In Islamic art, geometry is not merely a decorative element but one of the fundamental components in the formation of the visual and structural system of artistic works. Based on principles of proportion, harmony, and unity, geometric order has manifested itself in various branches of Islamic art, including Persian miniature painting. The hidden geometric structures embedded in Persian miniatures have contributed to the organization of pictorial space through layered compositions, the elimination of linear perspective, and the simultaneous representation of multiple spatial viewpoints, resulting in a distinctive abstract and conceptual visual language. From the perspective of Keith Critchlow, geometry in Islamic art reflects a worldview grounded in the principle of divine unity (Tawhid) and represents the sacred order underlying the cosmos. Therefore, geometric patterns function not only as visual devices but also as carriers of spiritual and metaphysical meanings. Critchlow’s theory of sacred geometry provides a framework for understanding the underlying structural principles of Islamic art and its relationship to traditional cosmological concepts. The present study aims to investigate the reflection of the geometric infrastructure of Persian miniature painting, particularly the Herat and Second Tabriz schools, in the illustrative works of Mehdi Ashari. The research seeks to answer the following questions: How are the geometric structures of Persian miniature painting reflected in Ashari’s illustrations? Furthermore, how can the geometric organization and spatial layering of these works be interpreted through Keith Critchlow’s theory of sacred geometry?
his research employs a qualitative approach using a descriptive-analytical method. Data were collected through library research and visual analysis of selected artworks. The theoretical framework was established through the study of Critchlow’s writings on sacred geometry and the structural characteristics of Persian miniature painting. Subsequently, selected illustrations by Mehdi Ashari were examined with regard to geometric organization, spatial construction, compositional arrangement, and visual relationships. The findings indicate that Ashari’s works, through their use of geometric organization, multiple spatial levels, simplified forms, flat colors, and non-naturalistic spatial arrangements, demonstrate significant affinities with the visual language of Persian miniature painting. These characteristics also make it possible to analyze his works through the lens of Critchlow’s theoretical approach. Although there is no evidence that Ashari consciously employed the concept of sacred geometry, his immersion in the visual culture of Iran and his engagement with the rich tradition of Persian miniature painting have enabled him to reflect the underlying geometric order and spatial logic embedded within this artistic heritage. Consequently, his illustrations can be regarded as a contemporary reinterpretation of traditional Persian pictorial principles, revealing the continued presence of geometric structures within contemporary Iranian visual expression.