Divans, the pages that faces each other form the title page and the boarders of inscriptions (for Farsi writing and lithography is like the Illumination writing form, Noskh). During this period, we can recall this period for its magnificent and opulence.  The geometric division slowly places itself on Toranj frames.  Gold becomes limited and Lapis Lazuli gets darker and deeper.  During the nineteenth and tenth century, Illumination is created with great precision and fineness, and a noble appearance is fit upon it. The school of Heart is special and brilliant from this era.  Many artists come together in Heart with the securities of the aristocracy of Teymour, and establish many art studios.  In the eighth century (Safavid period) Lapis Lazuli gets lighter, and variety of colors such as purple and green are used (school of Esfahan).  Shah Abbasian flowers are created with great delicacy and fine working.  The boarders of pages of Divans are lined with black fountain pen.  In the Quoran, many metals and Toranjes are used for dividing the chapters in fives and tens, which create the sings of prostrations.  From the 5^th until the end of 10^th century, though we the rebirth of thought and the Safavid’s concentrated central government, simultaneously, Illuminations and the art of writing faces religious pressures.  At any moment, we face pressures that evolve slowly, along with the special changes in color coordination.  In addition with the Safavid’s  centralized national government, forming a central power in Iran, security is established and economical power increases  The coloring of Cathaian flowers become radiant and diverse.  Familiarity with European paintings increases the depth in various red and different greens.  Along with the formation of lithography (8 through 10 century), the Eslimis enter the dragon’s bridle and snake into Illuminations.  Per the number of pages, Illumination is created in the beginning and the end of books.


The Safavid era is the height of the perfection and formation of lithographic writing, and the formation of broken lithography (that becomes the commanded writing).  God and the Tooth of Mata[xv] is used in the body of the text.  Marheghbat[xvi] and albums that through the Chinese tradition had become customary in Iran, (In time of Teymour) during the Safavid become customary, and calligraphy and painting are created.  Illuminative portrayals have appeared on leather covers that are used in the shape of a drum and used in forms of paintings and oil (wax).  Tashir[xvii] is used with animal and botanical portrayals on the boarders of sections and writings.  Cathayan flowers and bushes with liquefaction working (hal kari)[xviii] becomes very customary.  During the Afshari and Zandi period the broken handwriting reaches its splendor, along with that Illuminations is created within the body of the text.


During he Safavid period, due to religious and political causes, number of artist, religious, painter, and calligrapher migrated to India and Ottoman. In India, a special school by the name of Indo-Iranian is formed.  Excellent examples of Illuminations are created,  (Flower garden working, during the Babri-India), in the epitome of precision and delicacy has been used.  From the Afshari period and onward, changes in Illuminations are formed that in precise action, various forms, shapes and colors come to the eye.  In the Ghajar period, the totalities of the lines are written.  However, in two sections: manuscript writing, and lithography (piece writing) which face progress; mostly gold, flowers and small bushes are used.

Along with the publishing industry and the decline of calligraphy we face multiple reproductions and copies which itself results in the decrease of colorful Illuminative portrayals. With the start of the constitutional revolution, which holds the same grounds as the fall of aristocratic landowners, relates to the supporters of decorative arts. Cultural and political views in society evolve, and with the rise of public education, it leads a special transformation, which in turn causes change in the works of traditional arts.  The beginning of the Pahlavi dynasty is the end-points of calligraphy and Illuminative works of art.