Visual Principles of Design in Islamic-Iranian Paintings and Visual Principles of Ibn al-Haytham’s Vision Theory; A Comparative Study

According to the model of European painting realism, the structure of perspective in Iranian painting is inexpertly described, while the ability of an Iranian painter to represent the world should be examined on the basis of other principles. The purpose of this research is to explain the reasons of avoidance from representation of perspective and visual geometry in the procedure of Persian Painting production, in comparison with visual principles resulted from Ibn al-Haytham’s vision theory as linear perspective.This research indicates that the visual principles resulted from vision theory of Ibn al-Haytham has a quantitative characteristic based on the geometry of sight. This geometrical structure as a linear perspective demonstrates a kind of subjective representation aligned with theoretical paradigm of science and ideology of Renaissance. The structure of perspective in Persian Painting, by contrast, doesn’t fit visual geometry; and it is a kind of objective representation according to which objects and visual world are depicted, regardless of subject’s view, from various viewpoints and are finally combined into the form of pure geometry structure and right angle view. This kind of angle of view, made possible by perceiving and interpreting the world hierarchically and independently of knowing subject in Islamic ideology, didn’t let the linear perspective techniques, which are resulted from a quantitative approach to study the procedure of visual sensation, to initiate and develop within inside