Decoration is one of the essential aspects of the visual structure of Iranian painting and book decoration, and it has always been an important principle. In different art styles, it has found various forms, and finally, it has taken a codified form by compiling the seven decorative principles of Iranian painting art in the Safavid period. The focus of this research is to study the application of the seven decorative principles of the art of painting in the magnificent version of Khams of Nizami, preserved in the British Library, which can provide valuable information about the characteristics of painting in the later styles of Herat. This research aims to conduct a comparative study of the application of seven decorative principles of Iranian painting in the paintings of Khamsa Nizami belonging to the year 846 AH. The main question of this research is how the painters in the later styles of Herat used the seven decorative principles of Iranian painting art in the paintings of Khamsa Nizami 846 AH. This research employed a descriptive-comparative approach and gathered information through a library-documentary method by examining the paintings of the Khamsa of Nizami, version from 846 AH. According to the research findings, the principles of Eslimi, Khataei, Nilufar, and Gereh have been predominantly used in the analyzed paintings. The Abr principle was used in 7 paintings, and the Waq principle was the least used. The painters of Khamsa of Nizami have been loyal to the decorative tradition of Iranian painting art. While showing their skill in this work, they also show the characteristics of the book decoration of the late Herat styles and the early Tabriz styles of the Safavid period.
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