Persian and Arabo-Persian texts frequently referred to Silla as a highlighted toponym. Obviously, descriptions used for Silla in Persian texts cannot be comparable with other toponyms. Ajayeb-al-Makhlughat is the name of a manuscript which deals with marvellous lands, islands, seas, animals, birds, people or customs etc. in Persian literature. Qazvini’s versions have no designs/paintings on toponyms. Haji Mohammad Nasir Khansari published the lithographical version of the manuscript in Tehran in 1283 Hegira (1904 AD) for the first time. His copyist and graphic designer was Abas-Ali Tafreshi. He, in the lithographical version, described the lands and islands of South and Southeast Asia (India to Silla) along with paintings. Most of the people of those islands appeared naked, were uncivilized and had a strange lifestyle. As an exceptional case, Silla is described very positively, civilized, attractive and charming. This paper focuses on the significant difference between Silla and the others, based on the paintings. Nevertheless, this painting is very different from the unpublished painting from Kush-nama, the most important book on Iran’s connection with Silla. The first painting of the people of Silla dates back to a unique manuscript of this book copied by Muhammad ibn Saeed ibn Abdullah. Herat School of Art, by extending towards Shiraz School, has formed the structure of this unique painting from the eighth century AH. However, the painting of the Kush-nama version is not very far from the time of writing of the original text; but the book Ajayeb-al-Makhlughat (AJ) is dedicated to 865 AH and the painting to 1904 AD. At this time, Western art (Europe) had a great impact on Iran.
