Abstract
Pure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Understanding the nature and purpose of Islamic art in the last century has attracted the attention of many scholars and researchers and their studies have led to various theories about the philosophy and wisdom of transcendent Islamic art. Titus Burckhardt and Seyyed Hossein Nasr, including intellectuals who use a traditional approach based on religious and mystical views to explain what, why and how Islamic art - architecture, applied arts and visual arts. The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts? In this study, the visual and content characteristics of the Islamic miniature of Iran are explained based on the religious and mystical views of Titus Burckhardt and Seyyed Hossein Nasr and the degree of similarity of Iranian miniature in form, expression, and meaning with other Islamic arts has been studied. Accordingly, after collecting some of Titus Burckhardt’s and Seyyed Hossein Nasr’s theories on Islamic art and examining several Islamic era miniatures through surveying and documenting, the data obtained have been drafted in a descriptive and comparative method. Finally, data analysis was performed using inductive reasoning. Based on the findings of the research, elements such as form, color, specialization, non-representation and use of writing (in the form of poetry) have given Iranian miniature, like other forms of Iranian art and architecture, special meaning. On the other hand, the form, expression, and meaning of Islamic miniature in Iran are in line with the mystical and religious views of Titus Burkhardt and Seyyed Hossein Nasr, and these views are not only true about non-religious and court images. 
Keywords: Islamic Art, Burckhardt, Seyyed Hossein Nasr, Iranian miniature, Religious and Mystical Views.

Introduction
Pure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Like most Islamic arts, Iranian miniature has been subject to the temporal and spatial requirements of each era and has passed developments. Titus Burckhardt and Seyyed Hussein Nasr are among the scholars whose in-depth studies of nature, why and how of Islamic art have led to theories of Islamic art. In their works, they have described the characteristics of Islamic arts in a mystical and religious approach, and in the meantime, they have sometimes explained them in the visual arts, sometimes in the applied arts and sometimes in architecture.
Research Objectives: The purpose of this paper is to first study and understand the characteristics of Islamic art from traditionalist thinkers (Titus Burckhardt and Seyyed Hossein Nasr), secondly to compare and analyze the features mentioned in Iranian miniature with other Islamic arts. And third, recognition of the consistency of miniature Iran in form, expression, and meaning to other Islamic arts.
Question: The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts?
Research Methods: The research method is descriptive-analytic and research data (images and miniature and taking notes) to the style library (documents) collected. Data obtained by descriptive statistics and comparisons have been drafted. Finally, data analysis using inductive reasoning in terms of the miniature of painting, as an extension of the total is made. On this basis, a number of the miniature have been studied and analyzed and the result has been generalized to the whole miniature in Iran.

Identified Traces 
in this article, important points are explained in a separate heading, including Tradition and Traditionalism, the Relationship of Islamic Art with Pre-Islamic Art in Iran,  Burckhardt and Nasr’s View of the Nature of Islamic Art, the Human Position in Islamic Art and Iranian Painting, Paint in Islamic Art and Islamic Painting in Iran, Poetry in Islamic Art and Iranian Painting, Balance between form, Expression, and meaning in Islamic Art and Iranian Painting, Spaceship in Islamic Art and Iranian Painting, Lack of Views on Islamic Painting in Iran. For example: In Burckhardt’s view, the characteristic of Islamic art is to be consistent with the spirit of Islam, and this compatibility is at least evident in its core manifestations, such as the architecture of sacred places. Burkhardt states: “Islamic art itself is the concept that comes from its name, without ambiguity” (Burkhardt, 1986: 16).
Nasr also argues that the Islamic view of Islamic mysticism is “art for human” and since man is the caliph of God on earth and a central being at this level, it means that “art is for God” (Nasr, 2013: 291). According to Burckhardt: “Colors are the richness of the story’s inner illumination. Because they are confronted, they are blinding and in harmony with the harmony of the colors that we find in the true nature of the spectacle itself (“ Burkhardt, 1986: 88). According to Nasr: Every color has its allegory. As some mystics and poets have directly pointed out, such as the military sage, and every color has a connotation with one’s inner being and his soul, and its use in various aspects of life has a profound effect on the morale of the people (Nasr, 2004: 5).

Conclusion
According to traditionalist scholars such as Titus Burckhardt and Seyyed Hossein Nasr, elements such as form, color, specialization, and use of writing (in poetry form) have played an important role in Iranian art. Iranian miniature based on the mystical and religious beliefs of Islam does not merely portray the outward appearance of nature and, by combining tangible and intangible forms, goes beyond material nature.
Colors have also helped to instill Islamic mystical and religious notions in their symbolic and semantic functions in Iranian miniature. Literature, poetry, and written works in the nomadic culture have also had a prominent place, as the word of the revelation of the Qur’an was a written miracle in the Muslim community. Literature, poetry, and written works in Islamic culture have also had an important place, as the word of the Qur’an’s revelation was a written miracle in the Muslim community. The importance of writing culture was that painting was at the service of verses, literary poetry.
Thus, the form or form, color, spatiality and enjoyment of the text as illustrated by the views of Titus Burckhardt and Seyyed Hossein Nasr in the Iranian-Islamic miniatures also have more or less similar features. It should be emphasized that the above features are common to Islamic miniatures and Islamic art, and this cannot be generalized to non-religious and courtesy examples.

Abstract
Throughout Iran’s history, there have been governments, however large and small, of local rulers and rulers that have been the source of significant influences in the history of our country’s art and civilization. These local rulers are not well-known throughout history, among them the local government of Al Inju and then al-Muzaffar. After the collapse of the Ilkhanid dynasty in Iran, the regions of Kerman, Yazd, and Fars were presented with a competition between the two families claiming al-Inju and Al-Muzaffar. However, the period of the local rule of Al Inju and Al-Muzaffar is bed into significant artistic and cultural developments, which can be seen in Shiraz’s orthography. This is because the remaining copies of the book-layout of Al-Inju and al-Muzaffar are proving to this claim. The question is: What effects has Shiraz’s painting school had on the Iranian Painting art during Al-Inju and Al-Muzaffar? The method of this research is descriptive-analytical with library data collection. Case studies are paintings of Shahnameh version 733 AH in the Russian National Library in St. Petersburg and Shahnameh 731 AH in the Topkapi Museum of Istanbul, Turkey, and Shahnameh Qavam al-Din Hasan 741 AH, all belonging to the Al Inju period, as well as paintings of the 771AH Shahnameh, exists in the Topkapi Library of Istanbul in Turkey, as well as the Khamseh Nezami version, in the late 8th century related to the Al-Muzaffar period in the National Library of Paris. Studying the characteristics based on formal, structural, and themes of Shiraz Artography during the Period of Al-Inju and Al-Mozaffar, the effects of Shiraz Painting School on the art of painting are distinguished. Based on the results of this research, al-Inju’s paintings were under the effect of the tradition of old Iranian painting (reminiscent of Sassanid graffiti) and visualization of Ferdowsi’s Shahnameh and it’s martial scenes, and the use of specific tables for writing parts (calligraphy), the illustration of lyrical systems in the Period of Al-Muzaffar, the application of brilliant colors in the painting of Al Inju and Al-Muzaffar have had a tremendous impact on Iranian Painting in the later era.
Keywords: Shiraz School of Painting, Painting, Local Government, Al-Inju, Al-Muzaffar.

Introduction
The Inju family were the descendants of the subordinate leaders of the Ilkhans, and after the death of Abu Sa’id in 1335 AD/ 735 AH, they became independent and from that date till 1353 AD/ 753 AH, they ruled Persia until they were banished by the Muzaffar dynasty, who were the rulers of Yazd.
The Al-Muzaffar dynasty ruled the whole southwest of Iran until 1393 AD/ 795 AH. They were taken down by Timur. By studying the history of the rule of these two local governments in Shiraz, it can be seen that Abu Ishaq Inju and Shah Shoja Mozaffar were both supporters of Hafez and perhaps that is why they hired skilled painters to illustrate books (Gary, 2005: 56). The art of painting in Shiraz was specially and seamlessly formed during the Alainjou period and showed a special type of painting that had exactly the characteristics of Iranian Painting and was far from outside influences or felt less salient. “Shiraz’s cultural prosperity continued during the Mozaffarian era (remember that Hafez’s poetry prospered at that time)” (Pakbaz, 2005, p. 69). Shiraz’s art continued to change with cultural perceptions during the reign of Al-Muzaffar, and until the early ninth century, it produced works worth mentioning. Shiraz’s art continued to change with cultural perceptions during the reign of Al-Muzaffar, and until the early ninth century, it produced precious works.
Research Method: The research in this article was performed in a descriptive-analytical manner and the documentary method (library) was used in the collection of research material and images. This research benefited from the historical books of writers from different periods about the history of Alyanjo and Al-Muzaffar, as well as the illustrated manuscripts of that period in Shiraz. Because their paintings are portrayed in a crude and precipitous style and reminiscent of the popular painting art. In the paintings of the Shiraz school, the main topic is “human” and other elements were used as a role and only as decoration and fill the empty spaces in the picture. Moreover, other elements such as the use of tables and a kind of harmonious and delicate coloring can be seen in most of the work of this school (Tavousi, 1390: 16).

Identified Traces
From the beginning of the eighth century, workshops in Shiraz began to illustrate literary texts, particularly the Shahnameh. Indeed, to confront the Ilkhans and consolidate their position, they continued a policy of celebrating Iran’s ancient history. Consequently, Chinese art which was common in Tabriz had the least influence on Shiraz painting. Thus, along with innovators such as Ahmad Musa and Shams al-Din, the Shiraz school continued the tradition of Iranian painting (Pakbaz, 2005:68). The most common feature of all Aligno school manuscripts is the copious use of red and yellow, ochre, or gold. Lively and dynamic design, free movement of pen and brush to express members and the exaggerated use of stems and plant flowers are other important features of these paintings.
The art of painting at the Al-Muzaffar School took on a different style than the usual illustrations of Shiraz Alainjo, which not only influenced the works of southern Iran during the first half of the fifteenth century AD but also Indian works. The elegance of this painting contrasts with the composition of Alinejo’s paintings (Titley, 1983: 41). These drawings and compositions of the Al-Muzaffar School were transferred to other art centers through libraries that were illustrated in Shiraz in the eighth century (Blair et al., 2014: 137).
The peculiarities of Mozaffarian’s painting were: round hills, high horizon, scrubland earth, large statues with large heads and bearded faces, delicate design, and sometimes rough craftsmanship. A small part of the overall picture specializes in the blue sky, and the natural landscape is described by several classic patterns. Humans and animals are out there, but they seem more important. In general, compositional elements are increasingly conceptual and symbolical (Pakbaz, 2005: 69).

Conclusion
The way Shiraz school was presented in the periods of Al-Inju and Al-Muzaffar is the continuation of ancient Iranian art and its innovations. These two schools, with their elementary painting and innovations, continued the tradition of book-painting and painting in the 5th and 6th centuries AD, which evolved over the next two centuries and became the dominant special characteristic of painting. 
The style of special book-painting of Shiraz’s school of painting during Al-Inju and Al-Muzaffar can be searched in illustrated versions of Shahnameh.
The characteristics of the painting of this era can be divided into three categories: formal, structural, and themes. Shiraz illustrators presented their past cultural and artistic heritage and the extension of Iranian artistic taste before Islam (Parthian and Sassanid graffiti and carvings) as well as attention to the original literature. Like illustrated Shahnameh, the visualization of martial arts scenes was also placed on the agenda of the artists during Al Inju and Al-Muzaffar.
The effect of this theme feature can be seen in schools of later periods, such as Behzad’s painting of Bahram’s battle with dragons in Herat school during the Timurid period. Natural effects and landscape in the form of a formal feature in the al-Muzaffar period painting were much more than al-Inju’s painting. These natural manifestations continue and diversify in the schools of painting in later periods. During the period of Al-Jalayer, the Jalayeri school, these formal features can be seen in the paintings of Junaid Shirazi (see Humay and Homayoun) in the illustrated version of Khajavi Kermani Divan, and also in the illustrated version of Khamseh Nezami (Khosrow and Shirin), and also noticeable during the Turkman period in Tabriz. Illustrators of the Al Inju era attached great importance to the image of humans and animals in paintings, which can be considered as a special feature of Iranian painting in the scene of Bahram battle against dragons by Behzad in Herat school during the Timurid period, as well as tthe scene of the pillar removal by Imam Ali in the School of Turkmens in Shiraz (See Humay and Homayoun), Khajavi Kermani’s Divan in the Period of Al-Jalayer, and Khosrow and Shirin’s paintings in the Turkmanan School of Tabriz.