Political and cultural exchanges between Iran and Asia Minor reached their peak coincided by the beginning of the tenth century AH,  the fall of the Timurid rule, the rise of the Safavids, the emigration of elites and the transfer of some Iranian cultural and artistic works to the Ottoman throne. One of the most important Ottoman artistic currents that was formed in this period is the prevalence of Saz style in designing, which was first used in the tiles of important buildings of that period, such as Topqapi Palace, and then, was used with various arts in that land. This research emphasizes the introduction of the creator of this style named Shahgholi Tabrizi and his place in the development of the Ottoman Saz style and in addition will answer the question: what is the quality of Shahgholi's design works and the tiling patterns of Sunnet Odasi in Topqapi Palace based on Saz Styliz that designed and shaped under the supervision of Shahgholi, and what features do they show? The general results of the research show that the Saz style with special features such as curved and sharp triangular coniferous leaves, dagger leaves, various flowers of Khatai and Simorgh and Dragon with limited and light colors is identified in the style of Timurid design and for the first time by Shahgholi has been emerged. This research is  categorized as qualitative and its method is descriptive-comparative analysis.

Mirza Ghasem, the son of Mirza Mohsen Tabrizi, known as Zahed, was an orator and poet of the second half of the 11th century of Hedjri, who lived in Isfahan in the reign of Shah Soleiman Safavi. His birthday is not clear.His Manuscript anthology includes: Sonnets, Ballads, Quatrains, Masnavi Safinat-Al-nejat, and Menshat.Mirza Taher Nasrabadi who was among his contemporaries has included his biography and works in his own Tazkare.His hymns praising Islam's holy prophet and especially Molalmovahedin, Ali-ibn-Abitaleb, make it clear that he has had Emamieh Asna Ashari (twelve Imams) as his religion. Sweet and melodic Sonnets of Zahed abound in delicacy, lyric passion, long and clear images and ideas, imagination, and other features of Hendi style. Zahed's deep insight and strong imagination are unique in the creation of visual imagery, as well as in benefiting crystal clear words in a chain of magical ideas. Zahed's mature and, reasonable Sonnets which include colorful meanings, sweet ideas, and exciting images sometimes resemble a painting and sometimes a piece of music. Since the manuscripts of Zahed Tabrizi’s anthology have not been introduced to the sociely of scholars, this article aims to introduce Zahed and his lyrics to the advocators and researchers of Persian literature.

The main subject of this article is to review the impacts and demonstration of indian culture and environment in Saeb's poetries. Saeb has created picturesque images using the common cultural phenomenon in India such as: cremation, Sati, penance, the catechesis of the Indian religions. In addition of this he has recreated the old purports of Persian poetry by applying of some ingredients of Indian nature such as: Peacock, snake, elephant etc. He deliberately has used from the above elements as materials to create poetic images. One of Saeb's prominent techniques is to describe abstracts using concrete concepts.

One of the main differences between the mystics and those following the Sharia (orthodox law) is their interest in the holy path or the spiritual journey toward the truth. The mystics believe that lifting the veils between the servant and the ultimate truth, achieving the intuitive knowledge and the perfection of monotheism, is possible through this mystical journey.There are many books and papers by Sufi saints that have addressed the characteristics and attributes that a disciple needs to have to reach the end goal. Shams Tabrizi, the well-known Sufi saint (1185-1248), has also talked about these concepts. However, there is a huge problem in accessing his views on these issues, as they are not gathered in a specific chapter similar to other concepts in his book, al-Maqalat, and are spread in different parts of the book.In this article, this issue has been addressed and the related concepts have been separated from the al-Maqalat book to have a better access to Shams Tabrizi’s views on characteristics and attributes of the seekers of the ultimate truth.

Jamali Tabrizi is one of the eighth and ninth century’ s unknown Khamse storytellers who had written five Masnavis in response to Nezami Ganjavi. There is little information about his life and a part of our knowledge about his birthplace and family is from what was mentioned in his works. From his works, it can be inferred that he was born in the second half of the eighth century and lived until 828 AH. The Khamse of Jamali Tabrizi has 19648 verses and contains Masnavis "Tohfat-ol Abrar", "Meher-o Negar", "Mahzoun-o Mahboub", "Haft Awrang" and "Anoushang Nameh". The only known version of Khamse Jamali is a Manuscript number "1284" in India Office which is held in the Great Britain Museum. The first poems of Khamse are dedicated to Timurid rulers, and the last poem is dedicated to one of Qara-qoyunlu monarches. Unfortunately, the rulers did not pay attention to him and he was one of the unknown and disappointed poets of Iran.

Stylistics of satire of Saeb is the result of the social environment in Safavid era. He is a poet and critic believer who has used humor as an effective weapon in protest and criticism of his society's anomalies. His satire, from the perspective of stylistics, is mainly the result of the content and rhetoric of his poems. The criticisms of Saeb are subjective in terms of content, and his mind communicates with the horizons and the level of phenomena in order to depict the deep concepts of mind and lives. He is a critic and reformer who, with his humor, is seeking to belittle the dignity of those who are within range of his grinning. In fact, in addition to being sarcastic to the inner features of people seeks to contempt the outward appearances, His critical language is virtuous and transcendental. The most important techniques which he makes his satires with are: Paradox, allegory, Paradoxical, equivocalness, poetical aetiology, quoting, metaphor and allusion. The research method is descriptive analytical. In this paper, we seek to answer the question of how much effective is the Stylistics of satire of Saeb in regards with the intellectual direction and the literary level on the social anarchies?

Veli jan Tabrizi, the famous student of Siavash Beig Gorgi, went from Tabriz to Ottoman by his will. According to the signatures of the veli jan from the seventies to the second half of the 11th century, he worked in Iran and Ottoman Empire. veli jan was educated in Qazvin school and played an important role in transferring the achievements of the schools of Tabriz and Qazvin to the Istanbul school. The veli jan, like Shah Quli (Saz style invented), learned the elements of the Turkmen and Tabriz schools in Tabriz and Qazvin, but in Istanbul, with a new composition of these elements, which was called Saz style and a style that was popular in the Ottoman court, Compositions are not seen in the painting of the Safavid period. He played a major role in the development of Saz style in Istanbul's paintings. He was influenced by the evolution of the Istanbul School of Painting from the late decades of the tenth century, along with the painter Osman. He has been impressive, but his stylish works are not as delicate and prolific as Shah Quli's works, but because the continuation of this style is very much considered. In all of his works, the elements of the Tabriz and Qazvin schools are known, and his distinctive patterns can be distinguished, and perhaps his loyalty to the style of the Safavid painting has led him to be proud, which hinders further learning in the field of art. Among the several colorful and pen drawing of the veli jan, besides a few works that are commonly found in the painting style of the Safavid paintings, it shows the rest of the Saz Style features, in particular the fairy-tale group, the body of young women and men, and the leaves of the Saz, the images and the compositions Of the birds have a single style. veli jan paid attention to detail in his early work, but he gradually avoided this. Like the painters of the Tabriz and Isfahan schools, he was also interested in illustrating Dervishes. In the paintings in the albums, the name of the veli jan is written in various forms (Fig. 18) in the picture of the angel. The signature in the form of the "veli jan Pen" is written in a long line of suspension and authenticity is confirmed. In the image of the angel at the Jacques-Mart Andre-Paris Museum, the artist signed the "Veli Jan Ibni Qasem", and in the second form in the same museum, with the signature of the "Veli jan" with the suspension line, it was written only in different forms (clinging or separating). Among the signatures, the signature form of the H. 2168 can be described as the usual signature of the artist. In this research, since this artist in Iran, as it should not be known, while addressing his character, the characteristics of his pictures, the errors that have taken place in the history of some of the works and proportions are being examined.

Abdolmajid Tabrizi, a less well-known poet of the 8th century AD. Is. There is not much information about him. About 699 AH. He was born in Tabriz and probably between 757 and 768 AH. In the past, what is his poem is that he was engaged in farming and at the age of 55 he went over to Hajj, and after returning from the pilgrimage of the house of God, he went to Shiraz and spent some time there. In various forms of poetry, such as poetry, sonnets, compositions, pieces, masnavi and quatrains, they have experimented with various concepts and subjects, including the prayer of God, the promise of the Holy Prophet (s), the exhortation of the rulers, love, mysticism, counsel and Wisdom forms the theme of his poems. In the chanting, followers of such poets as Elementary, Anvari, Zahir Faryabi, and in Ghazalsarai, are the meta tags of Saadi's lyrics. His contemporary poets like Hafez have also been influenced by his poems.

There is no doubt that islamic mysticism commenced from Iran, and first great mystics who have gained globel reputation, were from Iran. The time, the mysticism entered Islam, though Baghdad was the centre of Islamic caliphate, but it was not separate from Iran. All mystic order chiefs were gathered there. After a complemental duration, the mysticism got its exceeding way to sub-continent particular during the raid of mangols.Although all the mystic orders reached sub-continent at the same time, however, two of them, i.e. chishti and sohrwardi went earlier there. All sufis and mystics were peace seeker, peace lovers and peace minded and they lived together peacefully. Sheikh Jalaladdin Tabrizi was one of those thousands of the century hijra who remained unacquainted among Iranians uptil now, but he is well known and celebrated figure in Bengladesh. He was the first sufi who reaches et Bengal via north India. He became the disciple of Bakhtiyar kaki oshi (d. 633 A.H) in Delhi. Najmaddin Soghra was chief justice of Delhi at that time. He had some differences with sheikh J alaladdin Tabrizi. So after solving that differences Sheikh Jalal went to Bangal and preached Islam, There. He turned many hindus to Islam. Sheikh Jalal died in 642 A.H at there and his tomb is situated in Pandvah, named "Dargahe Bozorg" near Tabriz abad. His anniversary is observed on his tomb every year on 21, 22th Rajab. He was a high rank mystic in worship and devotion to God. He had chest and divinely character and behaviour.