The late 16th century AD and the early 17th century AD during the Safavid period corresponded with the reign of Shah Abbas (1587-1629 AD), before to the relocation of the capital to Isfahan in 1598 AD. This era marked the final phase of prosperity for the Tabriz school, resulting in textiles from this period lacking distinct stylistic identities. During this time, the textile weaving schools of Qazvin, Kashan, and Yazd were all active, drawing inspiration from the pictorial style of the Tabriz school while also incorporating elements from the emerging Isfahan school. Notably, this period introduced new thematic content that had previously received little attention, such as ancient narrative tales. These included the stories of Yusuf and Zulaikha, Layla and Majnun, Khosrow and Shirin, and Shirin and Farhad, which represent unique influences beyond traditional subjects, encompassing courtly entertainments in gardens (Bostan), hunting scenes, and narratives from the Shahnameh. The originality of the reflection of these narrative topics, with romantic or mystical meanings in the textiles of the mentioned period, as well as the lack of written texts to express the reasons for paying attention to these special topics, brings to mind this question: what reasons lead to the selection of such topics for the textiles in this period? From this perspective, the present study adopts a descriptive and analytical methodology, studying the surviving artifacts and documents while considering the prevailing historical context. This approach aims to explain the reasons and mechanisms behind the evolution of textile design and patterns during this period, in contrast to earlier periods, by examining stylistic and thematic attributes. The findings indicate that the prevalent literary works of the time, such as Khamsa of Nizami and Haft-Orang of Jami, which emerged following the influx of artists from Shah Tahmasab's court to Ibrahim Mirza's court in Mashhad, along with the aesthetic preferences of subsequent rulers and the mystical tendencies associated with Sufism in the Safavid court during the late 16th century and early 17th century AD, significantly influenced the development of these patterns.
 
Keywords: Safavid Textiles, Narration, Shah Abbas, Khamsa of Nizami, Haft-Orang of Jami
 
Introduction
The textiles from the Shah Abbas era are of considerable significance in terms of design, pattern, and subject matter throughout the Safavid period. This importance becomes particularly evident during the early years of his reign. The migration of many renowned poets, prompted by the court's disregard for poetry and poets, resulted in a shift towards traditional literary works. Consequently, narrative themes that align with Iran's traditional literature found a prominent place in the history of Safavid textiles. Additionally, the incorporation of mystical literary texts, notably the Khamsa of Nizami and Haft-Orang of Jami, which had garnered considerable attention at the court of Sultan Ibrahim Mirza, contributed to the enhancement of motifs in new textile productions. These advancements occurred following Shah Abbas's patronage of the arts and various techniques. With his undeniable authority, Shah Abbas effectively established peace within Safavid society by subduing Qizilbash and excluding them from governmental roles. Over time, he reinstated the role of the ideal mentor, enabling his followers to create the necessary environment for the resurgence of the arts, which had experienced stagnation during the reigns of the kings succeeding Shah Tahmasab. This revival was closely linked to the economic rejuvenation and the increase in societal wealth. The Shah's particular support for silk production and the preservation of artists from earlier periods contributed to the emergence of new circumstances within Safavid society. The artistic direction for the textile motifs of this era was significantly influenced by the edited and illustrated literary works of the time, notably the Khamsa of Nizami and Haft-Orang of Jami. The relative peace within society and the court's favorable disposition towards human inner desires, moving away from asceticism, fostered a renewed appreciation for traditional romantic and mystical literature. The Khamsa of Nizami, in particular, held enduring appeal within the Safavid court, while Haft-Orang of Jami, compiled during the reign of Ibrahim Mirza in Mashhad, and gained prominence among the illustrated works of the Safavid period. By the late 16th century, it surpassed other literary works in significance, paving the way for a new era of visual expression in textiles. This period saw the emergence of narratives such as the love stories of Khosrow and Shirin, Shirin and Farhad, Yusuf and Zulaikha, and Layla and Majnun, with some, like Layla and Majnun, incorporating mystical themes from Jami's narrations.
       Therefore, considering the special conditions created during the period of Shah Abbas from a social and mystical point of view and the presence of these textiles with special motifs that were unparalleled in the history of Iranian textiles, the present research aims to express the reasons for the acceptance of the textiles of the late 16th century and the early years of the 17th century AD with the narrative themes of Nizami's poems and after him, especially Jami, seeks to answer these two questions:

Which narrative elements were evident in the textiles produced during the final years of the 10th century?
What prompted the focus on these narrative elements in functional textiles during this particular historical period?

 
Research method
This study employs a descriptive-analytical approach to investigate and assess the representation of human elements within the narrative theme as depicted in fabrics from the Safavid period, specifically during the late 10th century and early 11th century AH (16th and 17th centuries AD). The fabric samples were sourced from notable museums both in Iran and internationally, with textual information gathered through library and documentary research methods. The analysis includes a comparison of fabric imagery with corresponding narrative poetry, as well as other visual materials such as illustrations accompanying the poems and engravings found on separate pages. This examination aims to elucidate the relationship between fabric imagery and narrative poetry, particularly focusing on post-Nizami poets, with an emphasis on Jami. Ultimately, the research seeks to provide insights into the reasons behind the selection of these specific themes in textiles and the motivations of art patrons in favoring such narrative forms.
 
Results
The textile motifs prevalent during the reign of Shah Abbas in the late 16th century AD predominantly feature human representations that reflect both the material and spiritual status of individuals within Safavid society. Many of these motifs draw inspiration from narratives found in manuscripts, encompassing themes of romance and mysticism. Several factors contribute to this phenomenon, as outlined below:

Shah Abbas bolstered cultural and artistic endeavors, providing support to artisans and weavers.
The comprehensive policies of Shah Abbas, which reinstated the authority of Murshid Kamal, resulted in significant wealth accumulation and heightened focus on societal riches, including silk and the preservation of artistic traditions from previous challenging eras.
Concurrently, the revival of artistic techniques during this period led to a renewed appreciation for literary works from the traditional canon, which in turn elevated the quality of motifs in contemporary creations.
Furthermore, the emergence of a new form of Sufism, distinct from Qizilbashi Sufism, introduced a fresh perspective in artistic and technical domains.