The Khavaran-nama, a poetic work by Ibn Hussam Khosfi Birjandi, is one of the most important illustrated manuscripts of the Turkmen period in Iran, of which 115 illustrations are kept in Golestan Palace. This research was conducted with the aim of uncovering composition patterns in the illustrations of Khavaran-nama and their relationship with the narrative themes and the text’s ruling (grid) system.
The two main questions of the study are: (1) What is the relationship between the method of composing illustration elements and the story’s themes as well as the geometric proportions of the ruling grid? (2) What fixed patterns of composition did the illustrators of Khavaran-nama use? Using a descriptive-analytical approach and examining all the illustrations, the results showed that composition in this work is based on two principles: The first principle: the ruling system of text and image, which is based on the vertical lines of the verses and the geometric division of the frame. The second principle: the arrangement of pictorial elements is based on the story’s content and key characters. These principles have led to the formation of fixed patterns that are used differently in scenes of battle and scenes of calm. In battle scenes, three-quarters of the pictorial space is dedicated to the main character (Imam Ali [PBUH]) and one-quarter is for the enemies, whereas in scenes of calm, a reversed or symmetrical composition, or one based on central lines, is dominant.
The methodology of this research was carried out with a developmental approach and a network-geometric method. The data were extracted from the published version of Khavaran-nama (1381 SH) and by comparing it with the manuscript version at Golestan Palace. The illustrations were categorized based on theme (battle/calm) and analyzed with a focus on longitudinal/lateral bisectors, golden points, and the relationship of elements to the text The main findings of the text are as follows: (1) Battle composition patterns: in 76 battle illustrations, the main character occupies three-quarters of the pictorial space, and the enemies are compressed into the remaining quarter at the side. Sword strikes or the climax points of the narrative are concentrated along vertical lines. Symbols such as the enemies exiting the frame reinforce the suggestion of flight and defeat.
(2) Composition patterns for scenes of calm: in 39 non-battle illustrations, the main character is depicted in the corner of the frame and above the horizon line. Symmetrical compositions are used in dialogues to convey a sense of calm. (3) Hidden geometric system: longitudinal and lateral bisectors function as axes of visual focus. The arrangement system of each verse on the page influences the grid of the pictorial frame. (4) The link between text and image: the illustrators have coordinated key verses with the position of pictorial elements—such as sword strikes.
The innovation of this research lies, on the one hand, in identifying the fixed compositional clichés in Khavaran-nama, and on the other hand, in emphasizing the role of the narrative theme in the formation of visual patterns, contrary to purely geometric approaches of the past.From a theoretical perspective, the importance and applications of this research are to provide a framework for analyzing composition in the illustrations of the Shiraz school and the commercial style.
Practically, it will inspire contemporary Iranian illustrators to utilize traditional principles of linking text and image, and historically, it sheds light on the mechanisms of mass production of illustrated manuscripts during the Timurid and Turkmen eras.
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The illustrations of Khavaran-nama not only reflect the technical skill of the painters, but also indicate a coherent system based on the interaction of narrative themes, hidden geometry, and the book’s visual requirements. This research is considered a step toward formulating a “Theory of Composition in Iranian Painting.”
Keywords: Iranian painting, Shiraz school, Khavaran-nama, composition, hidden geometry, narrative themes, commercial style.

Dr. Mehdi, Arjmand Inaloo
Faculty Member, Department of Art
Faculty of Art and Architecture
Shiraz University, Shiraz, Iran