The main change that this period brought to the development of art was to restrict the depiction of lifelike portraits, or true-life representations of historical events. These provided a common stock on which, artists in other media drew. More tolerant Moslem believers were less stringent to the portrayal of figurative art and in bathing houses, paintings of hunting or love scenes for the entertainment of the patrons seldom aroused objection. However, in religious establishments, only indistinct hints of human or animal forms were tolerated. The Persians were quick to appreciate the decorative value of the Arabic script and developed every variety of floral and abstract ornament.
Persian ornament is usually distinguishable from that of other Islamic countries.
The treatment of the arabesque tended to be freer in Persia than elsewhere and usually, though by no means always, retained natural and recognizable plant forms. Palmettes, Frets, Guilloches, Interlacings, and elaborate geometric figures such as the polygonal star also occur. Calligraphy is the highest art form of the Islamic civilization, and like all forms of art that came into contact with Iran, the Persians enhanced and developed it. Naskhi, Muhaqqaq, Rihani, Ta'liq. The tenacity of Persia's cultural tradition is such that, in spite of centuries of invasions and foreign rule by Arabs, Turks, Mongols, Afghans, etc., her art reveals a continuous development, while retaining its own identity.