The study of book decoration, especially illumination, is a common subject between codicology and art history. This research focuses on identifying the stylistic characteristics of Muzaffarid illumination. This topic has received limited attention from researchers compared to other Persian art schools. The Muzaffarids ruled Shiraz and the areas surrounding that region from 718 to 795 AH, leaving an important artistic legacy, especially in manuscript illumination. The main aim of this research is to identify the specific stylistic features of illuminations in manuscripts produced during the Muzaffarid period. This involves analyzing illumination elements to understand the different styles of illumination in the history of book decoration, as it helps identify the stylistic features of illumination from each period, recognize other contemporary productions, and detect forgeries.
The Muzaffarid dynasty come out during a period of political fragmentation in Iran, following the falling of the Ilkhnid. The dynasty's rulers were known for their support of the arts, commissioning many of manuscripts that reflected both continuity with earlier traditions and innovative stylistic developments. The Prosperity of artistic activities in Shiraz during this period highlights the city's importance as a center for cultural exchanges.
Methodology of this research is employing a descriptive and analytical method. The information was collected through libraries, websites of libraries in Iran and around the world, as well as the personal archives of researchers in this field. The research question is: What are the stylistic features of the illuminations in manuscripts belonging to the Muzaffarid period? To answer this question, nine dated illuminated manuscripts from the Muzaffarid period were selected. The analysis focused on four main sights: The main frames and their compositions, secondary frames and their usage, types of motifs and colors used were all identified, categorized, and the most common features of each were defined.
The main frames include the header cartouche, medallion, and the secondary frames include of corner frames with gilding beside the text of finial of manuscript. The combination of these frames results in different compositions. The most commonly used and characteristic composition in these works is the header beginning of any part of book, which is made up of a buckled cartouche and different types of up margin. The overall dimensions of this composition range from 154 to 223 millimeters in length and from 50 to 133 millimeters in width. The width of the inscriptions varies between 20 to 36 millimeters, and the height of the crowns can reach a maximum of 25 millimeters and a minimum of 7 millimeters. Following this, there is a paired buckled cartouches with decorative margins, measuring between 177 to 220 millimeters in length and 100 to 146 millimeters in width. The paired buckled cartouches are another composition used in these works, measuring 170 millimeters in length and 105 millimeters in width. The motifs, in order of their usage, include Palmette, arabesque, and motifs that draw free hand. All motifs are executed with delicate precision. A characteristic of the arabesque motifs is the decoration within inside of them and the use of interlace beside them. The defining feature of Palmette motifs is their bush composition. The coexistence of Palmette and arabesque motifs within a single frame is also a considerable characteristic of these designs. The free hand motifs are used as decorative elements, alongside the main motifs. Lapis lazuli is the dominant color used in most of the backgrounds of all motifs. Following lapis lazuli, the colors gold, black, cinnabar, Verdigris, and white are the most generally used. The execution of designs on a background without color, using dark ink, can also be considered one of the characteristic features of the motifs in these works. Additionally, the use of Point pressure in the designs is considered an important feature of Muzaffarid illumination
According to the results, the especial stylistic features of Muzaffarid illumination are: the composition of the cartouche frame is one of the mostly repeated in these works. All motifs are performed delicately, and the Palmette motifs have bush composition. The use of complex and elaborate freehand motifs as decorative motifs alongside the main motifs is noted. A specific design technique for Arabesque motifs and the application of knotted patterns in their design are observed. Most motifs are performed freely on a colorful background without outlines around them. Azure is the dominant color in most backgrounds of motifs, whether Palmette or Arabesque. The accomplishment of motifs on a colorless background with dark outlines can also be identified as one of the characteristics of these works. The use of Point pressure in the designs is considered an important feature of Muzaffarid illumination.