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Background/Objectives :The construction of Chaharbagh School and Seyyed Mosque of Isfahan has one century difference. In these 2 places the botanical and geometrical drawings are shown significantly and separately by having spiritual simplicity available in ornaments of tiles; however, in the infrastructure of moscuqe-school there is integration of different drawings shown as pile of colors and drawings without having specific purpose that are drawn on wall with complete details. Methods/Statistical analysis :In this project, it is benefit from library and field studies by using observation and the drawings of tile of work of Chaharbagh School and Seyyed Mosque of Isfahan are evaluated and compared and the properties of drawings of each section is analyzed and finally a table is offered for their comparison. Findings: In continuation of research, it is specified that generally the ornaments and drawings available in places belonging to Safavid dynasty, are originating from beautiful nature that are differently revealed in layout of walls, cloths and other things. The space of painting is more free and in the background there is mixture of tableau and space. Moreover, these mixed drawings are inspired from nature and beauty that not only does not lead to fatigue of eye and soul, but also refresh the human soul. Most of the artists during Qajar dynasty by self-learned method and by means of picture attempted to be familiar with architecture of western culture. Application/Improvements: Therefore, maybe it is more logical that merging these 2 systems is mainly unwanted and as a result of influence of ancient tradition from one hand and lack of being familiar with scientific and academic principles of European art.

Studying and Comparing Pictorial Drawings and Patterns of Chaharbagh School and Seyyed Mosque of Isfahan