The Correspondence between the Stages of Miraj and Phases of Prayer and its Manifestation in the Paintings of the Mi’raj with Emphasis on the Mihrab Motif

an essential correspondence between stages of Mi’raj and phases of daily prayer, to study its reflection on Mi’raj paintings. It also challenges the importance of the mihrab and corresponding motifs such as lantern and chandelier. This necessitates the analysis of four images of ascension comprising the design of the mihrab: the “trial of three cups” from Ilkhanid Mi’rajnameh, the “ascension” from Saadi’s Boustan and the “prayer with the prophets” and “prayer with the Muslims” from Timurid Mi’raj Nameh.The adapted methodology is descriptive and analytical, the required data and documents are obtained from library compilation and conducted by a phenomenological hermeneutic approach. This is performed through three symbolical (verbal, operational, pictorial) schemes. The imperative of this research could be viewed from two sides: From historical point of view, it helps to find out the middle ages artist’s attitude towards prophet’s ascension and from symbolism and hermeneutical outlook, it elucidates the theoretical and intellectual foundations of Mi’raj illustration and deciphers the elaborate mysteries of its pictorial elements.The analysis of the Mi’raj paintings according to the correspondent hierarchy reveals that the selection and arrangement of elements in a relevant image is to broadcast a specific status and grandeur of Mi’raj. The conclusion is also related to the semantic link of prayer and mihrab to the abstract concepts of light, time and place.