Abstract
Abstraction is the essence and foundation of Iranian Islamic art. Without it, Iranian Islamic art cannot be identified and introduced. It seems that the reason for the decline of Iranian art from the late Safavid era onwards is the lack of understanding of abstract art and the change in the lived experience of the artist and its audience. Abstraction in Iranian Islamic arts has experienced diverse manifestations and ultimately unity. Its emergence can be strongly sought in literature, music, architecture and building decorations, calligraphy, engraving, illumination, poetry and flower painting, etc. This manifestation of art, which expanded with the advent of Islam based on Islamic laws and Sharia It encompassed an interwoven network of arts that, despite its plurality, was moving towards unity. The most applied motifs in most Iranian Islamic arts are the (Khattai and Aslimi) motifs, and they are also most compatible with abstract art. On the other hand, the science of semiotics from the perspective of Sanders Peirce, who considers the world as a network of signs, unlike his predecessors in the science of semiotics, has sought to emphasize 1- the intrinsic relationships between signs, 2- their interpreters, 3- and the relationship between the sign and the outside world. Also, the issue of "abdication" can to some extent provide us with a different reading of these two types of Iranian Islamic motifs based on a scientific approach. In this research, the way of understanding abstract motifs and the expressive quality of abstraction in Islamic art is examined, and the fundamental question is raised: "What concepts does the semiotics of the decorative motifs of "Khatai and Aslimi" in Islamic abstract art imply based on the Peirce semiotic model? Considering the role of reading the work of art in Peirce's semiotics and explaining the abstraction and abstraction of these motifs in form and content have unity and have a conceptual function, examining the evolution of these motifs shows that their consistency and nobility have been manifested over time and relying on the principles and foundations of Islamic law and are connected in a chain to their previous and subsequent periods. The most important manifestation of these two motifs (Khatai and Aslimi) is the manifestation of birth and death, the world and the afterlife in their appearance and interior. This research was collected using a descriptive-analytical method and its contents were collected using written sources, library-qualitative documents. The necessity of the research is that the differences and contrasts of the abstract view with the abstract view in Islamic art There are many, but the difference between the two is not recognizable to many.
The present study is fundamental in terms of purpose, descriptive-analytical, qualitative in terms of method, and documentary-library in terms of data collection.

Keywords: Motifs (Khattai and Aslimi), Islamic art, abstract art, abstraction, semiotics (Sanders Pierce)
Abstract
Abstraction is the essence and foundation of Iranian Islamic art. Without it, Iranian Islamic art cannot be identified and introduced. It seems that the reason for the decline of Iranian art from the late Safavid era onwards is the lack of understanding of abstract art and the change in the lived experience of the artist and its audience. Abstraction in Iranian Islamic arts has experienced diverse manifestations and ultimately unity. Its emergence can be strongly sought in literature, music, architecture and building decorations, calligraphy, engraving, illumination, poetry and flower painting, etc. This manifestation of art, which expanded with the advent of Islam based on Islamic laws and Sharia It encompassed an interwoven network of arts that, despite its plurality, was moving towards unity. The most applied motifs in most Iranian Islamic arts are the (Khattai and Aslimi) motifs, and they are also most compatible with abstract art. On the other hand, the science of semiotics from the perspective of Sanders Peirce, who considers the world as a network of signs, unlike his predecessors in the science of semiotics, has sought to emphasize 1- the intrinsic relationships between signs, 2- their interpreters, 3- and the relationship between the sign and the outside world. Also, the issue of "abdication" can to some extent provide us with a different reading of these two types of Iranian Islamic motifs based on a scientific approach. In this research, the way of understanding abstract motifs and the expressive quality of abstraction in Islamic art is examined, and the fundamental question is raised: "What concepts does the semiotics of the decorative motifs of "Khatai and Aslimi" in Islamic abstract art imply based on the Peirce semiotic model? Considering the role of reading the work of art in Peirce's semiotics and explaining the abstraction and abstraction of these motifs in form and content have unity and have a conceptual function, examining the evolution of these motifs shows that their consistency and nobility have been manifested over time and relying on the principles and foundations of Islamic law and are connected in a chain to their previous and subsequent periods. The most important manifestation of these two motifs (Khatai and Aslimi) is the manifestation of birth and death, the world and the afterlife in their appearance and interior. This research was collected using a descriptive-analytical method and its contents were collected using written sources, library-qualitative documents. The necessity of the research is that the differences and contrasts of the abstract view with the abstract view in Islamic art There are many, but the difference between the two is not recognizable to many.
The present study is fundamental in terms of purpose, descriptive-analytical, qualitative in terms of method, and documentary-library in terms of data collection.

Keywords: Motifs (Khattai and Aslimi), Islamic art, abstract art, abstraction, semiotics (Sanders Pierce)