Among the monuments of Islamic architecture of Isfahan City, holy shrines enjoy the particular importance and in the course of various historical eras drew the attention of the people and even the kings. Given the sacred nature of this type of buildings by people, they are always constructed using the newest achievements of the past architecture and in many cases, the best arts like brick decorations, tiling, wall painting, stonemasonry, stucco, and mirror art are used for decorations. After the establishment of Safavid dynasty and recognition of Shia Islam as the official religion of Iran, religious wall paintings in Safavid era, particularly in their capital Isfahan, were revived. Currently, among the mass of Emamzadeh shrines in Isfahan city, three Emamzadeh including Ahmad, Esmaeil and Harun Velayat are decorated with wall paintings of Safavid era. The studies show that wall paintings of Safavid era are used in these three Emamzadeh shrines particularly in the corridor, porch and mausoleum of Dervish in Emamzadeh Esmaeil. The current essay seeks to provide a classification, evaluation and analysis of the wall paintings remained from Safavid era in three Emamzadeh shrines (Ahmad, Harun Velayat and Esmaeil) in Isfahan City. Descriptive and analytic method for data collection were applied via library and field studies. The results show that the theme of wall paintings in Safavid era in Emamzadeh shrines of Ahmad, Harun Velayat and Esmaeil is decorative.
