The term modern Iranian art, coming to the fore from the late Naseri era, refers to an integration of European patterns into decorative elements of the Persian art represented in a wide variety of art forms. When the roots of decorative patterns applied in the furniture of the second Qajar era are examined, one faces a variety of arabesque and French rococo patterns. As such, the elements of forming integrated patterns can be identified. This study hypothesizes that applying the innovative patterns in the second Qajar era furniture is in fact the fruit of integration of aristocratic rococo patterns into arabesque ones. Although such decorations consist of certain non-native patterns, they convey a Persian identity in essence. In a sense, the French rococo patterns influenced by arabesque patterns, originally Islamic-Persian art forms, appeared in the Iranian art in the second Qajar era tinged with slight modifications under the name of aristocratic modernism. In the present research, the arabesque-rococo decorations and patterns applied in the furniture of Bagh-e-Afifabad and in Narenjestan of Shiraz were compared. The cases were analyzed comparatively the results of which, classified and described, were tabulated. The data were mainly collected based on library souce.

Among the wooden works of the Holy Shrine’s collection there have been doors That are transferred to the store of Cultural Heritage and Tourism Organization of Khorasan in the tomb of Ferdowsi with the implementation of the expansion of the shrine in the various periods .That works has been transferred to Mosalla collection and in recent years to the Kurasan museum, following the store fire in 2012 AM and burning part of the doors. Studies show that there is an inscription on the the door of Balasar school, according to the findings of Bernard Okin and other three doors have decorative motives only. The doors are not historical inscriptions and the main question is about the historical assessment wooden doors at the Museum of Greater Khorasan relying on the technical and artistic works. Comparative studies of historical documents, The study was based on the hypothesis that the works made during Shahrukh e timuri period. It became clear after scrutiny that helps to find solution in the confirmation of hypothesis the similarities between the decorative elements and inscription on the Balasar school door and decorations on the other three doors with the tile elements Ghoharshad mosque, Shah mosque, Ghiasiye Khargherd school and Tomb of Sheikh Abu Bakr e Taybadi, also the door of azqhad Jame mosque,the box of Mashad Virani museum and the door of Balasar mosque as works in the field of architectural decoration Timurid era.
This study was done using descriptive, comparative and analytical methods in two parts. Firstly, analyzing and comparing of style of writing of Balasar school door's inscription and secondly similarities studying of decorative elements doors with decorative architecture ( in two part: tile and wood) of outstanding works in shahrukh period. Data collection is based on field study and photos collected by author. With comparative study of the three sections of this article resulted in the history of wooden doors of Balasar school's, preserved in the Khurasan Museum built in the first three decades of the 9th century

Shawl is one of the luxurious kinds of fabric that there is no information about its first production date. Indian Mongols had good relationship with Safavid dynasty، therefore many similar designs between woven fabrics of both dynasties can be found. Surely the Kashmiri artists were affected by Iranian handicrafts men. Common decorative elements can be seen in Iranian and Kashmiri shawls. This research conductedusing the historical-descriptive and comparative method. Data was gathered using library resources، and then they were classified to indicate the similarities and differences between the Iranian and Kashmiri shawls. This research was conducted to answer the question that how the Kashmiriand Iranian Shawls are similar in design. The results classify the similarities among samples as follows: Repeat unit: Fabric designs were repeated units all over the surface. Forms: The forms were geometrical، curved or circles. Repeat: The main motif was repeated in all directions. Proportion: Proportions could be seen between motifs and background designs.

Decorative motifs are applied in Islamic arts, including architecture, book design, and miniature. In Persian miniatures, we can see the emergence of decorative elements as supplementary factors of designs. These elements have a significant role in promoting the magnificence and visuals of Persian painting. The use of decorative arrays (decorative ornaments) has been common in painting surfaces, especially in the Timurid and Safavid miniatures. Among the outstanding depicted versions of the Safavid era, Jami’s Haft Awrang, maintained in the Freer Museum, Washington, can be mentioned which has been developed and depicted in the royal workshop of Ebrahim Mirza Safavid. This version is rich in arrays (ornaments) and decorative motifs. From among its most prominent decorative motifs, geometric knots can be mentioned which are observed in most of its figures. The current paper has been performed aiming at introducing and recognizing the geometric decorations of figures in Ebrahim Mirza’s Haft Awrang, linear analysis of these ornaments (arrays) and providing an appropriate classification for them, as well as explaining how they have been applied in different parts in terms of type and technique. Data collection process has been performed by referring to written sources during which the data obtained from the study samples were investigated using an analytical-comparative method. Accordingly, the following questions are posed: - What are the features of geometric knots existing in figures of Jami’s Haft Awrang? - How have the geometric knots been applied and implemented in figures of Jami’s Haft Awrang? The results gained of investigating the figures in Ebrahim Mirza’s Haft Awrang indicated that application of geometric motifs has been more widely manifested in the area of tiling, brickwork and wooden knot work; and the number of knots is mostly based on six or eight. These knots have been mainly applied on surfaces of porches, floors, and lateral walls of building, and they have been also used in the form of knot work as shields for gardens, doors, and windows.

Ezare، a protective cover for walls with also decorative purposes is used from the ground up، to a height of one meter. This architectural design is observed in most Iranian historic buildings. Its design and structure developed through time according to the period in which it was used. Apart from preventing humidity to inner walls، Ezare was also used as means of beatifying and characterizing the overall theme of buildings. These days skirting’s have walls، such as; decorative stone، wood or any other durable material. replaced the historic Ezare’s. Skirtings come in many forms both on the interior and exterior of building Although in this article، Ezare is introduced with a background to its development، it is also important to stress the artistic and cultural nature of it، and the impact it has had in the progression of skirting’s we see today. The unique characteristics and variety of Ezare’s throughout different periods in history، yet its inevitable replacement with skirting’s، has raised many questions. Research methods used for this study has been carried out using trustworthy and reputable resources such as; library resources along with searching online databases. In conclusion، this study has come to the realization that Ezare’s gradual demise and replacement with skirting’s has been mainly due to the practical nature of skirting’s. The anti-humidity qualities of skirting alongside their economical benefits have outweighed the decorative and the identity and character that Ezare’s used to give. However، with the ever increasing and exceptional quality of Iranian handicrafts، we can now look at the appealing artistic and cultural aspect of Ezare’s when designing new modern skirting’s.

The establishment of Safavid dynasty in Iran and the prevalence of etiquettes attributed to Sufis required making kashkuls (Sufi begging bowl), as one of the qalandars’ and dervishes’ instruments used at ceremonies and related events of such a sect. The purpose of this study is to study the form and content of 34 metal kashkuls from the Safavid as well as the following era, Qajar. Here there are some questions to answer: What kind of interaction exists between the decorative elements of such kashkuls and the dervishes’ manners? And how are the metal kashkuls from these eras made in terms of form, function and symbol? Data of the present research has been gathered from library sources and by referring and accessing to the world museums’ sites as well as visiting national museums inside. The results are as follows: Dervishes always carried kashkul for making request from others while they sang mystic poems in markets and alleys, which were considered both a Sufi propaganda and an experience of self-humiliation. The costly kashkuls, including metal types, carried symbolic, ritual, and decorative aspects. Early samples were made of natural material. Later, other forms, including the metal type, became popular.
Besides being regarded as the instruments of dervishes and qalandars, Kashkuls have also been used at Ashura (tenth day of Muharram month) as well as in the water-carrying ritual and mourning ceremonies of this historical event. In the dervishes’ poems, kashkul is related to Abbas ibn-e Ali, a standard bearer (flag bearer) in Karbala. It is also used in mourning ceremonies relating to the same water-carrying ritual. Some poems on kashkuls have direct reference to water-carrying and the blessing of drinking water from the instrument. Furthermore, in both two eras, water-carrying in traditional Iraq was common to Sufism. 
It is to be mentioned that there were three forms of kashkul in terms of appearance in the Safavid and Qajar era: 1. Those inspired by the plant type (coco de mer fruit); 2. Those in the form of a vessel (ship); 3. The ones which are distinctive in their overall form and unique decorations. They have been decorated with pictogram inscriptions, Shiite themes and Persian poems.  These Kashkuls are engraved with a variety of inscriptions including surahs or selected Quranic verses, Salavāt-e Tafziliyyah (praising and greeting of the Fourteen Innocent Imams) indicating the Shiite tendencies, Persian poetic verses relating to honor the dervishes’ believes and Kashkul’s maker, as well as other poems on the function of the instrument in carrying water. They also have historical inscriptions which refer to the maker and the making date. 

Decorative ornaments on Kashkuls include human, geometric, zoomorphic and vegetal designs. The techniques used here are etching, niello, gold blocking of steel, engraving, latticework and inlay with symbols such as dragons, ships, fish and snakes. Furthermore, the ship or vessel, which is the general form of some Kashkuls, has been inspired by the hadith of the Noah's ship (the Rescue Ship) mentioned in the Sufi texts in this way. Some motifs such as dragons, fish and snakes are also to be found in the pre-Islamic or Islamic times, or we can consider the implications of such artistic inspirations taking their semantic aspects in literature and mysticism into consideration. It indicates that such elements and subjects have been influential on the beliefs and ideals of dervishes.