The artistic illustration of the Quran holds a distinguished position owing to the sacred nature of the scripture. The respect and reverence Muslims have for the Qur’an and its place have motivated artists to gild and decorate it. This respect for book art among Iranians is essential, rooted in the pre-Islamic Iranian culture and neighboring societies, and later integrated into Islamic decorative practices. Initially, Artists approached the illustration of Qur’anic verses with caution; subsequently, more focus and effort were directed toward its implementation. From the dawn of Islam, this sacred text was crafted as manuscripts with distinctive features. It benefited from the basic structure, page arrangement, gilding, binding, and writing. The efforts of scribes and religious leaders in using decorative elements in books within Islamic civilization are a testament to the importance of the Qur’an’s book arrangement. Therefore, due to the ancient use of decorations in the books, this current research aims to examine the decorations of Qur’anic emblems in the books of the first centuries, with an emphasis on the Ilkhanid and Timurid periods. Moreover, the descriptive-analytical method has been employed to collect data through the examination of library documents, observation, and field studies, yielding findings that address two fundamental questions: What is the relationship between the decorations used in Quranic symbols and the text of the Quran? Has the execution format of the decorations in the Quranic emblems in the books of the Ilkhanid and Timurid periods been uniform? Investigations showed that the decorations used in the Quranic emblems had a direct relationship with the Quranic text; also, the execution format of the decorations in the Quranic emblems was not uniform in different periods, and it changed depending on variables.