عنوان مقاله [English]
Although Islam has forbidden painting and the harsh treatments that existed in the early centuries of the emergence of a new religion, Iranian painting was preserved and transferred along the Silk Road to China by the Uyghur people who converted to Mani religion.
Most of these paintings have obvious similarities to the animals of the Sassanid silver plates. Therefore, the question is how, after many centuries, Iranian paintings are instantly discovered in these works? It seems that the answer to this question should be sought in the late years of the Sassanid era and converting Uighurs to Mani religion.
Hypothesis: after Mogols’ invastion and regarding the power of Uighurs in their court, Iranin painting obtained its position and survived such that it reached to its peak during the government of Shahrokh, the Timurid king.
Research methodology: This research is a comparative comparison between the remained works of Sassanid, Ilkhanid and Teimuri periods.
Conclusion: The aesthetics of Iranian painting in Sassanid era transferred to Uyghur dominated areas by the Manichaean immigrants. Uighurs, by maintaining the principle of Iranian miniature during the Shahrokh government, the Timurid king, developed this style of painting and reached it to its peak.