Miniatures are one of ¬the challenges that researchers face in historical studies of architecture, urban planning, or Iranian landscape. Since the Iranian miniature is the most important and abundant type of visual document that is available to researchers for historical study and understanding the conditions of past periods. But the problem becomes important that in a research framework, we want to examine these documents on a micro (architecture) or macro (city) scale.It is here that the style and content of Iranian miniatures become clearer for us and we understand that it is basically impossible to search for a "realistic" image of the body of buildings or the structure and landscape of cities in them¬. Although these miniatures certainly present very valuable aspects of the culture and stylistic and artistic characteristics of their time and place, they do not seek to present a real image of the place And it wasn't their time, Iranian architecture and miniature painting have always been constantly present and influenced by each other throughout history¬, and this connection persists to this day and in contemporary Iranian art. Miniature and architecture have always been side by side¬. Sometimes miniature is the initial idea of architecture, and sometimes architecture has become the subject of miniature. Therefore, the spatial perception of each of them is common from the point of view, i.e. space, the space that is created in two-dimensional and three-dimensional painting, virtual and in objective architecture, the¬ present study is an inquiry about the features and concepts of miniature in Iranian art around the conceptualization of architecture and miniature and seeks to study the array of ¬miniature painting as one of the architectural decorations. This research It is decided to use the analytical and descriptive research method to determine the appropriate method for crystallizing the role of miniature in Qajar and Pahlavi architectural spaces.