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ARTISTIC FEATURES OF MUSLIM MINIATURE PAINTING AND EASTERN
CLASSICAL LITERATURE
Nadirkhanova Nilufar Alisherovna
"Teacher of the Department of Music and Fine Arts”,
Bukhara State Pedagogical Institute, Republic of Uzbekistan.
Annotation:
This article focuses on the significance and role of medieval miniature painting
and classical literature from the Muslim East within the context of global artistic culture. It
examines the importance of miniature painting from the Middle and Near East, as well as
Central Asia, in the realm of professional pedagogical education. The author highlights that
between the 11th and 19th centuries, various artistic centers for miniatures emerged and
evolved across a broad region that encompasses modern-day Iran, Iraq, Syria, Afghanistan,
Azerbaijan, Turkey, Uzbekistan, Tajikistan, the Arabian Peninsula, Northern India, and more.
This development was marked by interaction and mutual influence, which shaped the
similarities in their artistic techniques and compositional approaches.
Keywords:
Central Asian miniature, artistic culture, harmony, genre, classical literature of the
East, calligraphy, medieval treatise, "master, mentor, teacher."
Аннотация:
В данной статье рассматривается значимость и роль средневековой
миниатюрной живописи и классической литературы мусульманского Востока в
контексте глобальной художественной культуры. Анализируется важность миниатюрной
живописи Ближнего и Среднего Востока, а также Центральной Азии в сфере
профессионального педагогического образования. Автор подчеркивает, что в период с 11
по 19 века в различных художественных центрах миниатюр возникли и развивались
традиции по всему обширному региону, охватывающему современные Иран, Ирак,
Сирию, Афганистан, Азербайджан, Турцию, Узбекистан, Таджикистан, Аравийский
полуостров, Северную Индию и другие страны. Это развитие сопровождалось
взаимодействием и взаимным влиянием, что сформировало сходства в их
художественных техниках и композиционных подходах.
Ключевые слова:
Центральноазиатская миниатюра, художественная культура, гармония,
жанр, классическая литература Востока, каллиграфия, средневековый трактат, "мастер,
наставник, учитель."
Аннотация:
Ушбу мақолада ўрта аср миниатюра расмлари ва мусулмон Шарқи классик
адабиётининг глобал санъат маданияти контекстидаги аҳамияти ва роли кўриб чиқилади.
Шарқий ва Ўрта Шарқ миниатюра расмларининг аҳамияти, шунингдек, Марказий
Осиёдаги профессионал педагогик таълим соҳасидаги ўрни таҳлил қилинади. Муаллиф
11-19 асрларда турли санъат марказларида миниатюра анъаналарининг пайдо бўлиши ва
ривожланиши билан замонавий Эрон, Ироқ, Сурия, Афғонистон, Озарбайжон, Туркия,
Ўзбекистон, Тожикистон, Арабистон ярим ороли, Шимолий Ҳиндистон ва бошқа
мамлакатларни қамраб олган кенг минтақада юз берганини таъкидлайди. Бу ривожланиш
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ўзаро алоқа ва таъсир билан бирга келди, бу эса уларнинг санъат техникаси ва
композицион ёндашувларида ўхшашликларни шакллантирди.
Калит сўзлар:
Марказий Осиё миниатюраси, санъат маданияти, гармония, жанр, Шарқ
классик адабиёти, каллиграфия, ўрта аср трактати, "устоз, мураббий, ўқитувчи."
Miniature painting, as a unique phenomenon in the history of world artistic culture, possesses
significant potential for shaping the spiritual culture of the individual, its aesthetic education,
and artistic harmony. It must be noted that this distinctive genre of Eastern painting, with its
centuries-old history, is still in the stage of study from both historical and cultural, as well as
art-critical perspectives.
Indeed, the uniqueness of the artistic-imagery language of Eastern miniatures requires an
extraordinary approach to the study of this form of visual art, which means that an
unconventional approach is also necessary for addressing the issues of creating the history,
theory, and methodology of this unique branch of world painting. Therefore, A.A. Khakimov's
words about the manifestation of a new aesthetics, including in the sphere of culture and art,
appear relevant and timely.
Without researchers' knowledge of the history and theory of visual art—specifically miniatures
in the countries of the Near and Middle East, and Central Asia (ancient times, early and late
medieval periods, periods of cultural and artistic flourishing and decline, etc.)—it is impossible
to form a complete picture of the evolution of miniature painting in the Muslim East,
particularly in Central Asian countries. This fully applies to the tasks of revealing the rich
traditions of the brilliant schools of painting in Herat during the 15th-16th centuries, Tabriz
during the 15th-16th centuries, Bukhara and Samarkand in the 15th century, as well as the best
achievements of the Mughal school of painting in Delhi and Agra during the 16th-17th
centuries, among many others.
It is known that miniature painting reached its peak—the Renaissance—during a time of rapid
development of classical literature. Figures such as Abdurahman Jami, Alisher Navoi, and
others flourished during this period from the 14th to the 17th centuries. In this context,
examining recognized world centers of miniature painting, such as the Herat school, Tabriz
school, and others alongside the classical literature from these centers is justified and provides a
more complete picture of this unique phenomenon in painting.
For instance, one notable admirer of fine arts was the great humanist of the East, the founder of
Uzbek language and literature, Nizamedin Mir-Alisher Navoi. In his poem "The Turmoil of the
Righteous" from the cycle "Khamsa" (The Quintet), in chapter 100 titled "The Nineteenth
Conversation on the Unparalleled Khorasan and the Beautiful City of Herat," Alisher Navoi
describes the capital of Khorasan, Herat, with enthusiasm. Among other things, he writes:
"In the halls that captivate the gaze,
The artists adorned Herat.
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On the walls, the paintings - silks of the court.
In that painting, the hand of Mani is visible."
In the poem "Farhad and Shirin," the poet endows his hero with the art of sculpting and painting.
While decorating the palace, Farhad learns from the artist Mani:
"Mani paints on the walls, and Farhad
Now finds no other delight...
Mani creates a picture on the wall, -
The prince will replicate it on his mind.
...He became skilled in stonemasonry,
And he became a talented painter."
At the beginning of the poem "Seven Planets," Alisher Navoi uniquely depicts the emergence
of life on Earth:
"Long before the beginning of existence,
When the Earth knew not existence,
The pure notebook of future life
The artist wished to decorate."
"Below, he created dust, dressed in a forest,
Above, he depicted seven heavens.
One of them he filled with blueness
And placed it above our heads."
In the 18th and 19th centuries, the remarkable poet, historian, calligrapher, and translator Sher-
Muhammed Avazbay, better known by the pseudonym Munis Khorezmi, created his works. His
couplets, dedicated to the teacher who taught Munis the art of calligraphy, are especially poetic.
His odes include "On Writing," "On Scripts," and "On the Pen." For example, in the couplets
"About the Teacher Who Taught Me the Art of Writing," Khorezmi writes about his mentor:
"The beauty of his letters eclipses everything.
The lines and dots have an exquisite appearance.
He teaches different styles of writing.
Seven different scripts are accessible to him."
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It is important to note that many poetic couplets—beits—had a didactic and educational nature.
For instance, a well-known treatise by Sultan Ali Meshhedi, written in 1514, titled "Sirat as-
Sutur" (Rules of Writing), is also dedicated to the work of the calligrapher.
The source that provides information about calligraphy—and what is especially important for
us—about writing materials, their preparation methods, and most importantly, the moral and
ethical qualities of the artist, is the treatise by the remarkable calligrapher of the 15th to early
16th centuries, Sultan Ali Meshhedi. A contemporary and associate of the great Alisher Navoi
and the genius Behzod, he bore the title "Sultan of Calligraphers." In a poetic and prose form,
the author offers a series of methodological advice on teaching writing and preparing materials
and tools. His advice is quite relevant from the perspective of modern pedagogy and
methodology. For example, in teaching writing rules, Sultan Ali places great importance on
verbal explanations:
"...Until the teacher explains it to you verbally,
You will not be able to write it easily."
"The explanation of how to comprehend this, both in great and small matters, is through
'Kalyami' (practical demonstration) as well as 'zabani' (oral explanation). However, you should
consider 'zabani' more important so that everything difficult becomes easy for you.
It is evident that both teaching methods are employed, with an emphasis on the oral method.
A treatise containing the most interesting information about the works of calligraphers and
artists of the medieval East is rightly considered to be the work of Dust Muhammad ibn
Suleiman from Herat, titled 'Treatise on Calligraphers and Artists' (1444-1445).
The origins of painting and the legitimacy of depicting living beings are also substantiated in
his 'Treatise on Calligraphers and Artists' (Gulistane Khunar) by Qazi Ahmed—a historian,
calligrapher, and artist. He places the art of painting on par with the recognized art of
calligraphy.
The lines from the treatise given in the chapter about ornamental artists are interesting: '…like
Mani, Chinese and European magicians sat on the throne of the land of talent…'. In a poetic
narrative about artists and the origins of painting, Qazi Ahmed writes:
I have heard that Chinese artists
First, as they became painters,
Mixed paint with the blood of their hearts
And sketched likenesses of roses and tulips…
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Qazi Ahmed fully pays tribute to Behzad, speaking of him in prose: 'the rarity of the era, the
most wondrous painter of ages, Master Behzad, he is from Herat,' and in verse:
The master of time, his brightness Behzad,
He fully expressed the gift of talent…
Speaking of his works, the master writes:
His charcoal drawing in the art of execution
Is better than the works of Mani's brush…"
The treatise by Iskander Munshi (late 16th century) contains information about medieval artists,
their biographies, and characteristics of their work. Alongside the life story of the Shah and
details about his lineage, the author provides insights into the creativity of court painters such as
Abbas, Behzad, Sultan Muhammad, Agha-Mirak, and Muzaffar-Ali, who brought life to the
beautiful forms created through the combination of colors.
Interestingly, Iskander Munshi includes among the prominent Tabriz masters of miniature
painting Sadiq-bek Afshar, a poet and artist who authored one of the first treatises on the theory
and practice of visual arts in the Muslim East. The treatise by Sadiq-bek Afshar (circa 1597)
consists of 206 couplets presented as pedagogical advice and methodological guidelines on
painting techniques, ornamental art, and their teaching methods. This treatise is entirely
dedicated to the theory and practice of visual and ornamental arts. Translated into Russian by A.
Yu. Kaziev in 1963, the book allows for a better understanding of the complex art of miniatures,
as well as the diversity of materials and technologies used in Eastern painting.
In terms of ideas and methodological principles, the theoretical and methodological positions
outlined in "Ghanun os-Sovar" resonate significantly with contemporary requirements for artist
training. The author's views on nature as an object of study and a better teacher in learning art
are progressive, as well as the role of the mentor and instructor in visual arts education,
emphasizing the study and use of traditions from miniature painting in training artists. The
treatise also contains a wealth of material on painting technology, including compositions and
recipes for grounds, varnishes, paints, and methods of their preparation. The aesthetic views of
this medieval scholar-educator are also highly valuable, reflecting a desire for a realistic
portrayal of the surrounding reality through drawing and painting. Sadiq-bek Afshar calls for an
honest reflection, especially of human beings and their individual states, "in accordance with
the original."
As A. Yu. Kaziev rightly points out, the study of "Ghanun os-Sovar" is valuable not only for
characterizing the creative methods and techniques of past masters of art but also for identifying
positions that resonate with the demands of today, such as the perfection and completeness of
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works of visual art, proper methodological guidance in education, adherence to traditions, and
the acquisition of one's own methods, techniques, and style based on this foundation.
In the "Canon of Images," the author repeatedly emphasizes the role of the teacher and mentor
in visual arts, stating:
"As the wise man said - without a teacher, (any task) is difficult."
With the lines "Although my heart was familiar with the art of depiction, (it) was powerless to
achieve meaning independently," the artist-poet leads us to understand that without a system of
education, it is impossible to attain "meaning," i.e., the unity of form and content.
"If you cannot find such a teacher, do not turn away from 'Ghanun os-Sovar'... (it will serve as)
a teacher for you, requiring neither reward nor favor," advises Sadiq-bek Afshar to the reader.
Thus, the role and significance of miniature painting from the Middle and Near East, as well as
Central Asia, in professional pedagogical education are immense. From the 11th to the 19th
centuries, there was a formation and development of artistic centers of miniatures across a vast
territory that includes present-day Iran, Iraq, Syria, Afghanistan, Azerbaijan, Turkey,
Uzbekistan, Tajikistan, countries of the Arabian Peninsula, Northern India, and others. Their
development occurred through interaction and mutual influence, which predetermined the
overall close proximity of their visual means and compositional thinking.
Based on the techniques and visual means developed, the masters of brushwork in medieval
East created a unique style characterized by the synthesis of the conventional and the real,
perfectly aligned with the poetics and prose of classical literature and historical chronicles of
the East. This created conditions for the emergence of a whole layer of brilliant artists who
allowed for the identification of medieval miniature painting as classical, likening it to the era
of the High Renaissance.
List of educational and methodical literature
1. Hakimov A.A. Historical Consciousness and the Artistic Process: "The Experience of
Contemporary Art in Uzbekistan." In the collection "Signs of Time. Cultural Contexts of
Contemporary Art in Uzbekistan: Heritage and Postmodernism." Tashkent, Publishing House
"San'at," 2008.
2. Dust Muhammad. "Treatise on Calligraphers and Artists." In the book "Masters of Arts on
Art," Vol. 1 (Foreword, Translation, and Commentary by G. Kostygova). In the series "Masters
of Arts on Art." In 7 volumes. Moscow: Iskusstvo, 1965.
3. Kaziev A.Yu. Artistic and Technical Materials and Terminology of Medieval Book Painting,
Calligraphy, and Bookbinding Art. Baku: Publishing House of the Azerbaijan SSR Academy of
Sciences, 1966.
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4. Persian Miniatures of the 14th-17th Centuries. Edited by Academician I.A. Orbeli. Moscow:
Publishing House "Nauka," 1968.
5
"
Islamic Painting: A History". Author: I. M. K. S. K. A. KhanPublisher: Thames Hudson
1999
