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Understanding each text – written or visual – is dependent on a familiarity with the codes it presents. The visual codes of Persian painting are not very understandable for the modern audience and this has formed several fundamental questions in regards with this genre. Among all the various elements which were involved with the formation of a way through which the universe as well as these paintings could be understood by old Iranians Islamic optics was one of the most influential ones. This field of science explains how people of the past used to define the process of seeing and visual understanding and makes the modern audience capable of seeing in the way they used to see. Al-Manazir is one of the most comprehensive sources among many available in this old field. The article in hand proves that based upon Ibn al-Haytham's ideas presented in al-Manazir, the major canons of Persian painting which were previously ambiguous in nature, can be explained. Canons such as repetitions of known patterns, the detailed and realistic representation of ornaments on the objects, neglecting individualistic facial features of people and representing them in almost the same way, a simultaneous two and three dimensional representation of the objects in a single painting, six various methods used for showing perspective or the depth of the field in Persian painting, and unique characteristics of colors (bright and brilliant colors and avoiding representation of shadows and shades).
Key Terms
Persian Painting (Miniature), Islamic Optics, Ibn al-Haytham (alhazen), Kitab al-Manazir.