Purpose: Illustrated Iranian Shāhnāmas are among the most significant examples of the art of book decoration, in which the interplay between deeply rooted artistic traditions and the individual creativity of artists is clearly manifested. The present study aims to identify and compare the manifestations of creativity and innovation in three outstanding manuscripts—the Ilkhanid Shāhnāma (Demotte), the Baysunghur Shāhnāma, and the Shah Tahmasp Shāhnāma. It seeks to demonstrate how innovation in the art of book decoration within these manuscripts is realized through the re-creation of visual elements while remaining within established traditions. The study primarily focuses on three key components—page layout, ornamental design, and color application—as the principal domains through which creativity and innovation are articulated.
Method: This qualitative study employs a descriptive–analytical and comparative approach. Data were collected through library-based research and the visual analysis of selected images from the three Shāhnāma manuscripts. The analytical process examines and compares geometric page structures, compositional strategies, the type and diversity of decorative motifs, chromatic harmony, and the organization of text and image as indicators of innovation.
Findings: The findings indicate that each of the three Shāhnāmas presents a distinct model of creativity within the framework of Iranian book decoration. The Demotte Shāhnāma (Ilkhanid period) is characterized by dynamic compositions, a wide variety of motifs, and a bolder use of color; the Baysunghur Shāhnāma (Timurid period) places greater emphasis on geometric order, visual balance, and structural coherence; and the Shah Tahmasp Shāhnāma (Safavid period) represents the pinnacle of innovation through the complex integration of motifs, chromatic richness, and the precise harmony between text and image. Comparative analysis reveals that the creative differences among these works stem from artists’ individual interpretations of shared traditional principles.
Conclusion: The results demonstrate that creativity in illustrated Iranian Shāhnāmas does not imply a rupture with tradition, but rather emerges through the re-creation and diversification of established patterns. The comparative examination of these three majors Iranian Shāhnāmas shows that innovation in the art of book decoration is a conscious and systematic process, closely tied to the historical and cultural context of each work, and that it has played a crucial role in the continuity and vitality of Iranian book arts.