Iranian-Islamic painting is the manifestation of God's beauty. The principles of this national art have evolved and developed for over many centuries. The manifestation of this art is perceived in works that have remained until today, although the number of book remaining is minor. In fact, the main theme of Iranian-Islamic painting is presence of "the book" and this is a symbol of sanctity and the general respect for books and writing in Islam. The first coherent style of Iranian painting is the Tabriz Ilkhanid School of Painting or the Mughal School. A group of paintings of this school have a direct relationship with religion, and interestingly, considering the diversity and freedom of religion in the mentioned period of Iran's history, the paintings were also the manifestation of religious stories of Buddhism, Judaism, Christianity, and Islam. Among the notable works of this era are the silk official copies, one of the valuable examples of which is a copy kept in the Bodleian Library in Oxford dated 1337/738 and two copies of the British Museum dated 700/1300 and 1323/723. The result of examining the illustrations of the mentioned three versions and comparing them with the Maqamat of Hariri manuscript in the early Baghdad school is an apparent manifestation of the stages of completion and integration of painting features is the optimal use of the features of the civilizations brought to Iran (Chinese and Byzantine).
Research aims:

Studying the content and style of the paintings of the Maqamat of Hariri during the Ilkkhanid period.
Comparing the style and subject of the paintings of the Maqamat of Hariri of the Ilkhanid period with the paintings of the early Baghdad school.

Research questions:

How many copies of the Maqamat of Hariri were illustrated during the Ilkhanid period?
How are the illustrations of the Maqamat of Hariri analyzed in terms of form, content and stylistic features?