One of the shinning periods of Iran’s painting has been Safavid era. And Isfhan school is the beginner of new evolutions at this arena. The analysis of painting at this period not only facilitates the identification and development of artistic schools and a picture of gradual painting evolution but also it identifies the unknown hidden aspects of the arena.The article is on pictures and designs obtained from various exclusive resources; all of them stamp Shah Abbas the first king of Iran at that era, they show that belong to the king of safavid. Since the best results were concerned with the selection of same pictures that had been created at the same period, the most prominent painters called Mohammedan, Mohammed ghasem and Reza Abbasi. They were studied. After some studies, we realized that, although the stamps on the opus could refer to the date of creation, but we could not have a definite conclusion. Thus, the study of available ascription on the edges of the pictures could solve some ambiguities concerned with pictures, it also will provide some exclusive information on artistic spaces of the era and its prominent. Thus;Based on the study of Mohammed ghasem’s relic and the available writings as well as stamps we could distinguish that the painting student has not been a student of Reza Abbasi, but he has been his contemporary artist, that has been worked at the same time and with a similar style.The study of the pictures of Mohammedan and paintings of Johari Nasab show clearly Mohammedan creates that both types of mentioned pictures. The variety and opulent of seventeen century documents indicate that they belong to other artists, they are not just Reza Abbasi’s paintings. Professor says that the studied artistic works belong to other prominent painters.No doubt, the popular methodology analysis concerned with Iranian paintings is very important, but we could investigate more realistic and apply the criteria about stamps so that writings on the pictures could be a key to achieve desirable conclusion.
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