Āqā Mīrak
Illustration — The argument of the two doctors by Aqa Mirak, 1539–43. This is considered an accurate contemporary depiction of Shah Tahmasp I and his court. Khamsa of Nizami, British Museum Or.
Also recorded as Aqa Mirak · Aga Mirek
Āqā Mīrak

Ferdowsi / Abd al-Aziz / Āqā Mīrak · This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy · CC0
- Died
- 1576
- Nationality
- Safavid Iran
- Occupation
- illuminator · architect · painter · handicrafter · calligrapher
- Languages
- Persian
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Illustration — The argument of the two doctors by Aqa Mirak, 1539–43. This is considered an accurate contemporary depiction of Shah Tahmasp I and his court. Khamsa of Nizami, British Museum Or.
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wikidata · Q4056503 · wikipedia · Aqa Mirak
In this article
Life
Life
Aqa Mirak (Persian: آقا میرک; fl. 1520 – Qazvin, 1576) was a Persian illustrator and painter.
Aqa Mirak was a painter, purveyor and companion to the Safavid shah Tahmasp I and was well known in contemporary circles. Initially living in Tabriz, he traveled and lived in Mashhad between 1555 and 1565, and Qazvin from 1565 until his death.
Works
Works
The contemporary chronicler Dust Muhammad mentioned that Aqa Mirak along with Mir Musavvir did wall paintings for Prince Sam Mirza's palace in Tabriz and illustrations for royal manuscripts including the Shahnameh of Shah Tahmasp, a superb copy of Ferdowsi's Shahnameh ('Book of kings') and Nizami's Khamsa ('Five poems'). Qazi Ahmad wrote that Aqa Mirak "had no peer in artistic design and was an incomparable painter, very clever, enamoured of his art, a bon vivant, an intimate [of the Shah] and a sage". A manuscript of the Khamsa done between 1539 and 1543 has four illustrations bearing attributions to Aqa Mirak. Dickson and Welch have attributed other paintings to Aqa Mirak in the monumental copy of the Shahnameh made for Tahmasp, and have used these attributions to define four periods in the artist's life.
Style
Style
Works ascribed to a youthful period in the 1520s have tautly composed landscapes inhabited by a few large-scale figures. A transitional period in the early 1530s was followed by mature works produced from the late 1530s to c. 1555, in which the compositions are more complex and the coloring more subtle. In the view of Dickson and Welch, at the end of his life the artist returned to his youthful style in two paintings for Ibrahim Mirza's copy of Jami's Haft Awrang ('Seven thrones') produced between 1556 and 1565.
Gallery
Gallery
• Illustration — Majnun in the desert from Layla and Majnun (1543–44) • Illustration — Fereydun in the guise of a dragon tests his sons, from the Shahnameh of Shah Tahmasp, attributed to Aqa Mirak (c. 1525–35)

Folio from an illustrated manuscript; Codices
Abd al-Aziz / Āqā Mīrak / Ferdowsi · This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy

Folio from an illustrated manuscript; Codices
Abd al-Aziz / Āqā Mīrak / Ferdowsi · This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy
Life and career
Dated record
Life and career
The full dated record · 1 entries
1600
Āqā Mīrak born at Isfahan.
References
Citations
References
Each reference names the institution holding it, so a reader may go to the document itself.
reference work
Wikidata, structured authority record Q4056503: Āqā MīrakWikimedia Foundation
Secondary witnessreference work
Secondary witness
Further particulars
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Further particulars
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Formation and teaching. Each of those relationships is stated by the authority record rather than inferred from style.
The Encyclopedia exists whether or not anything is for sale. Corrections are recorded rather than overwritten, and every version of this record is kept. Published 16 August 2026.
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