Soil and its Visual Preference in Iranian Artworks: Color Analysis in the Miniatures of the Herat School

Document Type : Research Paper

Authors

1 Associate Professor, Department of Architecture, Faculty of Architecture and Urban Planning, Tabriz Islamic Art University, Tabriz, Iran.

2 PhD Candidate in Architecture, Department of Architecture, Faculty of Architecture and Urban Planning, Tabriz Islamic Art University, Tabriz, Iran.

Abstract

Humans possess diverse inclinations, some of which, due to their inherent nature and biological foundations, exhibit greater antiquity and permanence. This research seeks to understand how the human intrinsic interest to soil can be discerned through Iranian artworks. Since color analysis can reveal such tendencies, this topic is particularly applicable to visual arts, especially painting. Therefore, this study aims to explore the color selection in the miniatures of the Herat School by analyzing the quantity of colors used in them. This article use a descriptive-analytical research method, seeking to answer the following questions: What is the quantity and proportion of colors used in these miniatures? And which color is the most prevalent? For this purpose, 24 samples of miniatures from this school were selected, divided into two groups of 12: one featuring architectural elements and buildings, and the other depicting natural landscapes. The quantity of colors used in the selected samples was determined based on color type and the elements of the miniatures utilizing graphic and drawing software such as AutoCAD and Photoshop. The findings reveal that 59.5% of the total surface area in the first group (architectural elements and structures) belongs to the spectrum of soil tones. The remaining 40.5% is distributed among other color groups as follows: tiles (10.4%), stone (6.1%), coatings (5.9%), miscellaneous (2.9%), plants (3.2%), sky (2.7%), fabric (2.6%), ground (3.2%), plaster (1.5%), water (1%), cement (0.7%), and animals (0.3%). In the second group (natural landscapes), 67.6% of the total surface area belongs to the spectrum of soil tones. The remaining 32.4% is distributed among other groups as follows: plants (11%), stone (6.5%), coatings (5.5%), animals (4.3%), sky (2.7%), water (1.4%), and miscellaneous (1%). This indicates that soil tones dominate in both groups. Soil tones, a type of brown-beige color, are a distinctive feature of the Herat School, which is known for its extensive use of brown hues. It appears that in this school, attention was not merely given to the superficial properties of colors, but rather extended to the deeper conceptual meanings and symbolic representations of hues - those intrinsically connected to human beliefs and biologically adapted nature. The soil tone symbolized life continuity, intimacy, warmth, humility, and reverence for nature, while evoking sensations of joy, vitality, and health. It is hypothesized that this particular affinity for soil tones stems from both the adaptation of the human visual system to ancestral savanna environments and an innate human attachment to one's physical form. Furthermore, it may be posited that Timurid-era artists were aware of both the essential nature of soil tones for enhancing a work's warmth and their capacity to control chromatic turbulence, frequently resorting to various shades of this color to prolong the viewing experience of their artworks. The reverence for soil tones in these works demonstrates that the origin of appealing elements in refined schools like Herat extends beyond technical skill, diversity of forms, or composition. Rather, ancient factors rooted in biological adaptations, alongside psychologically and culturally derived elements, play significant roles in the aesthetic framework of these miniatures.

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References

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Journal of Fine Arts: Visual Arts
Volume 31, Issue 2
June 2026
Pages 47-58

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