The centering of the shamseh and its departure from marginal locations, such as header borders, following the revival of the Illuminationist theory is a phenomenon that has captured our attention. This study explores the influence of the artist's lived experience and the interpretation of the artwork along this trajectory. The dynamics of collective wisdom and the formation of cultural hegemony are also addressed. The results indicate that the centering of the shamseh after the 7th century [AH], its circular form, and its divergence from the shamseh-toranj configuration are linked to the role of cultural hegemony. In essence, from at least the 7th century [AH] onward, the concept of the sun, closely associated with the shamseh motif, solidified the shamseh as its own distinct entity shamseh per se. A distinction is drawn between works where the motif is used merely for decoration and to increase the book’s value, versus works where the image is integrated with the text, becoming mutually supportive and complementary. The aim of this research is to compare the similarities and differences in shamseh motifs before and after the Illuminationist theory. Another objective is to investigate how cultural hegemony during the widespread adoption of the Illuminationist theory contributed to the centering of the shamseh. From a methodological perspective, this article is applied in purpose, descriptive- analytical in method, and theoretical with a comparative approach. It utilizes a qualitative, library- based methodology.
