The workshop tradition and division of labor within both an individual miniature and a book, as described above, complicates the attribution of paintings. Some are inscribed with the name of the artist, sometimes as part of the picture itself, for example as if painted on tiles in a building, but more often as a note added on the page or elsewhere; where and when being often uncertain.
Because of the nature of the works, literary and historical references to artists, even if they are relied upon, usually do not enable specific paintings to be identified, though there are exceptions.
The reputation of Kamal ud-Din Behzad Herawi, or Behzad, the leading miniaturist of the late Timurid era, and founder of the Safavid school, remained supreme in the Persianate world, and at least some of his work, and style, can be identified with a degree of confidence, despite a good deal of continuing educated debate.
Sultan Mohammed, Mir Sayyid Ali, and Aqa Mirak, were leading painters of the next generation, the Safavid culmination of the classic style, whose attributed works are found together in several manuscripts. Abd al-Samad was one of the most successful Persian painters recruited by the Mughal Emperors to work in India.
In the next generation, Reza Abbasi worked in the Late Safavid period producing mostly album miniatures, and his style was continued by many later painters.
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