The art of Gol-o-Morgh (Flower and Bird) painting holds a special place as a branch of Persian painting, distinguished among various artistic techniques. Given the diverse elements present in Gol-o-Morgh works—including a wide variety of birds and flowers—one can observe the representation of Iranian garden flora in these paintings. The evolution of Gol-o-Morgh works can be traced across different historical periods. Scholars believe that this artistic approach began during the Safavid era with the works of Shafiʿ Abbasi, the son of Reza Abbasi, and has continued to the present day. The design of flowers and leaves, the technique of brushwork and coloring, as well as composition, underwent changes during the Safavid period, as seen in Shafiʿ Abbasi’s works, which later flourished in the Zand and Qajar periods under the name Gol-o-Morgh-sazi (Flower and Bird painting). One of the prominent contemporary painters in this field was Mirza Agha Emami, who was active in various aspects of Persian miniature painting, including Gol-o-Morgh-sazi. Mirza Agha Emami was among the artists who mastered Gol-o-Morgh painting. During the transitional period from traditional Gol-o-Morgh-sazi in the Qajar era, he pioneered a fresh and innovative path by creating novel works. His Gol-o-Morgh paintings exhibit a blend of two styles: Qajar-era Gol-o-Morgh-sazi and contemporary techniques. The present study seeks to identify the distinctions between these two styles in Mirza Agha Emami’s works by examining their visual characteristics. Artistic style, in essence, reflects the formal features of an artwork. Style (or artistic manner) refers to the distinctive visual and structural traits in a work or a group of works that stem from an organic and coherent connection, rooted in a specific historical period or cultural context. It does not pertain to theme or content—otherwise, the term method would apply rather than style. Thus, style allows viewers to differentiate one artwork from another. Jensen, in his book, categorizes style into two types: 1. General Style– Pertaining to the characteristics of artworks within a specific time period, culture, or school. 2. Specific Style – Relating to the unique features of an individual artist’s work. Given the above, the research question arises: What are the visual characteristics of Gol-o-Morgh motifs in Mirza Agha Emami’s works across the Qajar and Pahlavi periods?**The objective of this study is to identify the two distinct approaches to Gol-o-Morgh-sazi in Mirza Agha’s art, reflecting the evolution of this style across the two periods. This research is descriptive-analytical in nature, examining the visual features of Mirza Agha Emami’s Gol-o-Morgh works. Data collection methods include both library and field research. To analyze the visual characteristics of his works, five representative samples were selected from various Gol-o-Morgh paintings, sourced from websites, books, and museums. These samples were photographed, scanned, and digitally analyzed using Rhinoceros and Photoshop software. The variables considered in this study include form, color, and composition, through which Mirza Agha’s artistic techniques are identified. The study begins with an exploration of form and stylistics, Gol-o-Morgh painting, and Mirza Agha’s life, followed by a descriptive and analytical examination of his works. Data analysis is qualitative, relying on non-statistical measurement tools, and interpretations are made without researcher bias. The significance of this research lies in fostering a deeper appreciation for the forms present in Mirza Agha Emami’s Gol-o-Morgh paintings. Understanding Persian art in all its dimensions requires an examination of the artistic styles of each period. Thus, it is essential to first introduce, categorize, and analyze the visual characteristics of this renowned Iranian artist’s Gol-o-Morgh works. This study emphasizes the dynamic, evolving thought process of Qajar-era artists, who, despite political, social, and economic challenges, not only preserved but also revolutionized this valuable and historic art form. A key point of investigation is the transition of aesthetic values in Iranian Gol-o-Morgh-sazi from functional art to decorative art. Findings indicate that form, color, and composition differ between the two styles of Gol-o-Morgh-sazi in Mirza Agha’s works, distinguishing them from one another. In his Qajar-era works, the floral and avian elements are larger, the color palette is limited to traditional Qajar painting hues, the composition balances form and background with intentional negative space, and the paintings are applied to functional objects. In contrast, his later works feature finer details, a broader color range, closer spacing between elements, and compositions framed in oval shapes, often presented as standalone decorative panels rather than functional objects. Through this study, differences in artwork type, form representation, arrangement, and color schemes were identified, leading to a classification of the works into two categories: 1. Lacquerware works (painted on everyday functional objects in the Qajar style). 2. Decorative works (standalone ornamental Gol-o-Morgh panels in Mirza Agha’s personal style, belonging to the Pahlavi period). In Qajar-era lacquerware, plant and animal forms are bold, spaced apart, and feature intricate twists in flowers and leaves, whereas in Pahlavi-era decorative works, the forms are finely detailed, densely arranged, simplified, and framed in oval compositions.