The reinstatement of iconography and iconology in the West has become important. In this article, we tried to find the reasons for choosing the topic of Laily and Majnoon in Ghiaseddin fabrics. For this purpose, using the iconographic and iconological theory, the inner meaning of this story is examined in the literature and culture dominant at the time of the emergence of the effect. This review is evaluated based. Three steps: description, analysis and interpretation. In the history of textile in Iran, especially during the Safavid period. The use of miniature textiles has been used extensive. In this research, a narrative of the literary story of the Nezamy, that was considered by Ghiaseddin, was used. He has chosen this narrative and woven it. 

From the middle of the Safavid era, with the expansion of relations with the West, European landscapes were used in various ways in the composition of paintings called “FARANGI-SAZI”. In this article, by adopting a hermeneutic approach, the epistemological context necessary for the emergence of “landscape painting” as an independent genre in European painting has been studied and then the transformation of these landscapes in late Safavid painting has been “analyzed” and “interpreted”. The findings of the article indicate that the European landscapes in the painting of that time were considered as “Paragone” as a region next to or behind the main narrative, so the landscape continues its previous role as the “background of the narrative” in the Persian Painting. This shows the continuation of the aesthetic tradition of Iranian painting in painting called FARANGI-SAZI. Despite the enthusiasm of patrons and painters for European landscapes, not many of the remained landscape paintings of this era are done by Iraninan painters. The emergence of landscape painting in post-Renaissance Europe required the establishment of a special form of the dialectic of reason and mimesis. In this dialectic, the mimetic aspect of the landscape shows the subject’s effort to compensate for the growing alienation from nature, while this moment (imitation) in Iranian painting has a narrative and conceptual direction and the “gaze” of the painter depends more on the idea of “Verbal Narrative” than on the objectivity of nature ahead.

Niche rug is a rich collection of the Iranian arts. In this collection, there are exquisite rugs that start with ‘Amen Al-Rasool’ and end with the inscription “Allah Akbra Kabira” under the forehead of Mihrab. A feature of this theological text is that it is woven upside down. Therefore, given the exact geometric structure of the rug, as well as its brocade fabric, it seems that in this swarm of verses, with the inversion of the inscription and the accompaniment of plant motifs, there is some hidden meaning. So the question is how to unravel the meaning hidden in the underlying layers of this text? In order to achieve the right answer, the hidden meaning in different layers must be revealed. Therefore, based on the descriptive-analytical method and Panofskyi iconological method, the meaning is obtained from the sum of different layers of the text. Through the interconnected chain of meanings, it is possible to find the important point that the designer-artist, consciously or unconsciously, has created a work that expresses the spiritual journeying and wayfaring of the worshiper.

Travelogue, the narrative of tourists, is one of the various features of the host lands. The description of destination communities is generally done from the point of view of the tourist and based on backgrounds, history records and some mental stereotypes. Attention to Iranian carpets in the travelogues of Western tourists has always been accompanied by a kind of judgment about its uses and quality. So far, no definite study has been made as to what the origins of such judgments are and how such descriptions should be understood. The main issue of the present study is to recognize these views in the face of Iranian carpets during the Safavid and Qajar periods. The purpose of this article, in addition to understanding the views of travelogues in the Safavid and Qajar periods about Iranian carpets, is to explain the logic and attitude of them. The present study was conducted by descriptive-comparative method and Orientalist approach of Edward Saeed and Colaizzi method was used to analyze the data. The results showed that the description of Iranian carpets in Safavid travelogues was associated with “ For The Benefit Of The Receiver”, “ Oriental Inferiority”, “Setting The West Off Against The Orient” and “ Domestications Of The Exotic”. The description of Iranian carpets in the travelogues of the Qajar period, in addition to the mentioned components, is mixed with “Western superiority”, “The East Identified By The West”, and “Theoretical Truth”. According to the results of this study, the low interaction of tourists with the general public is the reason for the lack of “ Western superiority” component in Safavid travelogues. It has led to the formation of the components of “Theoretical Truth” and “ The East Identified By The West”, respectively.

In the discourse of Safavid era, we could see a duality-centered and opposition, placing Shiite Safavids in tension with Uzbek Hanafi and Sunni Ottomans. According to the paradigm of cultural semiotics, it is within this opposition and tension that semantics is taken place. Safavid is regarded within the culture, internal actor, and east neighbors or the enemy within no culture, nature or the other. Since the art is regarded such as a pattern –maker system in cultural semiotics, it could be at the service of discourse and ideology, showing this duality-centered and opposition. One of the most important advertising media along this oppositional semantics at Safavid era, is the illustrated manuscript of Tahmasbi Shahnameh. The seven labors of Rostam's story and its illustration by the artists of this period is a remarkable example of duality-centered, created in the discourse atmosphere of Safavid Shiite government against Sunni religion governments of neighborhoods, showing hero and antihero within an oppositional system, and involved of dominant discourse. The aim of the present research is to analyze the oppositional system of Rostam's seven labors miniatures in Tahmasbi Shahnameh by respecting a cultural semiotics pattern within the discourse dominated on that period and, to answer these questions: How an artist has illustrated the oppositional system of hero and antihero in miniatures of Rostam's seven labors in Tahmasbi Shahnameh? To what extent the miniatures have been affected by the oppositional discourse of Shiite and Sunni governments? The results of research indicate that the oppositional system of Safavid discourse and ideology has been established in the cultural-artistic text of this period and the artist utilized metaphorical description at the service of this discourse for marking the oppositional system. The method of research is historical-interpretive and within the miniature readings, descriptive-analytic one. In addition, the method of collecting the data is through library studies.