نشریه هنرهای صناعی اسلامی
سال سوم شماره 1 (پیاپی 3، پاییز و زمستان 1397)

Applied artworks of the Islamic era of Iran are generally presented in art history books with their features, main functions and, ultimately, their backgrounds. These works are also very general in dictionaries, with their main features and uses described. While treating the enormous treasure of Persian literature, the various features of the dishes can be identified and their aesthetic status found among their audience (users), and the information gained to breathe the spirit of life into the museum's silent works. Because Persian literature is full of descriptions of things that are obscene in today's world, and without knowing their true characteristics one cannot attain or even understand the poetic fantasies about them. In this paper, the method of the reconstruction of the horizon of expectation was used to overcome these defects. To explain this method, the horizon of expectation in Hans Robert Jauss's theory it has to be said, the criterion that audiences use to judge, evaluate, and interpret literary works of an age; and we can reconstruct it in three steps. It should be noted that the reconstruction of the horizon of expectation has been used for the study of few artworks. One of that is reconstruction of the horizon of expectation Roman sculptures. To collect information to reconstruct horizon of expectation, available studies of sculptures through lens of formalists and the social, cultural and religious conditions of that era were used. This study suffered from major limitations some limitation were: a) the failure to consider the social status of audiences, b) the inefficiency of the method in studying some unique objects, and c) the lack of a real distinction between the viewpoint of modern audiences and audiences from the past. Therefore without documentary evidence from the audience, one can only expect conjectures of people's expectations of the artwork of any age. It is assumed now that this article can reconstruct the expectation of people of any age for artworks based on literary texts. In this study, the horizon of expectation Tass was reconstructed as one of the most widely applied artworks in the Islamic period of Iran, as well as one of the most widely accepted applied artwork in Persian literature. The result of this reconstruction shows that it has benefited from this dish because of its deep form, as well as its use for some kind of jugglery to create imaginative metaphors and similes. To the extent that, using the topics of the chain of perception and the social function of literature in the Jauss's theory, the evolution of the perceptions to their expression on the horizon of the audience's understanding was addressed. Because, in accordance with Jauss’ chain of reception (development of works during successive receptions) and the social function of literature (the entry of literary works into the field of understanding of the audience of society), The series of Tasses receipts have appeared on the Tasses of the Safavid era after entering the horizon of public understanding of the community and everyone's agreement on these meanings. According to these meanings, they appeared on the Tasses of the Safavid era. It should be noted, however, that this research achievement is not limited to the case study of Tass; because on many of Iranian Applied artworks considered poems from the reception of the object itself. The result of this research shows that, based on literary texts, we can obtain extensive, diverse and documented information from the audience's horizon expectation of applied artworks of the Islamic era. Also, since the most detailed expectations of everyday audience of applied artwork have been the basis of many metaphors and Similes in Persian literature, this approach can provide a more complete understanding of past literary texts.

The epistles of the nocturnal ascent are some versified or prosaic narrations deal with the Ascension orspiritual journey of the Prophet and his observations and levels in this Divine way. According to their cultural traditions and religious beliefs, the Iranian Muslim painters as well as the Persian poets and writers have illustrated this story and prepared several painted manuscripts. Some of these valuable editions are still protected in collections and museums. According to cultural characteristics of each era, any of these versions shows unique different characteristics beside similarities. This research attempts to dedicate the specifications of the visual elements and signs of each era through a comparison among five paintings in different versions of this narration_ Meraj-name of Ahmad Mussa and a miniature of Jami-al-tawarikh Rashidi from Ilkhanid period, Meraj-name of Shahrokh from Timurid era, a picture of the prophet’s nocturnal ascension in Khamseh of Tahmasp from Safavid school and the Ascension painting of Mahmoud Farshchian as a representative of Iran’s modern age. Through qualitative research and descriptive-analytical methodology, this research is going to compare between five different styles of pictorial description in five miniature masterpieces. And according to this study, the article shows the different cultural symbols, signs and elements of Iranian religious illustration in several periods. The main results of this article explain the similar or different rules of these eras’ visual culture for the embodiment of the sacred icons, other contents, colors and compositions, symbols for illustrating sacred character, clothing of the actants of the pictorial narration and other accessories of visual narrative. Some of these specialties and principles include: Drawing light halo around prophet’s head and covering his face in most of cases except for miniatures of Mongolian and Timurid period because of the Chinese cultural influences. Both horizontal and vertical compositions are used in all periods. And in Safavid and new picture of Meraj painted by contemporary artist Farshchian, round composition and golden spiral can be seen beside a new point of view for depicting the characters. Moreover some colors have been used as a symbol for wisdom and virtue like blue or green. Older paintings are more emotional in colors and more realistic in drawing style and later miniatures are mostly metaphorical and abstract in their style of coloring and illustrating the visual elements. The characteristic of angles in miniatures are female-like and humanistic in their cloth design and faces. In Ascension paintings the sky is golden or red or blue, sometime full of stars and angels to show the holiness and greatness of the visual narration. Furthermore the stars and the moon in sky are symbols for unity in diversity. In most pictures the Prophet’s transporter is Boraq who is a spiritual creature with horse body, cow tail and human face; Except for the painting in Meraj-name of Ahmad Mussa in which Gabriel the Archangel is the one who carries the Prophet on his shoulder. The movement in figures defer in every case, from right to left, from left to right, from deep to surface or from surface of the picture to deep.

With the development of academic fields in Iran's handicrafts area and revealing of unbreakable links among social issues and arts, the importance of paying attention to effects of social contexts in the development, variation or stability of Iran's handicrafts factors have been revealed. In the meantime Carpets, as the most important cultural and handicraft product of Iran, have notable rank in Iran's traditional arts and handicrafts world. The main aim of this research is the sociological analyses of Iran's handicrafts world with the purpose of identifying the effective issue in the formation of cultural and artistic characters of this crafts. The main issue of research is, identification of the relationship between sociology of art and handicrafts worlds with the emphasis on effective social factors in Iran's hand-woven carpet world and position of carpet designers in this world. The research's main questions are 1. How is the relationship between sociology of art and handicrafts? 2. What is the pivotal sociological area in the carpet production world? 3. Where is the carpet designer's position in the carpet production world? In the research process, the main parts of the Iranian carpet world were identified and analyzed based on Victorian Alexander's "Cultural Diamond" approach. This approach is a model that takes part on based of Griswold's cultural diamond model. Alexander's model has five elements. Creators, cultural objects, audience, distributors, and the social world. Therefore, a complete understanding of this cultural diamond requires understanding all five elements and links between them. Once we understand the specific points and links in this diamond, we can equip to a sociological view to analysis art worlds. Meanwhile, we applied the cultural diamond schema to the analysis of the carpet production world and its elements to find suitable responses to designed questions. The results of sociological analysis of the carpet production world showed, 1) Iranian handicrafts are as the main part of cultural and artistic works due to the artistic acceptance having, among the general public. Therefore these objects have defensible value for sociological research and study. 2) Iran's carpet world, have adaptation capability with quintuplet parts of art world contains, arts or cultural objects, creators or producers, audience or consumers, distributors and social world that have been analyzed in the cultural diamond. 3) From the perspective of the sociology of art, carpet designers as the main agents of Iran's carpet world can be known as the axial artists of this world and their products also are known as the artistic objects. The research's methodically was a qualitative research and a descriptive analytic approach and field study-library based data collection were the research methods.

The term "myth" today has a variety of histories, theories and critiques, and has been addressed from various perspectives. "Myth" is a word that is derived from the Latin word historiography (historia), the knowledge gained by the research. The word itself is derived from the Greek historical "histor" meaning "wise man". In general, you can count on myths from three perspectives. The theme of the subject, the perspective of the "approach" and the perspective of "knowledge". The first aspect is merely the subject of discussion in that science or art, which is myth. The second perspective examines the mythical critique and approach, that is, any science and knowledge is explored with a mythical approach and is not necessarily the subject of the myth. The third perspective also fully addresses the knowledge of myth or mythology. That is, it is not merely the subject of the study of myth, nor does an alien science be analyzed from the perspective of myth, but the myths and myths of myth and mythology are being explored. In this article, the subject and the perspective of the "mythical approach" will be studied. The mythical critique of literary and artistic works, and especially the "Monomyth" theory of Joseph Campbell, has always been cited by literati and linguists, mythologists, and especially artists, for its special ability and effectiveness. On the other hand, the story and portraiture of Jonah in Iranian-Islamic culture and art has been significant. In this essay, the author attempted to adapt and analyze the images of Mahmoud Farshchian, the contemporary style painter, to the theme of Jonah with the theory and the "mythical" approach. In addition to explaining the importance of the position of myth, mythical theories and, in particular, the " Monomyth " of Campbell, the first clarification of the status of mythological and historical issues, and in particular the images of Jonah in the works of Mahmoud Farshchian, then, to be determined The source of the story of Jonah and, finally, the adaptation and explanation of the image of Jonah by Mahmoud Farshchian with Joseph Campbell's " Monomyth " approach and theory. In general, it seems that the theme of "myth" and the historical themes, and especially the story of Jonah, according to the personality and professional background of the artist, have a place to study and pay attention to in the collection of works of the artist. The purpose of this article, which is done by descriptive-analytical method, is to prove the importance of the position of mythical and historical themes and especially Jonah in the works of the artist, and in the next step, to determine the source of the Mahmoud Farshchian narrative, and finally, to adapt the image with Joseph Campbell's " Monomyth " (hero) approach. The result, based on quantitative and qualitative findings, is that the mythological and historical issues, and especially the images of Jonah in the works of the artist, have a prominent and contemplative position. Also, the text and source of the artist's narrative of these images, for three reasons, has been the Holy Quran, which has been shared and adapted to Joseph Campbell's "Monomyth" approach and theory.

The indissoluble link between literature and art has led to the introduction of literary subjects to Islamic art decoration. Among these themes is the fish that has been of interest to artists of various fields and literature for a long time nowadays due to the deep mystical and symbolic themes. This research, of qualitative and descriptive-analytical type, attempts to extract the mystical content of fish in the poetry of Maulana (Masnavi-i-Mouwani) in order to analyze its reflection in the art of pottery of contemporary age by mystical approach. In order to achieve this goal, the most important question is as follows: The role of fish in the works of contemporary ceramics can be particularly affected by Rumi's poetry is mystical themes? Based on the information analysis that was performed by the interpretive method, it was discovered that this element is the bearer of mystic meanings and is considered as a complete man and paradise in the works of the contemporary era. Painting and painting used in the history of pre-Islamic and post-Islamic history has always been proven, the culture and originality of various ethnic groups are known as allegories. Created symbols have a close relationship with the stories, myths, and the likes of this country. In the meantime, the design of fish in the Iranian world has a special place, and the beauty and breadth of this role has created a beautiful reflection on the clay, however, there is no exact history of the presence of this role. Roaming roles such as the Swastika, the Alas, the Birds and the Bulls are the most used Iranian designs that represent the artist's world-view of the being and the entity that views it as the kingdom of the world through the beauty of this world. Persian literature and poetry have been effective in cultivating the artist's minds and have played a significant role in the emergence of pure and lasting works. In this regard, Rumi Jalal al-Din Balkhi has used the simple language of the role of fish in his poems to describe his mystical themes and transfer it as best as possible to the audience. The Iranian artist has also used the role of the Iranian soul for many years, but, unfortunately, this role in the pottery, except for limited cases in Gonabad, can be met, and the city of Esfahan's pleasure deserves proper documentation we are not in hands. In Iranian literature and poetry, the presence of fish has been abundantly used. In the poems of Rumi, we see the symbol of fish in two forms: one, a sailor who wants to reach the divine sea, and another, a perfect man sinking in the divine sea. Because the perfect man never needs more perfection, it is well represented by the symbol of the fish that constantly asks for water. The goal, the attainment of the seeker, is the perfect inner man, which, as Jung says, is an image of God. The fish does not get tilled and does not separate from the sea. Certainly, the symbolic meaning of the sea helps to understand the concept of fish encoding.

The polychrome tile work of the Qajar era reveals the identical illustration, which has a different artistic style comparing to former eras. Shiraz tile makers of this period provide polychrome tiles with specific features according to costumes and public folklore and established Shiraz school of painted tile work. This article concentrates on the decorated tile work of an archway at the London art auction, Bonhams.Analyzing and comparing it with the other similar tile works of Shiraz from the Namazi Clinic and Salehi and Atrvash historical houses are carried out, attempting to work out the chronological, spatial and the artist assignments of this archway based on the available documents. The method use in this article is comparative-analytical method and the data has been gathered via field observations and literature review.  The following results indicate that this archway is related to the tile works of the investigated places in Shiraz, both in style and subject and shares common motifs which shows that this archway belongs to Shiraz’s school of tile work in late Qajar period. Also survey inscription of this archway and the other available inscriptions of the investigated places reveals that Ostad Ebrahim was a tile maker from Shiraz during late Qajar era, was contemporary with Mirza Abdolrazaq, one of the famous tile makers of Shiraz school of tile work. Tiling is an art that is of high importance and importance in Iranian architecture. Almost all of the buildings that are considered masterpieces of Iranian architecture have a great deal of beauty and splendor from their beautiful tiles adorned with a variety of motifs. Tiles in Iran have a long history and have varied in artistic style in different regions and periods. The industry was of particular interest during the Qajar era and underwent major changes in decoration, coloration and patterning techniques. Seven-color tiles that have been installed on Iranian buildings from the late Safavid to the Qajar period are a new movement that has displayed a distinctive identity of Qajar visual art. Despite the general similarities in style and style, the tiles of this period have their own characteristics in different areas (Tehran, Shiraz and Isfahan). Many of the Qajar-era pictorial tiles, like many other artworks, have been sold at antique auctions since leaving Iran and are on display in museums and personal collections. The subject of this article is the introduction and examination of a crescent-shaped crescent to seven-color tile with subjects such as Solomon's Tomb, flower and chicken images and images of women leaving Iran and its current location is a London art auction called Bonams. In this study, according to the existing documents and also comparing and matching common decorative features, patterns, colors and inscriptions of this work with similar works in Shiraz tiles (Salehi House, Atroush House, Namazi Clinic and Vakil Mosque) The issue of the timing, location, as well as the identity of the creator of this work should be clarified. The method of this study is analytical-comparative and the method of data collection is based on library studies as well as field studies.

Known to be one of the most significant illustration techniques in bibliopegy, tashir is characterized by a variety of aesthetical features over different eras. The Safavid Reign marks the summit of this art form. A magnificent inheritance of this era, the Tahmaspi Khamsah is an exquisite manuscript illuminated with the two prominent types of tashir common during the Safavid period. The tashirs of this book, which demonstrate a variety of styles in the design and arrangement of motifs, have been partially fixed and restored. Given the diversity of motifs and patterns evident in the illuminations of the marginalia, the question arises regarding the categorization of tashirs based on their visual features and techniques employed to create them, and the similarities and differences between the provisional categories. Using a descriptive analytical method, the present research has made an attempt to find the answer the abovementioned questions. It also aims to typologically categorize the tashir illuminations of the aforesaid manuscript, and to indicate in what ways they are similar or different. The findings of the research demonstrate three types in the illumination of the marginalia, a comparison of whose features shows that they have probably been created in the 10th and 11th centuries AH (the 16th and 17th centuries) by the prominent artists of the time. Of the distinctions between the three types, alterations in the dimensions of the borders and the variation of motifs used are the most significant. The illumination motifs are aligned in a tuneful accordance with tashir patterns, and the layouts are extremely precious, which altogether indicate the importance of this manuscript during the Safavid rule. The succedent artisans who developed the second and third types during the Safavid period kept mimicking the style of their predecessors in order to maintain the originality of their work by using the earlier works of tashir as a staple model, and have in turn brought about yet another similarity between the three types

The Qur'anic discourse is the ritual of God's dialogue with the servants through the message of revelation
With a treasure of the prophets' stories, it is possible to interpret the hidden layers of the images of the prophets. In Quran view, discourse is the ritual of dialogue which a part of it is devoted to the story of the Prophets who communicate the message of divine invitation to their people. The stories concerning the divine prophets are remarkable conversations in Quran that historically or allegorically illustrate the reality of human life in the world. A part of the conversation also portrays the afterlife scenes. The conversation of God with humans, the conversation of God with angels, the dialogue of angels with humans, the conversation of humans with each other and with animals and conversations about monotheism, resurrection, prophecy, virtues and ethical vices, and the sequel of Adam's deeds and creation are some examples. In this invitation, the presentation of miracle is one of the most important characteristics of the Prophets which reveals the discourse of divine support or pro-discourse for assuring the Prophet invitation and divine power the present study deals with discourse analysis, 2 miniatures of Persian, which shows the pattern of testament of Moses. So the most important question of the research is this: How is the discursive test of the Prophet Moses against the witches, how does it appear in two Persian miniatures? In the present article, with the help of the Quran, in the analysis of two Persian miniatures, the "Quranic discourse" approach has been used in the form of cognitive-semantic analysis and based on the collection of library information. The semantic sign can be analyzed in two types of text: the said text (constant) and discourse (changing). Due to the fact that the Quran will be discursive for the discovery of meaning, fluidity and dynamism, the semiotic-semantic system of research will be discursive. The results show that the scene of the Prophet Moses and the wizards in two miniatures, by displaying two miracles in each of the pictures, revealed the discourse of power and divine truth from the Prophet. Also, all of the characteristics of the image, such as the placement of characters and the composition, space, compression or expansion of space, created a spatial visibility for the development of the test pattern, the atmosphere of opposition and the tension caused by the test. Also, the contrasting atmosphere of one of the two miniaturists was analyzed with the help of the theory of the semantic square of Grimmas to make the contrast more apparent in the miniature. It is necessary for the researchers of the field of Islamic arts to understand the relationship between God and humans through the Prophet and the structural analysis of religious painting, especially the story of the prophets, rather than the aesthetic analysis of form, color and structure, with a semantic view and understanding of God's discourses in the Qur'an a serious, Because they have not yet become a more influential instrument than art and aesthetic understanding of the soul and soul of human beings, and that God's warnings and evils are still ongoing for human societies and future generations to achieve the pursuit of spirituality and movement on the straight path.

As a sign of respect for God, Muslims' prostration during their prayer inspired the artists of Qajar period to represent the worshiper’s spiritual connection with the Divine through needlework on the textiles that were used for producing prayer mats. Needlework is a traditional art which, like any other traditional art, is characterized by its contribution to human transcendence, being rooted in a long and rich history, containing cultural values, being rich in beliefs and thought, and finally being inherently artistic. Due to his strong faith and the spiritual knowledge that comes from his faith, the needlework artist who begins to create a prayer mat is unconsciously aware of all these characteristics. The art of needlework can be manifest in all aspects of a Muslim, from the secure and private home to the mosque which is a place for worship and prayer. The needlework techniques on Qajar prayer mats were considered as artistic ornaments in terms of variety and beauty that were intended to consciously influence beliefs and attitudes. This study aims at describing and analyzing the embroidery and needlework as well as the meaning of motifs on eight fabric prayer mats which are kept in Victoria and Albert Museum, London, and belong to the Qajar Period between 1851 and 1902. The research questions are as following: 1) What is the type and method of embroidery and needlework on the prayer mats? 2) What is the meaning of the motifs and calligraphic designs of these instances of embroidery and needlework? The results suggest that these motifs have their roots at the thoughts and imaginations of the Muslim needlework artist. The embroideries include silk-work, white-work, and cotton-work (or layer-work) and the needlework techniques include drawing and cutting warp and weft (hemstitch). These techniques have resulted in a remarkable variety in motifs. In those techniques that are based on stylized patterns, the motifs are based on the perpendicular threads of the fabric whereas in free patterns the motifs are not based on the perpendicular structure of the threads. In order to have a deeper effect and help the worshiper to concentrate better on the prayer, the color of the prayer mats and their needlework threads is predominantly white. Characteristic of the structure of these prayer mats is the variety in mihrab designs and the place of mohr depending on the technique used. The motifs are in the form of stylized and scrolling patterns and consist of trees, birds, flowers, geometric shapes, and calligraphic elements. The needlework artist of these prayer mats has a deep sense of culture and religion and uses the decorative elements of Islamic art, such as symbolic patterns of geometric shapes, plants, and birds, to enhance the metaphysical spirit of the motifs and move toward artistic perfection. The needlework motifs can relieve the prayer mat from any mundane aspect and bestow authenticity upon it. In fact, the artist leads the audience to think beyond the material world because motifs in Islamic art are not only for decorative purposes but also they represent deep cultural and spiritual concepts. Thus, the relationship between art and religion is more beautifully revealed through these needlework motifs.

The tomb of Sheikh Safi al-Din Ardebili is one of a series of important religious buildings and mausoleums that have been created to honor and commemorate Sheikh Safi al-Din and his family, and has various works of art. From the works of this collection you can refer to the vault and the doorway of the beautiful wooden doors that have been kept from various historical periods in this place. The present study intends to study the formation of the joukes used in the works of this collection, in order to achieve the forms and forms of the joukes used in them. The authors try to study the wooden works in order to recognize and introduce techniques and drawings. The study of the process of their formation and the possibility of using them in contemporary art can be considered as another necessity for realization of the present The most important question is: what kind of drawings have been used in the jewels of the wooden works of Sheikh Safi al-Din Ardebili's tomb and how have they been changed? The research method is descriptive-analytical, analyzing the images manually and software is done.The statistical population is comprised of 12 wooden boxes, of which three gravel baskets implemented with Jouk technique were selected for analysis; the main part of this study was based on library studies and the use of photographic images Written by the authors. The findings show that this artistic and mausoleum collection is a gradual process of changes in Iranian wooden art from the Ilkhanid era to the Safavid period. These changes in techniques and forms are most noticeable to motifs, joules implemented in the periods of the Ilkhanid, Timurid, and early Safavid periods are far more complex and beautiful, and their wisdom is more intrusive. Shafts like six, five stars, and ... Also, in the grave box of Mahdi al-Din Muhammad, the oldest wooden box, and all done with Jouk's technique, his jokes are in rhombus, square, triangle and etc.  and was mainly implemented with ebony and bone wood. In subsequent periods, the shapes used in this technique were much simpler and the bandwidth was executed in tape.

Abstract
Clothes play a key role in human beings life, which depicts the culture and civilization of a society. Clothes have gained a beauty function in terms of fabric, style of sewing and color in addition to covering body as its primary function. It implies masculinity or femininity, class, dignity and social structure. Color of clothes as a semantic and symbolic element has a symbolic character. This study aims to investigate the elements and their meaning in clothes’ color in Safavid pictures and their characteristics in different groups and subcultures of a society. In Persian art painting, various characters have been depicted delicately. We can study these characters as Good and evil creatures, imaginative, mythical and real creatures, lovers and beloved ones, kings and beggars, prophets and angels, devil and demon. Color selection in Persian art painting rooted from a traditional viewpoint. Changes in the Safavid society and the increased interactions between other countries, especially Europeans and the specific approach of Safivid rulers in simultaneous presentation of material glory as well as spiritual dimension are the main reasons for attaching importance to this viewpoint. The Change of this approach can be found in the Herat School and works by Kamal al-Din Behzad. In the painting of “Escape of the Prophet Joseph (PBUH) from Zulikha, color takes a symbolic function as well as visual and aesthetic representation. The green color of the clothes of the Prophet Joseph (PBUH) is in marked contrast with In contrast to the fiery and earthy color of Zulikha. This contract and function of color in social class and personality type is continued in Safavid period. Some of these points are related to the changes of Safavid society and the kings’ viewpoints. The method of this research was descriptive-analytic and the data was collected using library research method. This study aims to investigate the relationship between colors of clothes and character type of the paintings. Since the identity and dignity of each person were determined by the class or group, it was necessary to find out in some way the difference between classes and groups. Therefore, each individual, depending on the class or group in which it was located, was required to observe the particular way of the type and color of the coating. Differences and similarities in the color of clothing of people with different classes of society is that in artisans' clothing, the colors used and the patterns used in their dress are almost the same as the shades and princes. But in the clothes of the workers, the beggars and the poor, in the sense that they are part of the lower classes of society, they are used less than bright colors, and there are no roles and ornaments in their dress, and they are in the costumes of prophets and parents and Poets and Sufis are portrayed on some of the paintings, and in some are deprived of their roles, and this lack of motifs in the dress of these characters is due to their adornment, and not because of this Showing them as one of the lower classes of society. In the case of the colors of the lovers' wear (besides the insane that has a true love and Sufi), it can be said that it is used in bright and colorful colors, these colors are in the form of dancers, female servants and rarely is also seen in males. The mythical people, because they have expressed them in powerful and invincible stories, like the king and princes, have been used in their dresses of natural designs and decorations, and in the case of more angels, the colors Spirituality is seen on their wings, and the color of their dress is used in contrast to the Prophets, the Saints, the Sufis and the poet in bright, warm and decorative colors on their clothes. These colors may be due to the descent from the sky to the earth.

The main features of Iranian painting in the post-Islamic centuries are the association with Persian literature. Persian literature and Persian art have intrinsic links, since the artist and poet are based on the unit's vision, rooted in a culture and intellectual space, to create. The result of this poet's creation is a literary work, and this work can have all the features of the work of art. As many believe that painting aesthetics originates from the world of imagination, the poet is also a painter who paints and colors the poetry space with the element of imagination. The poetic style of Khorasani is one of the poetic styles in which the combination of words and pictures and colors are best illustrated. One of the important factors in shaping and illustrating this style is the color element. The use of dyes in Khorasani style poetry is significant. Many of Iran's paintings after Islam have been depicted in the context of literary writing and poetry. The poet in Khorasan i’s poetry style, before being a poet, is an illustrator who looks at original and diverse images first in his mind and then illustrate with a unique statement in the minds of the readers. Using the name of dyes in coloring the poetry space in this style can be considerd. The Khorasanid style Poets sometimes directly used the words related to writing and painting such as “Khame” that means pen and sometimes indirectly used the dyes in various forms of expressions such as metaphor.  Since, until the Safavid period, much information is not available about the dyes used in Iranian writing and painting, it is necessary to look at the subject in order to know the history of these works to protect and restore them better. On the pther hand one of the ways to access ancient information is to study the books of that time and our literature is a legacy of literature that is rich in scientific information and we know that, The style of Khorasani is Used.dyes to coloring the poems space like painting and study about the dyes used in poems is one way to recognize the colors used in the writing and painting of the 9rd to 12th centuries. So far, Persian art pigments before the Safavid era have not only been specifically addressed in the field of writing and painting, but also in general, and in ancient texts, only in dictionaries, medical books, or books of jewels and precious stones are scattered, There are some references to the color of some of the materials .Identifying the dyes that have been forgotten or have been renamed over time is a primary motive for the author's writing of the research. One of the most important results of this research is the identification of some of the ancient Iranian dyes that was introduced for the first time in this paper and with the recognition of some of the dyes, the use of them has been changed to some hundreds of years ago.