With the arrival of the Mongols in Iran, the foundations of Ilkhanid art were established through the synthesis of artistic experiences and ancient Iranian traditions, influenced by the cultures of the Far East (specifically China). This period witnessed the creation of masterpieces in the art of miniature painting. The present article is a theoretical study—employing a descriptive-analytical approach and drawing upon written sources and library research—that examines the influence of painting models from China and ancient Iran on Ilkhanid-era miniature painting schools, with a particular focus on the Injuid school in Shiraz. The findings indicate that the art of book illustration and an interest in Far Eastern painting styles flourished during this era. Concurrently, certain local regions—by preserving ancient Iranian traditions—remained minimally influenced by Chinese art, serving instead as centers for the revival of archaic Iranian aesthetic standards. An examination of the characteristics of miniature paintings from this period clearly reveals the enduring hallmarks of ancient Iranian art.