Comparative study of the structural elements of Miraj-nama's of Ahmad Mussa and Mirhaydar

The story of Miraj (ascension of prophet) is the most common contents in Iranian Islamic painting. In the long been paving the way for artists creativity & innovation the remaining papers from Ahmad mousas Mirajnama belongs to Ilkhani era & manuscript of Mir Haydar,s Mirajnama which are painted in Teimouri era are two peerless collections in religious visual arts. These two collections in addition to benefiting from painting principles at their time, have had a special attention to the issue. The present study sheds light on analysis & comparision of the components, type of attitude & function as well as decisions made by artists regarding religious painting in these two eras. The two major goals are displayed in such pieces of art.1) What are the features structural components in making identity in two Mirajnama’s paintings and their features?2) what are the similarities and differences in structural components between Ahmad Mousa and Mirhaydar works?For instance in painting by Ahmad mousa, paintings of the holy prophet Mohammad (p.b.u.h) has devoided of using symbolic & religious components but they are dynamic, sharp & quite ongoing, the painter has tried to create a mental atmosphere by making use of real world contexts that displays a religious historical event by composing people & individuals and using architecture and the natural perspective in addition to mongolian pattern, has made his work different from Mir Haydar that is mostly an unreal & abstract, poetic pieces of art,s In which color is dominant element instead of line.In such arts Chinese elements in both eras had different impacts in presenting structuralelements.