Persian miniature and thangka

The first aspect that we notice that these works have in common is the use of a framing device that is so elaborate that it becomes the painting itself. The biggest difference is the frontal symmetry in the thangka and the studied asymmetry of the Persian miniature. In both paintings there is a main figure flanked by two other figures. There is almost no vegetal imagery in the thangka. Both works have horizontal bands as the basic compositional device of the main picture frame. There is a severer attenuation of color in the thangka that does not exist in the miniature. This is not, however, necessarily characteristic of thangkas. There is also a severe attenuation in color in the main frame of the miniature that accents the bold flowering of color in the main frame. I didn’t really notice the intensity of the red on the man’s dress on the right until many viewings.